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| 5.546 Ft
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| 1. | Vibrations
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| 2. | The Quiet Time
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| 3. | The Emperor
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| 4. | You Go To My Head
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| 5. | Lydian M-1
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| 6. | Nature Boy
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| 7. | Green Blues
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| 8. | Show Time
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| 9. | Word From Bird
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Jazz
Teddy Charles
Art Farmer, J. R. Monterose, Gigi Gryce, Mal Waldron, Hall Overton, George Barrow, Jimmy Raney
Tracks 1-7:
New York City, January 6 (2,6), 11 (4,7) and 17 (1,3,5), 1956
Art Farmer (tp), Billy Butterfield (tuba), Gigi Gryce (as), J.R Montorose (ts), Georges Barrow or Sol Schlinger (#1,3,7) (bs), Teddy Charles (vb), Mal Waldron (p), Jimmy Raney (g), Teddy Kotick (b), Joe "Chiz" Harris (d)
Tracks 8-9:
New York City, October 23, 1956
Art farmer (tp), Billy Buterfield (tiba), Hal Stein (as), Robert Newman (ts), Georges Barrow (bs), Teddy Charles (vb), Hall Overton (p), Jimmy Raney (g), Addison Farmer (b), Ed Shaughnessy (d), Eddie bert (tb) & Jim Buffington (french horn), added on #9
Arrangements:
Teddy Charles (3,6,7,9); Mal Waldron (1); Jimmy Giuffre (2); Gil Evans (4); George Russell (5); and Bob Brookmeyer (8)
"Comes a time when you begin to search anew", said Teddy Charles. But you need "an ensemble consistent with your personal ideas. And you want to use to advantage your own experience gained in playing with everything from a vibesbass duo with Mingus, to the Composers Workshop nine piece group and big bands." After some thinking about it, he assembled a ten-piece group: The Teddy Charles Tentet. An ensemble that played, as Charles put it, "Jazz of today. Not ten, or two, or fifteen years ago. Not futuristic, experimental stuff. But a representation of many of my favorite jazz performers, using contemporary jazz means, playing in an ensemble organically the aggregate of their individual jazz talents." As the idea grew, Charles decided to ask some of the most inventive and innovative arrangers and composers to become part of his ensemble. There is so much to hear in the writing, so much going on in the group, so many solo moments of merit that come out at you in short bursts, and so much intensity in the entire performance, that a lot of listening is just about mandatory. Put this CD up on your shelf along with the Miles Davis Capitol sides and the Gerry Mulligan Tentet album. It's that good.
Teddy Charles
Active Decades: '50s, '60s, '70s, '80s and '90s
Born: Apr 13, 1928 in Chicopee Falls, MA
Genre: Jazz
Styles: Cool, Mainstream Jazz, Post-Bop, Third Stream, West Coast Jazz
Teddy Charles is a true rarity: a jazz musician who largely retired from the business. A skillful if not overly distinctive vibraphonist and (early in his career) quite capable on piano and drums, Charles was as important for his open-minded approach in the 1950s towards more advanced sounds as he was for his playing. He moved to New York to study percussion at Juilliard in 1946, but instead became involved in the jazz world. He had short stints with the big bands of Randy Brooks, Benny Goodman, Artie Shaw, Buddy DeFranco and Chubby Jackson from 1948-51 and then played with combos headed by Anita O'Day, Oscar Pettiford, Roy Eldridge and Slim Gaillard. He also became a member of the Jazz Composers' Workshop (1953-55) along with Charles Mingus and Teo Macero, opening his style up to the influences of classical music and freer improvising. Charles, who recorded with Mingus, Miles Davis and Wardell Gray, among many others, began leading his own stimulating record dates in 1951, and by 1953 he was also working as a record producer, a field that took much more of his time from 1956 on. He led his own sessions for Prestige, Atlantic, Savoy, Jubilee, Bethlehem (where he produced around 40 records, mostly for other artists), and Warwick from 1951-60, but was hardly heard from in the 1960s, other than a 1963 set for United Artists. Charles relocated to the Caribbean, where he opened a sailing business. After participating in a 1980 jam session, Teddy Charles eventually moved back to New York, making a "comeback" record for Soul Note in 1988, but still remaining semi-retired from music.
---Scott Yanow, All Music Guide |
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