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2 x CD |
| 7.850 Ft
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| 1. CD tartalma: |
| 0. | Always
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| 1. | A Soldier&
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| 2. | Day By Day
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| 3. | To A Little Boy
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| 4. | Siddartha
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| 5. | Pony Tale
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| 6. | House Of Horn
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| 7. | Sunday, Monday
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| 8. | The Golden Princess
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| 9. | Interlude
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| 10. | Pony Tale
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| 11. | Lover Man
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| 12. | Mood Improvisation
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| 13. | Chloe
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| 14. | Romanze
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| 15. | A Parable
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| 2. CD tartalma: |
| 0. | For Horn (
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| 1. | Blues For Tom
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| 2. | Yesterdays
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| 3. | The Smith Family
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| 4. | Invitation
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| 5. | Tellin&
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| 6. | Effervescense
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| 7. | Reminescense
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| 8. | Exuberance
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| 9. | Ebullience
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| 10. | Give Me The Simple Life
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| 11. | Willow Weep For Me
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| 12. | Jive At Five
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| 13. | My Old Flame
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| 14. | Swedish Pastry
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Jazz / New Age, Hard Bop
RECORDED Hollywood, 1957-1958. New York, 1958
Paul Horn (fl, piccolo, cl, as)
Ed Leddy, Ken Bright, Stu Williamson (tp), Vince DeRosa, Dick Perissi (frh), Red Callender (tuba), Larry Bunker (vb), Gerry Wiggins (p, celeste), David Frisina, Dan Lube (violin), David Sterkin (viola), Fred Katz (cello)
Paul Horn - who, in Chico Hamilton’s words, was a "man of many reeds and woodwinds" - proves here that he was more concerned with playing music of differing emotional styles than he was in sticking to a certain, well-defined rut.
There is constant change in this set; ebullience and restraint; soft, provocative swing and bucolic lushness. Everyone does extremely well, supporting and joining Horn in a variety of orchestral settings. Exceptional musicianship, fluidness, sensitivity and a thoughtful approach made these, Paul Horn’s first recordings as a leader, a showcase of the range and the technical prowess of his playing.
While still a member of the Chico Hamilton Quintet, Paul Horn recorded two albums for the Dot label that were later reissued on Impulse and most recently came out in the late 1970's on this two-LP set. Switching between flute, clarinet and his cool-toned alto, Horn is in excellent form on the wide-ranging material which reflects the influence of Hamilton's chamber jazz approach but also contains some hard swinging. The settings range from a quartet to a ten-piece group that utilizes a string quartet and a 12-piece mini big band. Among the sidemen are drummer Hamilton, cellist Fred Katz, vibraphonist Larry Bunker and pianist Gerry Wiggins, but most of the emphasis is on Horn's playing (particularly on flute); he also contributed five originals. Worth searching for, this music has not yet been reissued on CD. ~ Scott Yanow, All Music Guide
Paul Horn
Active Decades: '60s, '70s, '80s and '90s
Born: Mar 17, 1930 in NY
Genre: Nuage
Styles: World Fusion, Hard Bop, Folk Jazz
When one evaluates Paul Horn's career, it is as if he were two people, pre- and post-1967. In his early days, Horn was an excellent cool-toned altoist and flutist, while later he became a new age flutist whose mood music is often best used as background music for meditation. Horn started on piano when he was four and switched to alto at the age of 12. After a stint with the Sauter-Finegan Orchestra on tenor, Horn was Buddy Collette's replacement with the popular Chico Hamilton Quintet (1956-1958), playing alto, flute, and clarinet. He became a studio musician in Los Angeles, but also found time during 1957-1966 to record cool jazz albums for Dot (later reissued on Impulse), World Pacific, Hi Fi Jazz, Columbia, and RCA, and he participated in a memorable live session with Cal Tjader in 1959. In addition, in 1964, Horn recorded one of the first Jazz Masses, utilizing an orchestra arranged by Lalo Schifrin. In 1967, Paul Horn studied transcendental meditation in India and became a teacher. The following year, he recorded unaccompanied flute solos at the Taj Mahal (where he enjoyed interacting with the echoes), and would go on to record in the Great Pyramid, tour China (1979) and the Soviet Union, record using the sounds of killer whales as "accompaniment," and found his own label Golden Flute. Most of Paul Horn's work since the mid-'70s is focused on new age rather than jazz.
---Scott Yanow, Rovi |
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