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| The Cool One - The 'Tangents in Jazz' & 'Four Brothers' Sessions' |
| Jimmy Giuffre |
angol
első megjelenés éve: 2006 |
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| (2006)
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CD |
Kérjen
árajánlatot! |
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| 1. | Do It!
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| 2. | All for You
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| 3. | I Only Have Eyes for You
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| 4. | Four Brothers
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| 5. | Sultana
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| 6. | Nutty Pine
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| 7. | Wrought of Iron
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| 8. | Iranic
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| 9. | Someone to Watch Over Me
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| 10. | A Ring-Tail Monkey
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| 11. | Chirpin' Time
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| 12. | Scintilla 2
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| 13. | This Is My Beloved
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| 14. | Finger Snapper
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| 15. | Scintilla 1
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| 16. | Rhetoric
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| 17. | Lazy Tones
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| 18. | Scintilla 3
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| 19. | The Leprechaun
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| 20. | Scintilla 4
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Jazz
Jimmy Giuffre - Sax (Baritone), Clarinet, Sax (Tenor)
Andrew Thompson Mastering
Bob Enevoldsen Trombone (Valve), Bass
Bud Shank Sax (Alto)
Curtis Counce Bass
Jack Sheldon Trumpet
Ralph Pena Bass
Roy Carr Liner Notes
Russ Freeman Trio Piano
Shelly Manne Drums
Shorty Rogers Flugelhorn
Fifty years on from these historic recordings, multi-saxist Jimmy Giuffre remains a most potent force in contemporary jazz. For the first half of the 1950s, Giuffre, in cahoots with Shorty Rogers and Shelly Manne, could be viewed as L.A.'s jazz equivalent of The Three Musketeers. Be it as members of the orchestras of Woody Herman and Stan Kenton or The Lighthouse All-Stars and Shorty's own Giants they were close to inseparable.
It was during his tenure with The Giants that Texas-born Jimmy Giuffre successfully launched his own solo recording career. The 'Tangent In Jazz' sessions that comprise the second half of this release, defines that all-important juncture where Giuffre marked out his future directions: creating jazz music with what he contentiously termed "a non-pulsating beat."
Said Giuffre, "I've come to feel increasingly frustrated by the insistent pounding of the rhythm section. It's become impossible for the listener or the soloist to hear the horn's true sound or fully concentrate on the solo line. An imbalance of advances has moved the rhythm section from a supporting role to a competitive role."
At Giuffre's behest, the role of bass and drums were drastically redefined - supplying varied textures and effects rather than a familiar steady jazz pulse. Just as unique was the deep and intimate "woody" sounding timbre Giuffre produced from his clarinet by virtue of exploring the darker "chalumeau" register of the A-natural model as opposed to the widely used B-flat instrument. In doing so, Giuffre anticipated the future approaches of the quartets of fellow Texan Ornette Coleman, post-Miles John Coltrane, Dolphy-era Mingus and, ultimately, various aspects of the ECM label's house policy in breaking free of mainstream and standardized musical structures.
The Cool One CD combines Jimmy Giuffre's first two albums under his own name, Four Brothers and Tangents in Jazz, into one disc. Four Brothers, cut at three separate sessions between early 1954 and early 1955, is certainly the more conventionally bop-formatted of the pair, though it does vary in its approach, the lineup changing in size between a quintet, a septet, and a quartet. The earliest of the sessions is fairly standard, solid cool jazz, though the seven-piece shows signs of winging off into more daring directions with the fluttering melodics of "Four Brothers" and the choppy irregular beats and circling-round-each-other horns of "Sultana." While Giuffre scaled back to a quartet for the final Four Brothers recordings, a piece such as "Iranic" uses playfully lyrical horn lines and sporadic rhythm punctuations that similarly peeled away from expected jazz progressions. Tangents in Jazz, entirely recorded with a quartet (also featuring Jack Sheldon on trumpet, Ralph Pena on bass, and Art Anton on drums), is aptly named as it too goes into tangents from mid-'50s cool bop tunes, the rhythm section used to comment and insert rather than provide a straightforward pulse. Though certainly not devoid of appeal to straight-ahead jazz fans with its pleasantly good-natured riffs and sparse arrangements that can be either playful or (in tracks like "Scintilla 1" and "Rhetoric") meditative, or slightly melancholy, one can nonetheless hear the seeds of jazz moving from swing-based bop to more of an art music. Roy Carr's liner notes supply succinct details about these particular sessions and Giuffre's general background. ~ Richie Unterberger, All Music Guide
Jimmy Giuffre
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Apr 26, 1921 in Dallas, TX
Died: Apr 24, 2008 in Pittsfield, MA
Genre: Jazz
Styles: Modern Creative, Cool, Early Creative, West Coast Jazz, Folk-Jazz, Progressive Jazz, Avant-Garde Jazz
Jimmy Giuffre has had many accomplishments in a long career that has never been predictable. Giuffre graduated from North Texas State Teachers College (1942), played in an Army band during his period in the service and then had stints with the orchestras of Boyd Raeburn, Jimmy Dorsey and Buddy Rich. His composition "Four Brothers" became a hit for Woody Herman, an orchestra that Giuffre eventually joined in 1949.
Settling on the West Coast, the cool-toned tenor started also playing clarinet and occasional baritone. He was with Howard Rumsey's Lighthouse All-Stars (1951-52) and Shorty Rogers' Giants (1952-56), recording with many top West Coast jazz players. In 1956 he went out on his own, forming the Jimmy Giuffre 3 with guitarist Jim Hall and bassist Ralph Pena (later Jim Atlas). Giuffre had a minor hit with his recording of "The Train and the River," a song that he played during his notable appearance on the 1957 television special The Sound of Jazz. In 1958 Giuffre had a most unusual trio with valve trombonist Bob Brookmeyer and guitarist Hall (no piano, bass or drums!), appearing in the movie Jazz on a Summer's Day. After a couple years of reverting back to the reeds-guitar-bass format, in 1961 the new Jimmy Giuffre 3 featured pianist Paul Bley and bassist Steve Swallow and was involved in exploring the more introspective side of free jazz. From 1963 on Giuffre maintained a lower profile, working as an educator although Don Friedman and Barre Phillips were in his unrecorded 1964-65 group. He popped up on records now and then in the 1970s with diverse trios (including a session with Bley and Bill Connors) and his 1980s unit often utilized the synthesizer of Pete Levin. Giuffre, who started late in life playing flute and soprano and seems to have made a career out of playing surprising music, reunited with Bley and Swallow in 1992. He has recorded as a leader through the years for Capitol, Atlantic, Columbia, Verve, Hat Art, Choice, Improvising Artists, Soul Note and Owl.
---Scott Yanow, All Music Guide |
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