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| Sear-iously |
| Al Sears |
| első megjelenés éve: 1994 |
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| (1994)
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CD |
| 5.900 Ft
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| 1. | 125th Street, New York
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| 2. | Shake Hands
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| 3. | Tan Skin Lad
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| 4. | Brown Boy
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| 5. | Huffin' and Puffin'
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| 6. | Sear-iously
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| 7. | Mag's Alley
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| 8. | Fo-Yah [Take A]
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| 9. | In the Good Old Summertime
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| 10. | Ivory Cliffs
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| 11. | Easy Ernie
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| 12. | Vo-Sa
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| 13. | Goin' Uptown
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| 14. | Tweedle Dee
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| 15. | Come and Dance With Me
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| 16. | Come A'Runnin'
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| 17. | Tom, Dick & Harry [Instrumental]
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| 18. | Tina's Canteen [Instrumental]
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| 19. | Right Now, Right Now
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| 20. | Midnight Wail
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| 21. | Love Call
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| 22. | Rock & Roll Ball
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| 23. | Here's the Beat
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| 24. | Great Googa Mooga
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| 25. | Fo-Yah [Take B]
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Jazz
Al Sears - Leader, Sax (Alto), Sax (Tenor), Vocals
Budd Johnson - Sax (Tenor), Saxophone
Charles Lee - Sax (Tenor)
Clarence Palmer - Bass
Cliff Smalls - Piano
Dave Bailey - Drums
Dick Vance - Trumpet
Eddie Barefield - Saxophone
Eli Robinson - Trombone
Ernie Hayes - Piano
Harold Baker - Trumpet
Haywood Henry - Sax (Baritone), Saxophone
Henderson Chambers - Trombone
Joe Benjamin - Bass
John "Johnny" Adriano Acea - Piano
Joseph Marshall - Drums
Kalil Mahdi - Drums
Lawrence Brown - Trombone
Lloyd Trotman - Bass
Mark Wilder - Disc Dub
Mickey Baker - Guitar
Milt Hinton - Bass
Milt Jackson - Marimba
Rudy Powell - Saxophone
Sam "The Man" Taylor - Sax (Alto)
Taft Jordan - Trumpet
Tyree Glenn - Trombone
Wilbert Kirk - Harmonica
William Tinney - Drums, Guitar
Willie Greer - Drums
* Bob Jones - Mastering
* Bob Rolantz - Producer
* Bob Thiele - Producer
* Frank Driggs - Illustrations, Photography
* Hoffmann Nienburg - Art Direction
* Joe Thomas - Producer
* Phil Schaap - Illustrations, Liner Notes, Photography
* Richard Weize - Reissue Producer
* Robert Pruter - Liner Notes
When he wasn't playing in Duke Ellington's band or with the Johnny Hodges Orchestra, tenor saxman Big Al Sears was cutting R&B and rock & roll numbers leading his own group or as a member of the Alan Freed Orchestra. This CD collects Sears' complete R&Brock & roll sides, cut for the Coral, RCA Victor, Herald, and Groove labels between December 1949 and July 1956, in one place. There's not a lot of difference between the 1949 and the 1956 sides except for the disappearance of the Mills Brothers-style vocalizing on the early tracks in favor a greater emphasis on the beat and on solo vocals where there are any at all -- mostly, though, this is a showcase for playing, primarily Sears' sax (and those of Eddie Barefield, Rudy Powell, Budd Johnson, Sam "The Man" Taylor, and Haywood Henry). Mostly this is great R&B-style dance music of the kind that had pretty much gone out of style in much of the black community by the second half of the 1950s, though in its curious way it shows Sears' (and Freed's) continued commitment to the most complex sides of R&B, even as the latter was being abandoned around them in favor of simpler and safer commercial sounds. Despite some disclaimers in the booklet about the sound, the audio quality is excellent throughout and this is a hot disc through and through, with some of the best sounding big-band-style R&B of its era.
---Bruce Eder, All Music Guide
Al Sears
Active Decades: '40s, '50s and '60s
Born: Feb 21, 1910 in Macomb, IL
Died: Mar 23, 1990 in New York, NY
Genre: Jazz
Styles: R&B, Big Band, Swing, Jump Blues, Hard Bop, Jazz Blues, Mainstream Jazz
It is ironic that tenor saxophonist Al Sears' one hit, "Castle Rock," was recorded under Johnny Hodges' name (the altoist is virtually absent on the record), denying Sears his one chance at fame. Sears had actually had his first important job in 1928 replacing Hodges with the Chick Webb band. However, despite associations with Elmer Snowden (1931-1932), Andy Kirk (1941-1942), Lionel Hampton (1943-1944), and with his own groups (most of 1933-1941), it was not until Sears joined Duke Ellington's Orchestra in 1944 that he began to get much attention. His distinctive tone, R&B-ish phrasing, and ability to build up exciting solos made him one of Ellington's most colorful soloists during the next five years, although his period was overshadowed by both his predecessor (Ben Webster) and his successor (Paul Gonsalves). Among Sears' many recordings with Ellington are notable versions of "I Ain't Got Nothing but the Blues" and a 1945 remake of "It Don't Mean a Thing." Sears worked with Johnny Hodges' group during 1951-1952, recorded a variety of R&B-oriented material in the 1950s, and cut two excellent albums for Swingville in 1960 before going into semi-retirement.
---Scott Yanow, All Music Guide |
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