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| Young Blues |
| Larry Young |
| első megjelenés éve: 1960 |
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| (1994)
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CD |
Kérjen
árajánlatot! |
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| 1. | Young Blues
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| 2. | A Midnight Angel
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| 3. | African Blues
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| 4. | Little White Lies
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| 5. | Minor Dream
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| 6. | Something New/Something Blue
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| 7. | Nica's Dream
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Jazz
Larry Young - Organ, Organ (Hammond)
Jimmie Smith - Drums
Thornel Schwartz - Guitar
Wendell Marshall - Bass
Prestige must have recognized that it had a winner in Larry Young, for it recorded this session for its New jazz series less than two months after the organist’s debut album Testifying (OJCCD-1793-2). This successful follow-up features solid tempos, thanks to the addition of bassist Wendell Marshall, and the best recorded work of organ trio mainstay, guitarist Thornel Schwartz; but the primary features are the attractive tonalities and forward-looking ideas of the leader. In addition to the soulful groove of several tracks, Young Blues also features the pop tune "Little White Lies" (included though unlisted on the original LP), the intriguing "Minor Dream" (recorded under the name "Flickers" by Kenny Burrell on OJCCD-427-2 and Jackie McLean on OJCCD-074-2) and a notable version of Horace Silver’s classic "Nica's Dream."
Rudy Van Gelder - Engineer
Organist Larry Young's second recording (cut shortly before he turned 20) is the best from his early period before he completely shook off the influence of Jimmy Smith. With guitarist Thornel Schwartz in top form, and bassist Wendell Marshall and drummer Jimmie Smith excellent in support, Young swings hard on a few recent jazz originals, some blues and two standards ("Little White Lies" and "Nica's Dream"). Recommended as a good example of his pre-Blue Note work.
--- Scott Yanow, All Music Guide
Larry Young
Active Decades: '60s and '70s
Born: Oct 07, 1940 in Newark, NJ
Died: Mar 30, 1978 in New York, NY
Genre: Jazz
Styles: Jazz-Funk, Soul-Jazz, Fusion, Post-Bop, Hard Bop, Modal Music, Avant-Garde Jazz
If Jimmy Smith was "the Charlie Parker of the organ," Larry Young was its John Coltrane. One of the great innovators of the mid- to late '60s, Young fashioned a distinctive modal approach to the Hammond B-3 at a time when Smith's earthy, blues-drenched soul-jazz style was the instrument's dominant voice. Initially, Young was very much a Smith admirer himself. After playing with various R&B bands in the 1950s and being featured as a sideman with tenor saxman Jimmy Forrest in 1960, Young debuted as a leader that year with Testifying, which, like his subsequent soul-jazz efforts for Prestige, Young Blues (1960), and Groove Street, (1962), left no doubt that Smith was his primary inspiration. But when Young went to Blue Note in 1964, he was well on his way to becoming a major innovator. Coltrane's post-bop influence asserted itself more and more in Young's playing and composing, and his work grew much more cerebral and exploratory. Unity, recorded in 1965, remains his best-known album. Quick to embrace fusion, Young played with Miles Davis in 1969, John McLaughlin in 1970, and Tony Williams' groundbreaking Lifetime in the early '70s. Unfortunately, his work turned uneven and erratic as the '70s progressed. Young was only 38 when, in 1978, he checked into the hospital suffering from stomach pains, and died from untreated pneumonia. The Hammond hero's work for Blue Note (as both a leader and a sideman) was united for Mosaic's limited-edition six-CD box set The Complete Blue Note Recordings.
---Alex Henderson, All Music Guide |
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