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| 3.726 Ft
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| 1. | Cheryl
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| 2. | Manteca
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| 3. | Lush Life
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| 4. | Daahoud
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| 5. | Oleo
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| 6. | Juicy Lucy
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| 7. | For Carl
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| 8. | Cabu
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Jazz
Phineas Newborn, Jr. - Piano
Louis Hayes - , Drums
Paul Chambers - , Bass
Philly Joe Jones - , Drums
Sam Jones - , Bass
* Leonard Feather - Liner Notes
* Lester Koenig - Producer
Phineas Newborn earned praise and encouragement in the mid-1950s from Count Basie, John Hammond, and Ralph J. Gleason; his articulation, virtuosity, and creativity were in a class comparable only with Art Tatum or Oscar Peterson. The full scope of his gifts is apparent here, with two different rhythm sections drawn respectively from the combos of Miles Davis and Cannonball Adderley. His selection of material includes works by Gillespie, Parker, Rollins, Clifford Brown, and, most notably, Billy Strayhorn, whose "Lush Life" he interprets with a rare and poignant beauty.
Phineas Newborn's Contemporary debut (he would record six albums over a 15-year period for the label) was made just before physical problems began to interrupt his career. This CD reissue has two trio sessions, and finds Newborn joined by either bassist Paul Chambers and drummer Philly Joe Jones or bassist Sam Jones and drummer Louis Hayes. Actually, the accompaniment is not that significant, for the virtuosic Newborn is essentially the whole show anyway. He performs five jazz standards and three obscurities by jazz composers on this superb recital; highlights include "Cheryl," "Manteca," "Daahoud," and "Oleo."
---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 |
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