Without any doubt this is one of the great recordings produced by Glossa, as well as being the only recorded occasion in which the two co-founding brothers of the label guitarist José Miguel Moreno and violinist Emilio Moreno have taken part together. In the hands of these fabulous specialists, who are accompanied by a tiple treble guitar and castanets in the famous Fandango, two of Boccherini’s guitar quintets sound here with an unparalleled intensity and brightness.
This 1956 recording was Bob Dorough's debut, an introduction to one of the most unusual talents in jazz. He's a gifted songwriter and a fine pianist, but most of all, he's a unique lyricist and singer, rattling off hyperkinetic vocalese in an almost chirping, high-pitched voice that somehow retains hints of an Arkansas drawl and a conversational intimacy. He's as distinctive on Hoagy Carmichael's beautiful "Baltimore Oriole" as he is on the bop fanfares like Dizzy Gillespie's "Ow!" and Charlie Parker's "Yardbird Suite," with his own memorable lyrics. His boppish piano playing–with all the virtues of crisp articulation and an acute sense of time–is an oddly conventional complement to the vocals, and there are good contributions by Warren Fitzgerald on trumpet and Jack Hitchcock on vibes. Devil May Care's title tune has recently received fine covers by more conventional singers like Diana Krall and Claire Martin, but it's much more distinctive here. While Dorough has influenced generations of jazz singers, from Mose Allison to Kurt Elling, there's nothing quite like the original.