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| 3.566 Ft
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| 1. | Box 703, Washington, D.C.
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| 2. | The Styx
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| 3. | Gloria
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| 4. | Los Bravos
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| 5. | Charon's Ferry
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| 6. | Volutes
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| 7. | Last Train from Overbrook
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| 8. | Love
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| 9. | Young Soul
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| 10. | I Got Rhythm
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| 11. | Improvisation on "Solo for Unaccompanied Bass"
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| 12. | Autumn Leaves
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| 13. | After This Mesage
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| 14. | Chou Chou
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| 15. | The Prank
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Jazz
2 LPs on 1 CD:
* Kenny Clarke & Francy Boland: JAZZ IS UNIVERSAL (1962)
* The Mitchell-Ruff Trio: AFTER THIS MESSAGE (1966)
JAZZ IS UNIVERSAL:
Kenny Clarke (drums)
Francy Boland (piano)
Derek Humble (alto saxophone); Carl Drevo, Zoot Sims (tenor saxophone); Sahib Shihab (baritone saxophone, flute); Benny Bailey, Roger Guerin, Jimmy Deuchar, Ahmed Muvaffak Falay (trumpet); Pat Peck, Ake Persson (trombone); Jimmy Woode (bass)
AFTER THIS MESSAGE:
Mitchell-Ruff Trio
Dwike Mitchell (piano)
Willie Ruff (French horn, bass)
Helcio Melito (drums)
Kenny Clarke was the first to shift the time-keeping rhythm from the bass drum to the ride cymbal. One of the most swinging drummers of his era, the very flexible Clarke played with the royalty of jazz and was popular both here and abroad. On this disc you'll also hear The Mitchell-Ruff Duo. Pianist Mitchell and bassist Ruff met when they were both members of the Lionel Hampton band in 1954, and they soon left to form their own group.
Includes liner notes by Bob Altshuler, Willis Conover, and George T. Simon.
The common thread linking the two releases on this reissue -- one from a razor sharp big band, the other from a dynamic piano trio -- is the accessible, engaging virtuosity of the players. The 13-member Clarke-Boland group on Jazz Is Universal is big on the basis of sound and big names alone, if not in numbers. Drummer Kenny Clarke is outstanding, playing with passion and energy, always at the service of the overall sound. Francy Boland, who did the arranging, is a swinging and propulsive lyrical pianist. He is especially good when the music strips down to the soloist and rhythm section. Add uncanny precision in the ensemble and unison sections and excellent solo work across the board, and big band aficionados will have no difficulty finding a feast of riches in these seven tracks. All hands are in the forefront on After This Message and that's all good when the players are as fine as pianist Dwike Mitchell, bassist Willie Ruff, and drummer Helcio Milito. The trio combines the rampaging splendor of Oscar Peterson's trio with the intimate impressionism of Bill Evans'. With this chemistry, "I Got Rhythm" is reharmonized as a bluesy tone poem. Similar magic is worked on the haunting, modal performance of "Autumn Leaves." "The Prank" is the only clunker. It has Ruff overdubbed on French horn in a further demonstration that -- Birth of the Cool notwithstanding -- this tricky instrument has a difficult time finding a comfortable home in the mainstream of jazz.
---Jim Todd, All Music Guide
Kenny Clarke
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Jan 09, 1914 in Pittsburgh, PA
Died: Jan 26, 1985 in Paris, France
Genre: Jazz
Styles: Bop, Mainstream Jazz, Progressive Big Band
Kenny Clarke was a highly influential if subtle drummer who helped to define bebop drumming. He was the first to shift the time-keeping rhythm from the bass drum to the ride cymbal, an innovation that has been copied and utilized by a countless number of drummers since the early '40s.
Clarke played vibes, piano and trombone in addition to drums while in school. After stints with Roy Eldridge (1935) and the Jeter-Pillars band, Clarke joined Edgar Hayes' Big Band (1937-38). He made his recording debut with Hayes (which is available on a Classics CD) and showed that he was one of the most swinging drummers of the era. A European tour with Hayes gave Clarke an opportunity to lead his own session, but doubling on vibes was a definite mistake! Stints with the orchestras of Claude Hopkins (1939) and Teddy Hill (1940-41) followed and then Clarke led the house band at Minton's Playhouse (which also included Thelonious Monk). The legendary after-hours sessions led to the formation of bop and it was during this time that Clarke modernized his style and received the nickname "Klook-Mop" (later shortened to "Klook") due to the irregular "bombs" he would play behind soloists. A flexible drummer, Clarke was still able to uplift the more traditional orchestras of Louis Armstrong and Ella Fitzgerald (1941) and the combos of Benny Carter (1941-42), Red Allen and Coleman Hawkins; he also recorded with Sidney Bechet. However after spending time in the military, Clarke stayed in the bop field, working with Dizzy Gillespie's big band and leading his own modern sessions; he co-wrote "Epistrophy" with Monk and "Salt Peanuts" with Gillespie. Clarke spent the late '40s in Europe, was with Billy Eckstine in the U.S. in 1951 and became an original member of the Modern Jazz Quartet (1951-55). However he felt confined by the music and quit the MJQ to freelance, performing on an enormous amount of records during 1955-56.
In 1956 Clarke moved to France where he did studio work, was hired by touring American all-stars and played with Bud Powell and Oscar Pettiford in a trio called the Three Bosses (1959-60). Clarke was co-leader with Francy Boland of a legendary all-star big band (1961-72), one that had Kenny Clarke playing second drums! Other than a few short visits home, Kenny Clarke worked in France for the remainder of his life and was a major figure on the European jazz scene.
---Scott Yanow, All Music Guide |
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