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2 x CD |
| 4.800 Ft
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| 1. CD tartalma: |
| 1. | Festival
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| 2. | Clark Bars
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| 3. | Daddy-O's Patio
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| 4. | Blues
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| 5. | Impeccable
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| 6. | Paul's Idea
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| 7. | Phat Bach
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| 8. | Milli-Terry
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| 9. | Funky
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| 10. | The Girl I Call Baby
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| 11. | Diminuendo And Crescendo In Blue
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| 12. | I Cover The Waterfront
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| 13. | C-Jam Blues
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| 14. | Evad
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| 15. | It Don't Mean A Thing
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| 16. | Autobahn
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| 17. | Willow Weep For Me
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| 18. | Hildegard
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| 19. | Ocean Motion
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| 20. | Jivin' With Fritz
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| 2. CD tartalma: |
| 1. | Serenade To A Bus Seat
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| 2. | Pannonica No.1
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| 3. | Pea-Eyes
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| 4. | Satin Doll
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| 5. | Daniel's Blues
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| 6. | Mean To Me
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| 7. | Blues For The Champ Of Champs
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| 8. | Circeo
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| 9. | Clark Bars
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| 10. | Pannonica No.2
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| 11. | Lonely One
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| 12. | Don't Blame Me
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| 13. | It Don't Mean A Thing
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| 14. | Take Nine
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| 15. | Everything Happens To Me
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Jazz
CLARK TERRY, trumpet
PAUL GONSALVES, tenor sax
JIMMY WOODE, bass
SAM WOODYARD, drums
On all tracks plus:
CD1
1-10:
COOKIN' Willie Jones (p)
Recorded: Chicago, August 6, 1957
11-20:
DIMINUENDO, CRESCENDO AND BLUES Carlos Diernhammer (p)
Recorded: Munich, Germany, November 15, 1958
CD 2
21-31:
CLARK TERRY AND HIS ORCHESTRA featuring PAUL GONSALVES Raymond Fol (p)
Recorded: Paris, France, October 1959
BONUS TRACKS:
CD 2
32-35:
CLARK TERRY-PAUL GONSALVES SEXTET: THE JAZZ SCHOOL Clark Terry (tp), Paul Gonsalves (ts), Porter Kilbert (bar), Junior Mance (p), Chubby Jackson (b), Gene Miller (d)
Recorded: New York, September 18, 1956
Total Time:
CD 1: 74:00 min.
CD 2: 74:24 min.
This double Lonehill CD, contains all of the recordings ever made by Paul Gonsalves and Clark Terry in a quintet format, backed by two other Ellington collaborators: bassist Jimmy Woode and drummer Sam Woodyard, plus pianists Willie Jones, Carlos Diernhammer & Raymond Fol.
Includes the complete LPs : "Cookin'" (1957), "Diminuendo, Crescendo And Blues" (1958) & "Clark Terry Featuring Paul Gonsalves" (1959). As a bonus, a four-track sextet session that is also fronted by Gonsalves and Terry.
2008 two CD release containing all of the recordings ever made by Paul Gonsalves and Clark Terry in a quintet format, backed by two other Ellington collaborators: Jimmy Woode and Sam Woodyard, plus pianists Willie Jones, Carlos Diernhammer and Raymond Fol.
All of the recordings ever made by Paul Gonsalves and Clark Terry in a quintet format, backed by two other Ellington collaborators: Jimmy Woode and Sam Woodyard, plus pianists Willie Jones, Carlos Diernhammer & Raymond Fol. INCLUDES THE COMPLETE LPs: COOKIN' (1957), DIMINUENDO, CRESCENDO AND BLUES (1958) & CLARK TERRY featuring PAUL GONSALVES (1959). As a bonus, a sextet session that is also fronted by Gonsalves and Terry.
Paul Gonsalves and Clark Terry would record together for the first time in 1948, as members of the celebrated Count Basie orchestra. They can be heard on the many live Basie recordings from this period as well as the band's 1949 studio recordings. The trumpeter and tenor saxophonist would be reunited two years later as members of the legendary Duke Ellington orchestra. Terry - born on December 14, 1920 and still musically active at the time of this writing - would leave and return to Duke's band many times during the mid fifties (he would continue to work with Ellington for concerts and studio recordings through the mid sixties. Their final collaboration was for the 1967 Billy Strayhorn memorial album And His Mother Called Him Bill). Although Gonsalves made a few isolated individual recordings (mainly with other Ellington sidemen) he would remain with Duke's orchestra for the remainder of his life.
