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CD |
Kérjen
árajánlatot! |
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| 1. | Pawky
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| 2. | Moonlight in Vermont
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| 3. | Back Talk
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| 4. | Dancing in the Dark
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| 5. | Charmaine
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| 6. | Jollity
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| 7. | There's a Small Hotel
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| 8. | Rascallity
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| 9. | You'd Be So Nice to Come Home To
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| 10. | It's a Minor Thing
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| 11. | Yesterdays
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| 12. | Bohemia After Dark
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| 13. | Taboo
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| 14. | Autumn in Rome
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| 15. | Alone Together
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Jazz
Recorded March and September 1958
Dorothy Ashby - Harp
Art Taylor - Drums
Frank Wess - Flute
Gene Wright - Bass
Herman Wright - Bass
Roy Haynes - Drums
* Bob Weinstock - Supervisor
* Esmond Edwards - Photography
* Ira Gitler - Liner Notes
* Jamie Putnam - Cover Design
* Joe Tarantino - Remastering
* Phil Carroll - Art Direction
* Rudy Van Gelder - Engineer
While not the first male or female jazz harp player (Casper Reardon of Jack Teagarden's bands, Adele Girard performing with her husband Joe Marsala, or Corky Hale set precedents), Dorothy Ashby was the very best and most swinging performer on the multi-stringed instrument associated with the gates of heaven. Here on Earth, Ashby adeptly plucked and strummed the harp like nobody else, as evidenced on this single CD reissue containing her two best LPs for the Prestige and Prestige/New Jazz labels from 1958 -- Hip Harp and In a Minor Groove. Alongside her prior efforts for the Savoy label, they collectively represent a small but substantive discography for the Detroit native in small group settings. With the exceptional flute sounds produced by Frank Wess, the combo plays music that is oriented via a unique sonic palate, further enhanced by the principals in the standards and originals they have chosen. Fellow Detroiter Herman Wright is here on bass, with duties split between legendary drummers Art Taylor and Roy Haynes, who place particular emphasis on subtle brushwork. Of course, the watchword of Ashby's sound is elegance, as she and Wess weave magical threads of gold and silver through standards like the circular and pristine "Moonlight in Vermont," the dramatic, slow "Yesterdays," or the sad "Alone Together." In a more Baroque or chamber setting, "Charmain" and "It's a Minor Thing" have Wess and Ashby thinking on a regal or Grecian platform. The variety on this collection is impressive, as you hear cinematic bluesy proclamations on "Autumn in Rome," striking mystery in "Taboo," mischievous and sly winks during "Rascallity," and a sexy calypso-to-swing beat as "You'd Be So Nice to Come Home To" unfolds. Two originals of Ashby's stand out -- the well swung, blues based yet exotic "Pawky" with the singularly unique flute of Wess, and the delicate but decisive "Jollity" that moves along nicely. Of course these are straight-ahead mainstream jazz musicians, and you also get a soaring, clean version of the tricky "Bohemia After Dark" and "Dancing in the Dark," where Ashby's harp acts like a rhythm guitar. In fact, it is this aspect of Ashby's performing style that sets her apart from being a singular or simplistic crystalline melodic implement. Then add to this element that Wess is so acutely fine tuned to pure tonal discourse simply by the nature of his instrument, and can carry the load by himself. This is a delightful package that deserves further recognition as a project unique to jazz and modern music, perfectly showcasing Dorothy Ashby as an individualist for the ages.
---Michael G. Nastos, All Music Guide
Dorothy Ashby
Active Decades: '50s, '60s and '70s
Born: Aug 06, 1932 in Detroit, MI
Died: Apr 13, 1986 in Santa Monica, CA
Genre: Jazz
Styles: Cool, Hard Bop
There have been very few jazz harpists in history and Dorothy Ashby was one of the greats. Somehow she was able to play credible bebop on her instrument. As a pianist she studied at Wayne State University, and in 1952 she switched to harp. Within two years, Ashby was gigging in jazz, and in 1956 she made her first recording as a leader. Between 1956-1970, she led ten albums for such labels as Savoy, Prestige, New Jazz, Argo, Jazzland, Atlantic, and Cadet, guested on many records, and was firmly established as a top studio and session player. She moved to the West Coast in the 1970s and was active up until her death.
---Scott Yanow, All Music Guide |
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