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Kérjen
árajánlatot! |
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| 1. | Status Quo
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| 2. | Bo-Till
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| 3. | Blue Lights
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| 4. | Billie's Bounce
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| 5. | Evil Eye
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| 6. | Everywhere
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| 7. | Let It Stand
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Jazz
Recorded at the Van Gelder Studio, Hackensack, New Jersey on March 3, 1957
Clifford Jordan, John Gilmore (tenor saxophone); Horace Silver (piano); Curly Russell (bass); Art Blakey (drums)
Originally released on Blue Note (1549). Includes liner notes by Joe Segal and Bob Blumethal.
This is part of Blue Note's Limited Edition Connoisseur series.
BLOWING IN FROM CHICAGO features tenor saxophonist John Gilmore as a co-leader. After this 1957 session, he spent the rest of his career in Sun Ra's band, hardly ever making any albums under his own name. This adversely affected Gilmore's legacy, since his name has largely been overlooked by younger jazz audiences. However, Gilmore's performance here is first-rate, and is matched by fellow tenor sax player Clifford Jordan. Throughout the record, it's apparent that this pairing of like minds is ideal.
Drummer Art Blakey also asserts himself on this album, especially on the highly rhythmic "Billie's Bounce," a Charlie Parker tune he popularized with the Jazz Messengers. The Latin-flavored Jordan original "Bo-Till" is one of BLOWING IN FROM CHICAGO'S highlights, as is his funky blues number "Evil Eye." This is classic hard bop played by some of its most skillful practitioners.
Clifford Jordan's first date as a leader actually found him sharing a heated jam session with fellow tenor John Gilmore. Backed by pianist Horace Silver, bassist Curly Russell, and drummer Art Blakey, the two saxophonists square off mostly on obscurities (other than Gigi Gryce's "Blue Lights" and "Billie's Bounce"); the original six selections are joined by the previously unreleased "Let It Stand" on the CD reissue. This was one of Gilmore's few sessions outside of Sun Ra's orbit and, if anything, he slightly overshadows the cooler-toned Jordan. Recommended.
---Scott Yanow, All Music Guide
Clifford Jordan
Active Decades: '50s, '60s, '70s, '80s and '90s
Born: Sep 02, 1931 in Chicago, IL
Died: Mar 27, 1993 in New York, NY [Manhattan]
Genre: Jazz
Styles: Post-Bop, Hard Bop, Modern Big Band
Clifford Jordan was a fine inside/outside player who somehow held his own with Eric Dolphy in the 1964 Charles Mingus Sextet. Jordan had his own sound on tenor almost from the start. He gigged around Chicago with Max Roach, Sonny Stitt, and some R&B groups before moving to New York in 1957. Jordan immediately made a strong impression, leading three albums for Blue Note (including a meeting with fellow tenor John Gilmore) and touring with Horace Silver (1957-1958), J.J. Johnson (1959-1960), Kenny Dorham (1961-1962), and Max Roach (1962-1964). After performing in Europe with Mingus and Dolphy, Jordan worked mostly as a leader but tended to be overlooked since he was not overly influential or a pacesetter in the avant-garde. A reliable player, Clifford Jordan toured Europe several times, was in a quartet headed by Cedar Walton in 1974-1975, and during his last years, led a big band. He recorded as a leader for Blue Note, Riverside, Jazzland, Atlantic (a little-known album of Leadbelly tunes), Vortex, Strata-East, Muse, SteepleChase, Criss Cross, Bee Hive, DIW, Milestone, and Mapleshade.
---Scott Yanow, All Music Guide |
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