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Kérjen
árajánlatot! |
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| 1. | If I Could Be With You (One Hour Tonight)
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| 2. | Tin Tin Deo
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| 3. | Mariooch
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| 4. | All Too Soon
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| 5. | 28th and 8th
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| 6. | What Am I Here For?
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Jazz
Bop
Swing
Pee Wee Russell - Clarinet
Bob Brookmeyer - Trombone
Coleman Hawkins - Performer, Sax (Tenor)
Emmett Berry - Trumpet
Jo Jones - Drums
Milt Hinton - Bass
Nat Pierce - Piano
* Bob d'Orleans - Engineer
* Frank Gauna - Photography
* Nat Hentoff - Liner Notes, Supervisor
In planning this date, the first man that came to mind was Nat Pierce. He had been a friend of Pee Wee's for a long time, and understood and respected his music, and an arranger who abhors the non-essential in his scoring. The next was Coleman Hawkins, with whom Pee Wee had not recorded since the 1929 Mound City Blue Blowers session that produced the extraordinary 'One Hour' and 'Hello Lola'. Bob Brookmeyer was a natural addition because his playing reflects his love and comprehension of the whole of the jazz tradition. The long under appreciated Emmett Berry had the capacity to always sound fresh and thoroughly involved emotionally. In addition to Nat Pierce on the piano, the rest of the rhythm section fell into logical place- the flowing Jo Jones, a listening drummer, and the strong big -toned Milt Hinton who never stopped learning more about the expressive capacities of his instrument.
This LP (whose contents have been reissued on CD) features a reunion between tenor-saxophonist Coleman Hawkins and clarinetist Pee Wee Russell; they revisit "If I Could Be with You," a song they had recorded together in a classic version back in 1929. Russell was beginning to perform much more modern material than the Dixieland music associated with the Eddie Condon players and on this set (which also features trumpeter Emmett Berry, valve trombonist Bob Brookmeyer, pianist Nat Pierce, bassist Milt Hinton and drummer Jo Jones), he plays a couple of Duke Ellington tunes, two originals and "Tin Tin Deo." Hawkins is also in fine form and this somewhat surprising program is quite successful.
---Scott Yanow, All Music Guide
Pee Wee Russell
Active Decades: '20s, '30s, '40s, '50s and '60s
Born: Mar 27, 1906 in St. Louis, MO
Died: Feb 15, 1969 in Alexandria, VA
Genre: Jazz
Styles: Classic Jazz, Dixieland, Mainstream Jazz, Swing
Pee Wee Russell, although never a virtuoso, was one of the giants of jazz. A highly expressive and unpredictable clarinetist, Russell was usually grouped in Dixieland-type groups throughout his career, but his advanced and spontaneous solos (which often sounded as if he were thinking aloud) defied classification. A professional by the time he was 15, Pee Wee Russell played in Texas with Peck Kelley's group (meeting Jack Teagarden) and then in 1925 he was in St. Louis jamming with Bix Beiderbecke. Russell moved to New York in 1927 and gained some attention for his playing with Red Nichols' Five Pennies. Russell freelanced during the era, making some notable records with Billy Banks in 1932 that matched him with Red Allen. He played clarinet and tenor with Louis Prima during 1935-1937, appearing on many records and enjoying the association.
After leaving Prima, he started working with Eddie Condon's freewheeling groups and would remain in Condon's orbit on and off for the next 30 years. Pee Wee Russell's recordings with Condon in 1938 made him a star in the trad Chicago jazz world. Russell was featured (but often the butt of jokes) on Condon's Town Hall Concerts. Heavy drinking almost killed him in 1950, but Russell made an unlikely comeback and became more assertive in running his career. He started leading his own groups (which were more swing- than Dixieland-oriented), was a star on the 1957 television special The Sound of Jazz, and by the early '60s was playing in a piano-less quartet with valve trombonist Marshall Brown whose repertoire included tunes by John Coltrane and Ornette Coleman; he even sat in with Thelonious Monk at the 1963 Newport Jazz Festival and took up abstract painting. But after the death of his wife in 1967, Pee Wee Russell accelerated his drinking and went quickly downhill, passing away less than two years later.
---Scott Yanow, All Music Guide |
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