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| 7.905 Ft
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| 1. | Honeysuckle Rose
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| 2. | The Midnight Sun Will Never Set
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| 3. | Crazy Rhythm
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| 4. | Blue Star
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| 5. | Cotton Tail
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| 6. | Body and Soul
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| 7. | Cherry
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| 8. | Doozy
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Jazz / Jump Blues, Mainstream Jazz, East Coast Blues
Benny Carter - Sax (Alto)
Bob Thiele - Producer, Original Recording Producer
Bobby Arnold - Engineer, Original Engineering
Charlie Rouse - Sax (Tenor)
Coleman Hawkins - Sax (Tenor)
Dick Katz - Piano
Jimmy Garrison - Bass
Jo Jones - Drums
John Collins - Guitar
John Cue - Original Engineering, Engineer
Martin Williams - Liner Notes
Phil Woods - Sax (Alto)
Robert Flynn - Cover Design
Viceroy - Cover Design
This essential single-CD combines altoist/arranger Benny Carter's classic Further Definitions with the related Additions to Further Definitions. The former set was a revisit, instrumentation-wise, to the famous 1937 session that Carter and tenor saxophonist Coleman Hawkins made in France with two top European saxophonists (Andre Ekyan and Alix Combelle) and guitarist Django Reinhardt. The all-star group (which also includes Hawkins, altoist Phil Woods, Charlie Rouse on second tenor, pianist Dick Katz, guitarist John Collins, bassist Jimmy Garrison, and drummer Jo Jones) performs a particularly inspired repertoire. Carter's charts, which allow Hawkins to stretch out on "Body and Soul," give everyone a chance to shine. "Honeysuckle Rose" and "Crazy Rhythm" hold their own with the 1937 versions, and "Blue Star" and "Doozy" prove to be two of Carter's finest originals. The second date does not quite reach the same heights, but is enjoyable in its own right. This time, Carter contributed six of the eight selections (including a remake of "Doozy"), and the band was gathered from jazzmen then working in the L.A. studios, including Carter and Bud Shank on altos, and tenors Teddy Edwards and either Buddy Collette or Bill Perkins. Although Benny Carter was not actively playing much at the time (this was his only small-group recording during 1963-1975), he is heard in typically prime form. Very highly recommended. [The Japanese release features the original track listing, which cuts the final eight songs from the re-release and leaves only eight tracks.] ~ Scott Yanow, All Music Guide
Benny Carter
Active Decades: '20s, '30s, '40s, '50s, '60s, '70s, '80s and '90s
Born: Aug 08, 1907 in New York, NY
Died: Jul 12, 2003 in Los Angeles, CA
Genre: Jazz
Styles: Big Band, East Coast Blues, Jump Blues, Mainstream Jazz, Swing
To say that Benny Carter had a remarkable and productive career would be an extreme understatement. As an altoist, arranger, composer, bandleader, and occasional trumpeter, Carter was at the top of his field since at least 1928, and in the late '90s, Carter was as strong an altoist at the age of 90 as he was in 1936 (when he was merely 28). His gradually evolving style did not change much through the decades, but neither did it become at all stale or predictable except in its excellence. Benny Carter was a major figure in every decade of the 20th century since the 1920s, and his consistency and longevity were unprecedented.
Essentially self-taught, Benny Carter started on the trumpet and, after a period on C-melody sax, switched to alto. In 1927, he made his recording debut with Charlie Johnson's Paradise Ten. The following year, he had his first big band (working at New York's Arcadia Ballroom) and was contributing arrangements to Fletcher Henderson and even Duke Ellington. Carter was with Henderson during 1930-1931, briefly took over McKinney's Cotton Pickers, and then went back to leading his own big band (1932-1934). Already at this stage he was considered one of the two top altoists in jazz (along with Johnny Hodges), a skilled arranger and composer ("Blues in My Heart" was an early hit and would be followed by "When Lights Are Low"), and his trumpet playing was excellent; Carter would also record on tenor, clarinet (an instrument he should have played more), and piano, although his rare vocals show that even he was human.
In 1935, Benny Carter moved to Europe, where in London he was a staff arranger for the BBC dance orchestra (1936-1938); he also recorded in several European countries. Carter's "Waltzing the Blues" was one of the very first jazz waltzes. He returned to the U.S. in 1938, led a classy but commercially unsuccessful big band (1939-1941), and then headed a sextet. In 1943, he relocated permanently to Los Angeles, appearing in the film Stormy Weather (as a trumpeter with Fats Waller) and getting lucrative work writing for the movie studios. He would lead a big band off and on during the next three years (among his sidemen were J.J. Johnson, Miles Davis, and Max Roach) before giving up on that effort. Carter wrote for the studios for over 50 years, but he continued recording as an altoist (and all-too-rare trumpeter) during the 1940s and '50s, making a few tours with Jazz at the Philharmonic and participating on some of Norman Granz's jam-session albums. By the mid-'60s, his writing chores led him to hardly playing alto at all, but he made a full "comeback" by the mid-'70s, and maintained a very busy playing and writing schedule even at his advanced age. Even after the rise of such stylists as Charlie Parker, Cannonball Adderley, Eric Dolphy, Ornette Coleman, and David Sanborn (in addition to their many followers), Benny Carter still ranks near the top of alto players. His concert and recording schedule remained active through the '90s, slowing only at the end of the millenium. After eight amazing decades of writing and playing, Benny Carter passed away quietly on July 13, 2003 at a Los Angeles hospital. He was 95.
---Scott Yanow, All Music Guide |
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