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CD |
| 4.449 Ft
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| 1. | Goduka Mfundi (Going Home)
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| 2. | Heyt Mazurki
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| 3. | Poor Butterfly
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| 4. | In a Sentimental Mood
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| 5. | Doggin' Around
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| 6. | Just You, Just Me
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| 7. | Shrimp Boats
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| 8. | Django
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Jazz
Recorded August 25, 1977 in New York City
Buddy Tate, saxophone
Dollar Brand, piano
Cecil McBee, bass
Roy Brooks, Drums
Producer: Hank O'Neal
Mastered By: Fred Miller;Kent Heckman;Jon Bates
Cover Design: Rollo Phlecks
Initially a meeting between swing tenor saxophonist Buddy Tate and post-bop pianist Abdullah Ibrahim (still widely known as Dollar Brand in 1977 when this CD was recorded), this seems like a possible misfire. Instead, it proves to be an inspiration, as each player taught the other new music and they successfully blended their disparate jazz backgrounds into one outstanding album. The first track, "Goduka Mfundi," is particularly interesting; it's an original by Ibrahim that Tate and the rhythm section (drummer Roy Brooks and bassist Cecil McBee) had just learned prior to recording it, and the composer sits out this hypnotic African groove tune. The pianist's other original is the tasty blues "Heyt Mazurki." Tate's quick tutoring of Ibrahim also pays off huge dividends, as "Doggin' Around" is the most smoking performance of the date, while "Just You, Just Me" proves to be a unique mix of swing and African jazz. The remaining two quartet tracks are familiar turf to all parties. Tate's soulful tone recalls Ben Webster in "Poor Butterfly," though Ibrahim clearly steals the show with his well-disguised, dreamy introduction to Duke Ellington's "In a Sentimental Mood." At this point Tate had to leave for a gig, and the date was completed as a trio. "Shrimp Boats," a piece that Ibrahim recorded on several different occasions, is slow to develop but a very infectious chant-like work. The pianist actual chants along with the almost Middle Eastern-sounding introduction that eventually unfolds into John Lewis' well-known "Django"; in fact, this ten-plus minute piece is nearly over by the time they segue into its theme, following McBee's terrific arco bass solo and Brooks' superb drum solo. It's a shame there wasn't an encore meeting between Ibrahim and Tate following the making of this memorable disc.
--- Ken Dryden, All Music Guide
Buddy Tate
Active Decades: '30s, '40s, '50s, '60s, '70s, '80s and '90s
Born: Feb 22, 1913 in Sherman, TX
Died: Feb 10, 2001 in Chandler, AZ
Genre: Jazz
Styles: Big Band, Bop, Swing, Classic Jazz, Jazz Blues, Mainstream Jazz
One of the more individual tenors to emerge from the swing era, the distinctive Buddy Tate came to fame as Herschel Evans' replacement with Count Basie's Orchestra. Earlier he had picked up valuable experience playing with Terrence Holder (1930-1933), Count Basie's original Kansas City band (1934), Andy Kirk (1934-1935), and Nat Towles (1935-1939). With Basie a second time during 1939-1948, Tate held his own with such major tenors as Lester Young, Don Byas, Illinois Jacquet, Lucky Thompson, and Paul Gonsalves. After a period freelancing with the likes of Hot Lips Page, Lucky Millinder, and Jimmy Rushing (1950-1952), Tate led his own crowd-pleasing group for 21 years (1953-1974) at Harlem's Celebrity Club. During this period, Tate also took time out to record in a variety of setting (including with Buck Clayton and Milt Buckner) and he was the one of the stars of John Hammond's Spirituals to Swing concert of 1967. Tate kept busy after the Celebrity Club association ended, recording frequently, co-leading a band with Paul Quinichette in 1975, playing and recording in Canada with Jay McShann and Jim Galloway, visiting Europe many times, and performing at jazz parties; he was also a favorite sideman of Benny Goodman's in the late '70s. Although age had taken its toll, in the mid-'90s Buddy Tate played and recorded with both Lionel Hampton and the Statesmen of Jazz. Tate lived in N.Y. until January, 2001, when he moved to Phoenix, AZ, to live with his daughter. Buddy Tate died a few weeks later, on February 10.
---Scott Yanow, All Music Guide |
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