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| 3.726 Ft
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| 1. | Jon and Billy
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| 2. | Water Bridge-Mizu Hashi San
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| 3. | Ballad for Jon Faddis
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| 4. | Two 'D's from Shinjyuku, Dig and Dug
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| 5. | 17-Bar Blues
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| 6. | This All-Koredake
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Jazz / Bop
Recorded: Mar 13, 1974, Teichiku Studio, Tokyo, Japan
Billy Harper - tenor saxophone
Jon Faddis - trumpet
Sir Roland Hanna - electric piano, piano
George Mraz - bass
Motohiko Hino - drums
Cecil Bridgewater - kalimba
When Jon Faddis burst on the jazz scene as a teenager, observers were amazed by his technique and his ability to sound like an identical twin of Dizzy Gillespie (whose complex style had never been successfully duplicated before). After a period, he was typecast as a Dizzy imitator but Faddis' remarkable range (hitting higher notes than Gillespie ever could) and the gradual development of his individual sound have helped him overcome the early fault. In fact, Faddis can now also imitate Roy Eldridge and Louis Armstrong quite well, too. Gillespie was always Faddis' idol, from the time he started playing trumpet at age eight. After moving to New York in the early '70s, Faddis played with Lionel Hampton and Charles Mingus (guesting on a recorded concert with the bassist when Roy Eldridge became ill) and then recorded two notable albums for Pablo including a duet session with Oscar Peterson. After playing a bit with Gillespie (their best encounters in the mid-'70s were unfortunately not recorded), Faddis seemed to disappear, sticking to studio work and playing first trumpet with the Thad Jones/Mel Lewis Orchestra. After re-emerging in the mid-'80s, Faddis recorded for Concord and Epic and in 1993 became the musical director of the Carnegie Hall Jazz Orchestra.
Billy Harper is one of a generation of Coltrane-influenced tenor saxophonists who actually built upon the master's work, rather than simply copy it. Harper is consummately well-rounded, able to play convincingly in any context, from bop to free. His muscular tone, lithe articulation, comprehensive harmonic knowledge, and unflagging energy define him as a saxophonist. He's also possessed of an abundant imagination that connects directly to his blues and gospel roots. Though not as well-known as he might be, Harper is a jazz improviser of significant stature. Harper grew up in Houston, TX. By the age of five he was singing in church and at various choral events. At age 11 he was given a saxophone for Christmas. In the beginning he was mostly self-taught, though he was helped along by his uncle Earl Harper, a former trumpeter who had gone to school with bop trumpeter Kenny Dorham. Dorham's 1950s work was a formative influence. In his teens Harper played in R&B bands, and at the age of 14 formed his own quartet. In the early '60s, Harper studied jazz at North Texas State University, where he became (at that time) the only African-American member of the school's prestigious One O'Clock Lab Band. Harper graduated from NTSU with a Bachelor of Music degree and also did post-graduate work. In 1966 Harper moved to New York. That year, he led an ensemble that was featured on an NBC-TV special, "The Big Apple." Within short time after arriving in New York, Harper started playing with well-known bandleaders. In 1967 he began a long-lasting association with bandleader/arranger Gil Evans. Harper has played with some of jazz's greatest drummers; he served with Blakey's Messengers for two years (1968-1970); he played very briefly with Elvin Jones (1970), and was a member of Max Roach's band in the late '70s. Harper also became a regular member of the Thad Jones/Mel Lewis Big Band. In the '70s, Harper began recording under his own name for European labels. His album Black Saint (1975) was the first recording issued by the label of the same name; his In Europe (1979) inaugurated the Soul Note label. Harper recorded relatively infrequently in the '80s and '90s, although he maintained an active performing career, mostly as a leader. He's enjoyed a parallel career as a music educator, teaching at Livingston College and Rutgers. He's also received multiple grants from various arts agencies, including two from the National Endowment of the Arts. Harper's Black Saint LP was named Jazz Record of the Year - Voice Grand Prix, by the Modern Jazz League of Tokyo.
---Scott Yanow & Chris Kelsey, allmusic
Includes liner notes by John Ephland.
Jon Faddis
Active Decades: '70s, '80s, '90s and '00s
Born: Jul 24, 1953 in Oakland, CA
Genre: Jazz
Styles: Bop, Neo-Bop, Post-Bop
When Jon Faddis burst on the jazz scene as a teenager, observers were amazed by his technique and his ability to sound like an identical twin of Dizzy Gillespie (whose complex style had never been successfully duplicated before). After a period, he was typecast as a Dizzy imitator but Faddis' remarkable range (hitting higher notes than Gillespie ever could) and the gradual development of his individual sound have helped him overcome the early fault. In fact, Faddis can now also imitate Roy Eldridge and Louis Armstrong quite well, too. Gillespie was always Faddis' idol, from the time he started playing trumpet at age eight. After moving to New York in the early '70s, Faddis played with Lionel Hampton and Charles Mingus (guesting on a recorded concert with the bassist when Roy Eldridge became ill) and then recorded two notable albums for Pablo including a duet session with Oscar Peterson. After playing a bit with Gillespie (their best encounters in the mid-'70s were unfortunately not recorded), Faddis seemed to disappear, sticking to studio work and playing first trumpet with the Thad JonesMel Lewis Orchestra. After re-emerging in the mid-'80s, Faddis recorded for Concord and Epic and in 1993 became the musical director of the Carnegie Hall Jazz Orchestra. He released Teranga on Koch in 2006.
--- Scott Yanow, All Music Guide |
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