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| Al Haig Today! - The Great Piano of a Piano Great |
| Al Haig |
spanyol
első megjelenés éve: 2004 |
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| (2004)
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CD |
| 5.432 Ft
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| 1. | Bags' Groove
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| 2. | The Good Life
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| 3. | You Don't Know What Love Is
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| 4. | Satin Doll
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| 5. | Bluesette
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| 6. | Thrio
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| 7. | Brother, Where Are You
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| 8. | Polka Dots and Moonbeams
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| 9. | Willow Weep for Me
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| 10. | Saudade
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Jazz
Recorded in NYC, 1965
Originally issued on Mint Records.
Al Haig - Piano
Eddie DeHaas - Bass
Jim Kappes - Drums
This difficult to find recording is worth the search; it contains some of the finest recorded work of Al Haig's enigmatic career. Haig was an important figure in the early development of bebop piano and can be heard as a sideman on many seminal recordings from the 1940s, including Salt Peanuts and Hot House. His refined classical technique was relatively unique at the time, and he was admired as a superb accompanist. Between the mid-1950s and the early 1970s there is a curiously large gap in his recorded output evidently due to personal problems. In fact, Al Haig Today! appears to be his only release as a leader during the 1960s. The pianist is joined by Ed DeHaas on bass (who worked with Martial Solal, Kai Winding, Chet Baker, and Chris Conner among others) and the relatively unknown Jim Kappes on drums. (Kappes would later work with the Paul Winter Consort). This well recorded date showcases a versatile selection of tunes including Haig's minor blues entitled "Thrio," Toots Thielmans' "Bluesette," and Oscar Brown's "Brother Where Are You." From his book of standards Haig pulls "Willow Weep For Me," "Polka Dots and Moonbeams," "You Don't Know What Love Is," and "Satin Doll." The pianist's rendering of "Bag's Groove" is harmonized in dark, folky tones. "The Good Life," an evocative melody by French guitarist/vocalist Sacha Distel, is given a Latin treatment. One can hear many influences in Haig's piano work - from the early inspiration of Nat Cole, Billy Kyle, and Teddy Wilson to the bebop syncopation of his contemporary Bud Powell. Haig's lyrical playing on Today! also invokes the more modern work of Hank Jones and Bill Evans. Although his keyboard technique is typically lighter, neater, and less fiery than Powell's, Haig's subtle harmonies often have an appealing edge. His playing - though cool and calm - is still rythmically interesting and highly creative; the overall sound is authentic bebop! On Al Haig Today! this underrated musician demonstrates his complete mastery of jazz piano - impeccable swing, rich chording, and inventive improvisation.
--- Lee Bloom, All Music Guide
Al Haig
Active Decades: '40s, '50s, '60s and '70s
Born: Jul 22, 1922 in Newark, NJ
Died: Nov 16, 1982 in New York, NY
Genre: Jazz
Styles: Bop, Jazz Instrument, Piano Jazz
One of the finest pianists of the bop era (and one who learned from Bud Powell's innovations quite early), Al Haig was quite busy during two periods of his career but unfortunately was pretty obscure in the years between. After serving in the Coast Guard (playing in bands during 1942-1944) and freelancing around Boston, Haig worked steadily with Dizzy Gillespie (1945-1946), Charlie Parker (1948-1950), and Stan Getz (1949-1951); and was on many recordings, mostly as a sideman (including some classic Diz and Bird sessions) but also as a leader for Spotlite, Dawn, and Prestige. However (other than little-known dates in 1954 for Esoteric, Swing, and Period), Haig did not lead any more albums until 1974. He played fairly often during the 1951-1973 period, but was generally overlooked. That changed during his last decade, when he was finally recognized as a bop giant and recorded for Spotlite, Choice, SeaBreeze, Interplay, and several Japanese and European labels.
---Scott Yanow, All Music Guide |
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