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| The Quintessence: Stockholm - New York - Paris 1939-1949 |
| Kenny Clarke |
| első megjelenés éve: 2001 |
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| (2001)
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2 x CD |
| 8.642 Ft
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| 1. CD tartalma: |
| 1. | Bugle Call Rag
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| 2. | The Sheik of Araby
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| 3. | I've Found a New Baby
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| 4. | Swing to Bop (Charlie's Choice)
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| 5. | One Bass Hit
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| 6. | 52nd Street Theme
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| 7. | Oop Bop Sh-Bam
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| 8. | Fat Boy, Pts. 1 2
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| 9. | The Tadd Walk
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| 10. | A Bebop Carroll
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| 11. | Oop-Pap-A-Da
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| 12. | Ool-Ya-Koo
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| 13. | Things to Come
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| 14. | A la Colette (En Fait Cheryl)
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| 15. | Jumpin' There
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| 16. | Laurenzology
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| 17. | Maggie's Draw
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| 18. | Jabhero
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| |
| 2. CD tartalma: |
| 1. | Lady Bird
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| 2. | Symphonette
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| 3. | Dameronia
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| 4. | Double Talk
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| 5. | Eb-Pob
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| 6. | Casbah
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| 7. | Conglomeration (French Lick)
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| 8. | Roll 'Em Bags
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| 9. | Focus
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| 10. | Venus de Milo
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| 11. | Rouge
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| 12. | "Wah" 'Hoo"
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| 13. | Allen's Alley
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| 14. | Ornithology
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| 15. | Klook's Blues
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| 16. | American Rhythm (Blackstick)
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| 17. | Iambic Pentameter
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| 18. | Bah-U-Bah
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Jazz / Bop
Kenny Clarke
Al Haig - Piano
Al Hall - Bass
Al McKibbon - Bass
Alain Gerber - Liner Notes
Allen Eager - Sax (Tenor)
Andre Hodeir - Violin
Barney Spieler - Bass
Benjamin Lundy - Sax (Tenor)
Benny Bailey - Trumpet
Bernard Peiffer - Piano
Bill Coleman - Trumpet
Bill Shepherd Singers - Trombone
Billy Barber - Tuba
Billy Mitchell - Sax (Tenor)
Bud Powell - Piano
Carley Russell - Bass
Cecil Payne - Reeds, Sax (Baritone)
Chano Pozo - Conga
Charlie Christian - Guitar
Charlie Lewis - Piano
Claude Laurence - Violin
Coleman Hawkins - Sax (Tenor), Leader
Dave Burns - Trumpet
Dexter Gordon - Sax (Tenor)
Dick Collins - Trumpet
Diego Ibarra - Bongos
Dizzy Gillespie - Trumpet, Vocals, Leader
Don Frye - Piano
Eddie de Verteuill - Sax (Baritone)
Eddie Gibbs - Guitar
Edgar Hayes - Piano
Elmon Wright - Trumpet
Ernie Henry - Sax (Alto)
Fats Navarro - Trumpet
Franck "Big Boy" Goodie - Sax (Tenor)
Frank "Coco" Darling - Bass
George Nicholas - Reeds
Gerry Mulligan - Arranger, Sax (Baritone)
Gil Fuller - Leader, Arranger
Harry Goodwin - Trumpet
Harry Montaggioni - Guitar
Howard E. Johnson - Reeds
Howard McGhee - Leader, Trumpet
Hubert Fol - Leader, Sax (Alto)
J.J. Johnson - Trombone
Jacques Denjean - Piano
James Anderson - Vocals
James Moody - Sax (Tenor)
Jean Bouchety - Bass
Jean-Claude Forenbach - Sax (Tenor)
Jean-Paul Mengeon - Piano
Jimmy Heath - Sax (Alto)
Joe Gayles - Reeds
Joe Guy - Trumpet
Joe Harris - Percussion
John Brown - Reeds, Sax (Alto)
John Collins - Guitar
John Richard Lewis - Arranger, Piano
Julius Watkins - French Horn
Kai Winding - Trombone
Ken Kersey - Piano
Kenny Dorham - Trumpet
Lammar Wright, Jr. - Trumpet
Laure Wright - Adaptation
Lee Konitz - Sax (Alto)
Miles Davis - Trumpet
Milt Jackson - Vibraphone, Piano
Morris Lane - Sax (Tenor)
Nat Peck - Trombone
Nelson Boyd - Bass
Nick Fenton - Bass
Percy Heath - Bass
Pierre Michelot - Bass
R. Abramson - Sax (Tenor)
Ralph Schecroun - Piano
Ray Brown - Bass
Rudy Powell - Sax (Alto)
Rudy Williams - Sax (Alto)
Sahib Shihab - Sax (Alto)
Sandy Siegelstein - French Horn
Sidney Bechet - Sax (Soprano), Leader
Sonny Stitt - Sax (Alto)
Stubby Sebastian - Bass
Tadd Dameron - Piano, Leader, Arranger
Ted Kelly - Trombone
Vidal Bolado - Conga
Wardell Gray - Sax (Tenor)
Wilson Myers - Bass
Kenny Clarke
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Jan 09, 1914 in Pittsburgh, PA
Died: Jan 26, 1985 in Paris, France
Genre: Jazz
Kenny Clarke was a highly influential if subtle drummer who helped to define bebop drumming. He was the first to shift the time-keeping rhythm from the bass drum to the ride cymbal, an innovation that has been copied and utilized by a countless number of drummers since the early '40s.
Clarke played vibes, piano and trombone in addition to drums while in school. After stints with Roy Eldridge (1935) and the Jeter-Pillars band, Clarke joined Edgar Hayes' Big Band (1937-38). He made his recording debut with Hayes (which is available on a Classics CD) and showed that he was one of the most swinging drummers of the era. A European tour with Hayes gave Clarke an opportunity to lead his own session, but doubling on vibes was a definite mistake! Stints with the orchestras of Claude Hopkins (1939) and Teddy Hill (1940-41) followed and then Clarke led the house band at Minton's Playhouse (which also included Thelonious Monk). The legendary after-hours sessions led to the formation of bop and it was during this time that Clarke modernized his style and received the nickname "Klook-Mop" (later shortened to "Klook") due to the irregular "bombs" he would play behind soloists. A flexible drummer, Clarke was still able to uplift the more traditional orchestras of Louis Armstrong and Ella Fitzgerald (1941) and the combos of Benny Carter (1941-42), Red Allen and Coleman Hawkins; he also recorded with Sidney Bechet. However after spending time in the military, Clarke stayed in the bop field, working with Dizzy Gillespie's big band and leading his own modern sessions; he co-wrote "Epistrophy" with Monk and "Salt Peanuts" with Gillespie. Clarke spent the late '40s in Europe, was with Billy Eckstine in the U.S. in 1951 and became an original member of the Modern Jazz Quartet (1951-55). However he felt confined by the music and quit the MJQ to freelance, performing on an enormous amount of records during 1955-56.
In 1956 Clarke moved to France where he did studio work, was hired by touring American all-stars and played with Bud Powell and Oscar Pettiford in a trio called the Three Bosses (1959-60). Clarke was co-leader with Francy Boland of a legendary all-star big band (1961-72), one that had Kenny Clarke playing second drums! Other than a few short visits home, Kenny Clarke worked in France for the remainder of his life and was a major figure on the European jazz scene.
---Scott Yanow, All Music Guide |
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