  |
|
|
 |
| The Great Jazz Piano of Phineas Newborn Jr. |
| Phineas Newborn Jr. |
| első megjelenés éve: 1989 |
|
| (1991)
|
|
CD |
| 3.726 Ft
|
|
| 1. | Theme for Basie
|
| 2. | New Blues
|
| 3. | Way Out West
|
| 4. | Four
|
| 5. | Celia
|
| 6. | This Here
|
| 7. | Domingo
|
| 8. | Prelude to a Kiss
|
| 9. | Well, You Needn't
|
Jazz
Phineas Newborn, Jr. - Piano
Leroy Vinnegar - , Bass
Louis Hayes - , Drums
Milt Turner - , Drums
Sam Jones - , Bass
Turner - Drums
Following the barrage of publicity that attended his discovery in the mid-1950s, Phineas Newborn, Jr. had his 15 minutes of fame. Then he all but dropped out of sight, performing in public only sporadically. Despite illnesses and injuries, Newborn never lost his formidable technique or the inspired creativity that made him a jazz pianist often compared with such masters as Art Tatum and Oscar Peterson. In the 1960s, Newborn made a series of albums for Contemporary that brought him together with some of the premier jazz bassists and drummers. In this album, he is heard with two great rhythm teams. The program includes pieces by Monk, Rollins, Davis, Powell, and Ellington.
* George Kershaw - Cover Design
* Howard Holzer - Engineer
* Lester Koenig - Liner Notes, Producer
* Phil DeLancie - Mastering
This recording lives up to its title. In his prime, Phineas Newborn had phenomenal technique (on the level of an Oscar Peterson), a creative imagination, and plenty of energy. These trio sessions (with Leroy Vinnegar or Sam Jones on bass and either Milt Turner or Louis Hayes on drums) feature Newborn displaying plenty of heat and fresh ideas on compositions by Bud Powell, Bobby Timmons, Benny Golson, Duke Ellington, Thelonious Monk, Sonny Rollins, and Miles Davis (along with two of his own). This is piano jazz at its highest level.
---Scott Yanow, All Music Guide
Phineas Newborn, Jr.
Active Decades: '50s, '60s, '70s and '80s
Born: Dec 14, 1931 in Whiteville, TN
Died: May 26, 1989 in Memphis, TN
Genre: Jazz
Styles: Hard Bop, Mainstream Jazz
One of the most technically skilled and brilliant pianists in jazz during his prime, Phineas Newborn remains a bit of a mystery. Plagued by mental and physical problems of unknown origin, Newborn faded from the scene in the mid-1960s, only to re-emerge at irregular intervals throughout his life. Newborn could be compared to Oscar Peterson in that his bop-based style was largely unclassifiable, his technique was phenomenal, and he was very capable of enthralling an audience playing a full song with just his left hand.
He started out working in Memphis R&B bands with his brother, guitarist Calvin Newborn, and recorded with local players including B.B. King in the early 1950s. Brief stints with Lionel Hampton and Willis Jackson preceded a period in the military (1952-54). After moving to New York in 1956, Newborn astounded fans and critics alike. Although he worked briefly with Charles Mingus (1958) and Roy Haynes, Newborn usually performed at the head of a trio or quartet. His early recordings for Atlantic (1956), Victor, Roulette and Contemporary are quite outstanding. Unfortunately, after the mid-'60s, Newborn's profile dropped sharply, and although there were further recordings for Contemporary (1969), Atlantic (1969), Pablo (1976) and the Japanese Philips (1977) label, and although he still sounded strong when appearing in public, the pianist was in danger of being forgotten by most of the jazz world during his last decade. Spending most of his time in Memphis, he was an inspiration to many younger pianists including James Williams, Harold Mabern, Mulgrew Miller, Donald Brown and Geoff Keezer, who after Newborn's death would dedicate their work as the Contemporary Piano Ensemble to Phineas. Fortunately, the episode of Jazz Scene USA that features Phineas Newborn in 1962 has been made available on a video by Shanachie.
--- Scott Yanow, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
