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| 4.331 Ft
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| 0. | Take Nine
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| 1. | It Don't Mean A Thing
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| 3. | Everything Happens To Me
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| 4. | Don't Blame Me
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| 5. | Festival
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| 6. | Clark's Bars
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| 7. | Daddy-O's Patio
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| 8. | Blues
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| 9. | Impeccable
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| 10. | Paul's Idea
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| 11. | Phat Bach
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| 12. | Milli Terry
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| 13. | Funky
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| 14. | The Girl I Call Baby
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| 15. | Falmouth Recollections
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| 16. | The Way You Look Tonight
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| 17. | Foofy For President
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| 18. | The Man From Potter's Crossing
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| 19. | Dance Of The Reluctant Drag
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| 20. | Empathy, For Ruth
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Jazz
Recorded: New York City, 1956 and Chicago, 1957
Clark Terry (tp)
Mike Simpson (fl), Porter Kilbert (as), Paul Gonsalves (ts), Porter Kilbert (bars), Junior Mance, Willie Jones, Ramsey Lewis (p), Chubby Jackson, Jimmy Woode (b), Eugene Miller, Sam Woodyard (d)
Those who were at the Newport jazz festival in July 1956 will not forget the name of Paul Gonsalves, one of the featured soloists in Duke Ellington's band. His memorable 27-chorus blues solo on Diminuendo and Crescendo in Blue was ecstatically received by a wildly enthusiastic audience, a surprise success that not only kick-started the revival of Ellington's own career, but also opened many doors for Gonsalves himself.
After the festival he found himself in demand as a leader and sideman on various recording dates, typical of which were these swinging sessions with well-known Ellingtonians like Clark Terry, Jimmy Woode, and Sam Woodyard, along with talented pianists like Junior Mance and Ramsey Lewis.
Paul Gonsalves
Active Decades: '50s, '60s and '70s
Born: Jul 12, 1920 in Boston, MA
Died: May 14, 1974 in London, England
Genre: Jazz
Styles: Bop, Mainstream Jazz, Swing
The greatest moment of Paul Gonsalves' musical career occurred at the 1956 Newport Jazz Festival when, to bridge the gap between "Diminuendo in Blue" and "Crescendo in Blue," Duke Ellington urged him to take a long solo, egging him on through 27 exciting choruses that almost caused a riot. That well-publicized episode resulted in Ellington having a major "comeback," and Gonsalves forever earning Ellington's gratitude.
Gonsalves had already earned a strong reputation during his stints with Count Basie (1946-1949) and the Dizzy Gillespie Orchestra (1949-1950). Joining Ellington in 1950, Gonsalves' warm breathy tone and harmonically advanced solos were a constant fixture for 24 years (except for a brief time in 1953 when he was with Tommy Dorsey) and he was well-featured up until his death, just ten days before Ellington passed on. In addition to his countless number of recorded performances with Ellington, Gonsalves led dates of his own on an occasional basis, including for Argo, Jazzland, Impulse (highlighted by a combative meeting with Sonny Stitt), Storyville, Black Lion, and Fantasy.
---Scott Yanow, All Music Guide |
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