Grammy finalist for an arrangement (“Smile”) from his last Summit release, critically acclaimed arranger, composer, trombonist, and for this project, vocalist, Pete McGuinness presents a dynamic extremely well-arranged program of some classics – a strong indicator of why his accolades have been impressive!
”…he shines brilliantly on vocals…scat is back…Non-stop excitement!” -Boston Post Gazette
“…Voice Like A Horn is made up of a single original and seven standards that showcase McGuinness’ curious vocal cross of Chet Baker’s vibrato-less delivery coupled with Kurt Elling’s fearless attack on convention. All selections were given ample time for development, the lion’s share being five minutes or longer. The disc opens with Jerome Kern’s “Yesterdays.” McGuinness opens fire with a machine-gun scat that could light a fire over a thundering piano support. A good start, to be sure. Both “Oh, You Crazy Moon,” featuring the set’s best ensemble arranging, and trumpeter Bill Mobley’s “49th Street, which allows McGuinness to properly demonstrate his scat prowess, find the trombonist joined by the trumpeter and saxophonist Jon Gordon. Dizzy Gillespie’s minor blues, “Birk’s Works,” join “49th Street” as a scat showcase, McGuinness’ delivery is as smooth as a single malt, neat, recalling the vocal calisthenics of Lambert, Hendricks & Ross. Bassist Andy Eulau has his best solo, extended between the scat singing. McGuinness turns in a performance of “Tea For Two” that rivals that of Anita O’Day at Newport, 1958. His delivery is precise at speed and speed is the key operative. Voice Like A Horn has many charms and should appeal to a broad jazz listening public. McGuinness might prove to be the next thing in male jazz vocals, an area needing new and bolder talent…” – C. MICHAEL BAILEY for AllAboutJazz