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| 3.821 Ft
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| 1. | Joy Spring
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| 2. | Cecilia Is Love
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| 3. | Simone
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| 4. | There'll Be a Time
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| 5. | Someone's Rocking My Jazz Boat
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| 6. | Well Water
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| 7. | Three Card Molly [*]
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Jazz
Recording Date October 9 & 10, 1977
Frank Foster - Tenor Sax/Soprano Sax
Elvin Jones - Drums
Mickey Tucker - Piano
Earl May - Acoustic bass/Electric bass
Babafumi Akunyun- Percussion
Leroy Barton- Alto Sax/Flute
Bill Cody - Tenor Sax/Flute/piccolo
Doug Harris - Tenor Sax/Flute
Kenny Rogers - Baritone Sax
Bill Saxton - Tenor Sax/Flute/Soprano Sax
C.I. Williams - Alto Sax/Flute
Charles Stephens- Trombone
Kiane Zawadi - Trombone
Janice Robinson- Trombone
Bill Lowe - Trombone
Sinclair Acey- Trumpet
Charles Sullivan (Kamau Adilifu)- Trumpet
Don McIntosh- Trumpet
Joe Gardner - Trumpet
Cecil Bridgewater- Trumpet
"Well Water" showcases NEA Jazz Master Frank Foster's unique Big Band sound from the late 1970's. After being lost for over 30 years, this recently discovered and restored recording of Foster's Loud Minority Big Band affords jazz aficionados a new opportunity to savor his marvelous style and his departure from established traditions. As an added bonus, the liner notes contain Foster's wonderfully detailed and vivid descriptions of the band member's contributions and interplay in the various album selections.
Engineer Don Hunerberg, Dae Bennett
The music on Well Water sat unreleased for 30 years but was worth the wait. Frank Foster's Loud Minority Orchestra only made a few records during its decade or so of existence and Well Water is one of its best. Listeners expecting the music to be similar to that of Foster's former boss Count Basie should realize that Foster's playing by 1977 was more strongly influenced by John Coltrane than by Lester Young, and that his writing is much more modern than that usually heard in the Basie band or even in the Thad Jones/Mel Lewis Orchestra. The performances do swing in their own way and include dynamic solos by the altoist C.I. Williams, both Foster and Bill Saxton on tenors, trumpeter Charles Sullivan and pianist Mickey Tucker. With Elvin Jones (making one of his few appearances with a big band) driving the ensembles and inspiring the soloists, this is an exciting effort. The closing number, "Three Card Molly," is a Foster quintet feature in which the leader switched to soprano. Highly recommended.
---Scott Yanow, All Music Guide
Frank Foster
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Sep 23, 1928 in Cincinnati, OH
Genre: Jazz
Styles: Big Band, Hard Bop, Post-Bop, Progressive Big Band, Swing
A very talented tenor saxophonist and arranger, Frank Foster has been associated with the Count Basie Orchestra off and on since 1953. Early on, he played in Detroit with the many talented local players and, after a period in the Army (1951-1953), he joined Basie's big band. Well-featured on tenor during his Basie years (1953-1964), Foster also contributed plenty of arrangements and such originals as "Down for the Count," "Blues Backstage," and the standard "Shiny Stockings." In the latter half of the 1960s, Foster was a freelance writer. In addition to playing with Elvin Jones (1970-1972) and occasionally with the Thad JonesMel Lewis Orchestra, he led his Loud Minority big band. In 1983, Foster co-led a quintet with Frank Wess and he toured Europe with Jimmy Smith in 1985. Although influenced by John Coltrane in his playing, Foster was able to modify his style when he took over the Count Basie ghost band in 1986, revitalizing it and staying at the helm until 1995. Outside of his Basie dates, Foster has led sessions for Vogue, Blue Note (1954 and 1968), Savoy, Argo, Prestige, Mainstream, Denon, Catalyst, Bee Hive, SteepleChase, Pablo, and Concord.
---Scott Yanow, All Music Guide |
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