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Kérjen
árajánlatot! |
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| 1. | Baubles, Bangles and Beads
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| 2. | April in Paris
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| 3. | Blue Streak
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| 4. | Tippin' on Thru
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| 5. | Bob Hurd's Blues
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Jazz
Benny Golson - Sax (Tenor)
Art Taylor - Drums
Curtis Fuller - Trombone
Doug Watkins - Bass
Tommy Flanagan - Piano
The rule of first impressions led many people whose hearing should have informed them otherwise to conclude that Benny Golson's tenor saxophone playing didn't amount to much. Although he had played with Earl Bostic, Lionel Hampton, and Dizzy Gillespie, Golson became famous as a composer and arranger. His tenor incorporated the tradition of Don Byas, Lucky Thompson, and Ben Webster into a style of great richness, authority, and virility. 1959's Gettin' With It was a reminder that here was a tenor soloist to be reckoned with. The other horn is trombonist Curtis Fuller, Golson's companion in the Jazztet, the band he co-led with trumpeter Art Farmer. The impeccable and powerful rhythm section is Tommy Flanagan, Doug Watkins, and Art Taylor. In comparison with the tailored and fitted music of the Jazztet, this is a blowing session. But it's a blowing session informed by the improvisational skill and organized intelligence of Benny Golson.
* Joe Goldberg - Liner Notes
* Rudy Van Gelder - Engineer
Benny Golson leads a potent quintet in this 1959 studio date; the tenor saxophonist is joined by pianist Tommy Flanagan, trombonist Curtis Fuller, bassist Doug Watkins, and drummer Art Taylor. Golson's snappy arrangement of "Baubles, Bangle and Beads" features Fuller's fine mute work and Flanagan's upbeat inventive solo before he introduces his big-toned tenor into the mix. Golson's slight vibrato and Taylor's swirling brushwork are highlights of his interpretation of "April in Paris." The remaining three tracks are all originals by the leader: the up-tempo hard bop cooker "Blue Streak," the jaunty strut "Tippin' on Thru," and the extended blues "Bob Hurd's Blues," which will get anyone's feet tapping. This is one of Benny Golson's best dates as a leader because one not only gets to enjoy his always strong arrangements, but his consistently first-rate tenor sax solos. Highly recommended.
---Ken Dryden, All Music Guide
Benny Golson
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Jan 25, 1929 in Philadelphia, PA
Genre: Jazz
Styles: Hard Bop
Benny Golson is a talented composer/arranger whose tenor playing has continued to evolve with time. After attending Howard University (1947-50) he worked in Philadelphia with Bull Moose Jackson's R&B band (1951) at a time when it included one of his writing influences, Tadd Dameron on piano. Golson played with Dameron for a period in 1953 and this was followed by stints with Lionel Hampton (1953-54), Johnny Hodges and Earl Bostic (1954-56). He came to prominence while with Dizzy Gillespie's globetrotting big band (1956-58), as much for his writing as for his tenor playing (the latter was most influenced by Don Byas and Lucky Thompson). Golson wrote such standards as "I Remember Clifford" (for the late Clifford Brown), "Killer Joe," "Stablemates," "Whisper Not," "Along Came Betty" and "Blues March" during 1956-60. His stay with Art Blakey's Jazz Messengers (1958-59) was significant and during 1959-62 he co-led the Jazztet with Art Farmer. From that point on Golson gradually drifted away from jazz and concentrated more on working in the studios and with orchestras including a couple years (1964-66) in Europe. When Benny Golson returned to active playing in 1977, his tone had hardened and sounded much closer to Archie Shepp than to Don Byas. Other than an unfortunate commercial effort for Columbia (1977), Golson has recorded consistently rewarding albums (many for Japanese labels) since that time including a reunion with Art Farmer and Curtis Fuller in a new Jazztet. Through the years he has recorded as a leader for Contemporary, Riverside, United Artists, New Jazz, Argo, Mercury and Dreyfus among others.
---Scott Yanow, All Music Guide |
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