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Kérjen
árajánlatot! |
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| 1. | Big P:
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| 2. | Heritage Hum:
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| 3. | Gemini:
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| 4. | Like A Son:
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| 5. | I'm Glad There Is You:
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| 6. | One For Juan:
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| 7. | Project S:
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| 8. | Sources Say:
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| 9. | No End:
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| 10. | Basic Birks:
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Jazz
The Band
TRUMPETS Frank Greene (lead), Nick Marchione, Michael Philip Mossman Terell Stafford, Greg Gisbert, Sean Jones
TROMBONES John Mosca (lead), Benny Powell, Slide Hampton, Steve Davis, Jason Jackson Douglas Purviance (bass trombone)
REEDS Mark Gross (lead alto saxophone, flute) Antonio Hart (alto and soprano saxophones, flute, lead alto on Like A Son) Bobby LaVell (tenor saxophone), Charles Davis (tenor saxophone), Andres Boiarsky (tenor saxophone), Gary Smulyan (baritone saxophone) Jay Branford (baritone saxophone)
RHYTHM SECTION Jeb Patton (piano), Peter Washington (bass), Lewis Nash (drums)
SPECIAL GUESTS
Lew Tabackin (flute solo on Gemini) Joe Gonzales (congas on Heritage Hum; guierro on One For Juan)
One of the best composers and arrangers to emerge during the bop era, though not often ranked as high as he should be, Jimmy Heath proves his worth with this pair of studio sessions. Although Heath takes a few strong solos of his own, he primarily focuses on the abilities of the strong cast assembled for each date. "Big P" is a potent opening blues dedicated to Percy Heath (his late brother and the bassist for nearly the entire history of the Modern Jazz Quartet). Naturally, bassist Peter Washington (likely the first-call bassist of his generation) is prominent in the mix and takes a fine solo, as does the promising young pianist Jeb Patton, who worked with the Heath Brothers. The Afro-Cuban influence that was so prominent in many of Dizzy Gillespie's works is central to Heath's infectious "Heritage Hum," while "One for Juan" is an easygoing samba. "Sources Say" starts out like a bittersweet ballad, then suddenly transforms into a brisk swinger, highlighted by Gary Smulyan's powerful baritone sax. Heath also delves into overlooked gems such as Kenny Dorham's "No End" and an intriguing scoring of Jimmy Dorsey's "I'm Glad There Is You" that has a richly textured background of soft brass backing Heath's tenor sax. While big-band projects often never reach fruition because of funding difficulties, the grants invested in Jimmy Heath's Turn Up the Heath will be paying dividends to jazz fans for generations.
---Ken Dryden, All Music Guide
Jimmy Heath
Active Decades: '40s, '50s, '60s, '70s, '80s and '90s
Born: Oct 25, 1926 in Philadelphia, PA
Genre: Jazz
Styles: Post-Bop, Hard Bop, Modern Big Band, Mainstream Jazz
The middle of the three Heath Brothers, Jimmy Heath has a distinctive sound on tenor, is a fluid player on soprano and flute, and a very talented arranger/composer whose originals include "C.T.A." and "Gingerbread Boy." He was originally an altoist, playing with Howard McGhee during 1947-1948 and the Dizzy Gillespie big band (1949-1950). Called "Little Bird" because of the similarity in his playing to Charlie Parker, Heath switched to tenor in the early '50s. Although out of action for a few years due to "personal problems," Heath wrote for Chet Baker and Art Blakey during 1956-1957. Back in action in 1959, he worked with Miles Davis briefly that year, in addition to Kenny Dorham and Gil Evans, and started a string of impressive recordings for Riverside. In the 1960s, Heath frequently teamed up with Milt Jackson and Art Farmer, and he also worked as an educator and a freelance arranger. During 1975-1982, Jimmy Heath teamed up with brothers Percy and Tootie in the Heath Brothers, and since then has remained active as a saxophonist and writer. In addition to his earlier Riverside dates, Jimmy Heath has recorded as a leader for Cobblestone, Muse, Xanadu, Landmark, and Verve.
---Scott Yanow, All Music Guide |
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