Our collection includes three isolated quintet albums made by Gonsalves and Terry with the aid of Jimmy Woode and San Woodyard, both longtime Duke associates. The first album dates back to 1957, shortly after Gonsalves' gained fame for his long improvisation on "Diminuendo and Crescendo in Blue" at the 1956 Newport Jazz Festival. Hints of this performance are heard twice on this set, both on a new version of the aforementioned title recorded in Germany in 1958, and on "Festival", from the 1957 LP. The second and the third quintet albums were recorded abroad while the Ellington orchestra was touring Europe. One album was made in Germany and the other in France. As a bonus to the three quintet albums, we have added a complete sextet session that also features Terry and Gonsalves. It was originally issued on an LP titled The Jazz School.
This two-CD compilation features three complete LPs and half of a fourth of small group dates that include both tenor saxophonist Paul Gonsalves and trumpeter Clark Terry, both of whom were working for Duke Ellington during this period. The first three sessions have two additional Ellington sidemen present, bassist Jimmy Woode and drummer Sam Woodyard. The first ten tracks come from Gonsalves' long unavailable album Cookin' with Willie Jones on piano. Rather than delve into the vast Ellington songbook, both Gonsalves and Terry wrote originals for the date, though none of them became lasting parts of their respective repertoires as leaders. Gonsalves, being the leader and a bit more of an extrovert, takes longer solos than Terry, though both men are on equal footing. Highlights include Gonsalves' expressive "Blues" and Terry's perky miniature "Milli-Terry." The ten tracks from the session by the C-Jam All Stars feature Carlos Diernhammer on piano. It is naturally highlighted by the arousing reprise of Ellington's "Diminuendo and Crescendo in Blue," with Gonsalves reprising his rousing solo from the 1956 Newport Jazz Festival, even if he doesn't take 27 choruses in this studio date. Terry takes center stage in the blues-drenched "Willow Weep for Me," while his sassy muted horn is prominent in his own "Hildegaard." The next 11 selections come from Clark Terry & His Orchestra: Featuring Paul Gonsalves, though it is another quintet with Raymond Fol taking over the piano chair. Like Gonsalves' album Cookin', this session relies more on originals, with only "Satin Doll" taken from the Ellington songbook. The high point is Terry's "Serenade to a Bus Seat." Originally issued by French Decca as an LP with six tracks and the remainder on 45 rpm discs, all of the material is gathered in one place. The final three songs come from one side of an LP titled Jazz School, with a different rhythm section led by Junior Mance and baritonist Porter Kilbert. These lesser known performances are every bit as enjoyable as the other sessions. Even though Clark Terry recorded far more than Paul Gonsalves as a leader, in addition to outliving him by several decades, it is clear that the two musicians enjoyed each other's company on this record date.
---Ken Dryden, All Music Guide
Paul Gonsalves
Active Decades: '50s, '60s and '70s
Born: Jul 12, 1920 in Boston, MA
Died: May 14, 1974 in London, England
Genre: Jazz
Styles: Bop, Mainstream Jazz, Swing
The greatest moment of Paul Gonsalves' musical career occurred at the 1956 Newport Jazz Festival when, to bridge the gap between "Diminuendo in Blue" and "Crescendo in Blue," Duke Ellington urged him to take a long solo, egging him on through 27 exciting choruses that almost caused a riot. That well-publicized episode resulted in Ellington having a major "comeback," and Gonsalves forever earning Ellington's gratitude.
Gonsalves had already earned a strong reputation during his stints with Count Basie (1946-1949) and the Dizzy Gillespie Orchestra (1949-1950). Joining Ellington in 1950, Gonsalves' warm breathy tone and harmonically advanced solos were a constant fixture for 24 years (except for a brief time in 1953 when he was with Tommy Dorsey) and he was well-featured up until his death, just ten days before Ellington passed on. In addition to his countless number of recorded performances with Ellington, Gonsalves led dates of his own on an occasional basis, including for Argo, Jazzland, Impulse (highlighted by a combative meeting with Sonny Stitt), Storyville, Black Lion, and Fantasy.
---Scott Yanow, All Music Guide |
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