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| 5.529 Ft
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| 1. | Harlem Blues
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| 2. | Sweet and Lovely
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| 3. | Little Girl Blue
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| 4. | Ray's Idea
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| 5. | Stella by Starlight
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| 6. | Tenderly
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| 7. | Cookin' at the Continental
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Jazz
Phineas Newborn, Jr. - Piano
Ray Brown - Bass
Elvin Jones - Drums
* Akira Taguchi - Mastering Supervisor
* Alan Yoshida - Mastering
* Bret Lopez - Cover Photo
* George Kershaw - Design
* John Koenig - Liner Notes, Photography
* Lester Koenig - Engineer, Producer
* Phil DeLancie - Remastering
Because of the sporadic nature of his career, Phineas Newborn, Jr. is less well known to the public than are many of his contemporaries. But among musicians--and particularly among fellow pianists--Newborn is regarded with awe as one of the most gifted performers of his generation. In this 1969 encounter with two rhythm players who matched his virtuosity, Newborn applied his technical skill and his imagination to four honored standards, jazz originals by Horace Silver and Ray Brown and his own "Harlem Blues", a 16-bar piece based in the church music of his youth. Bassist Ray Brown and drummer Elvin Jones make it an all-star trio.
The superb trio (pianist Phineas Newborn, bassist Ray Brown and drummer Elvin Jones) had never played together before but it didn't matter. They had little trouble finding common ground. The virtuosic pianist (still in peak form) leads the way on such pieces as his "Harlem Blues," "Ray's Idea" (composed decades earlier by Brown) and Horace Silver's "Cookin' at the Continental."
---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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