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| 5.038 Ft
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| 1. | Heart and Soul
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| 2. | Django
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| 3. | Frankie and Johnnie
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| 4. | Little Waltz
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| 5. | Telephone
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| 6. | My Funny Valentine
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| 7. | Back to Bologna
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| 8. | A Beautiful Friendship
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Jazz / Post-Bop, Hard Bop
Recorded: Soundtek Studio - New York City - december 1981
Ron Carter - Bass, Producer
Cedar Walton - Liner Notes, Producer, Piano
Produced by: Cedar Walton and Ron Carter
Recording engineer: Elvin Campbell
Coverphotograhpy: Bob Shamis
Coverdesign/printing: HPC bv, Arnhem, Holland Profile
The Ron Carter-Cedar Walton duets came about when we started a series of performances in some of New York City's music saloons. At first the "missing" drummer caused some discomfort, but it was soon discovered that the listeners didn't miss him at all!
As a matter of fact, the response was so very encouraging that the duets began to relax: gaining momentum without sounding hurried. Contrasts became a permanent part of the interplay, and in a city where music is so plentiful, we were attracting the attention of musicians and music lovers alike. So, after about a year or so these special bookings (both Ron and me lead our own group), Timeless decided to preserve the sound as you hear it in this recording. So, this music, after being experienced by a mixture of connoisseurs, heavy listeners, indifferent thrue seekers, hungry dinners etc. holos its own well here on the duo s first album.
Cedar Walton, March 11,1982.
Bassist Ron Carter and pianist Cedar Walton both became active on the New York jazz scene around 1960. Walton was soon to gain notoriety working with Art Blakey's Jazz Messengers; meanwhile, Carter would become an important anchor in what is arguably Miles Davis' most influential ensemble. In 1981, Timeless Records documented the great rapport between these two giants of post-bop jazz. Heart & Soul is certainly not a loose "blowing session" -- it's clear that the duo's repertoire had carefully developed during a year of gigging together in Manhattan. At the same time, the music never feels overarranged and stiff; there is always room for spontaneity. The piano and bass duo is a challenging setting, and there are relatively few successful recordings in the jazz literature. (Duke Ellington and Jimmy Blanton's historic 1940 session set the tone for years to come.) In the more common trio format, the drummer serves to reinforce the time feel and dynamic variation; Carter and Walton have eliminated the need for a third member by generating enough momentum and contrast through their almost telepathic interaction. It is this interplay which is the key to the recording's success -- Heart & Soul always feels like a true collaboration. Both players are quite capable of either carrying the lead or providing supportive accompaniment and they strike a real balance in their interpretations of four standards and four original tunes including John Lewis' "Django" and the1937 Rodgers & Hart classic, "My Funny Valentine." There's no need for Carter to solo over his minor key "Little Waltz" since his accompaniment is so varied. Walton's bluesy "Back to Bologna" is a medium-tempo swinger with unexpected rhythmic breaks. Recommended listening. ~ Lee Bloom, All Music Guide
Cedar Walton
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Jan 17, 1934 in Dallas, TX
Genre: Jazz
Styles: Hard Bop
One of the most valued of all hard bop accompanists, Cedar Walton is a versatile pianist whose funky touch and cogent melodic sense have graced the recordings of many of jazz's greatest players. He is also one of the music's more underrated composers; although he has always been a first-rate interpreter of standards, Walton wrote a number of excellent tunes ("Mosaic," "Ugetsu," and "Bolivia," to name a few) that found their way into Art Blakey's book during the pianist's early-'60s stint with the Jazz Messengers.
Walton was first taught piano by his mother. After attending the University of Denver, he moved to New York in 1955, ostensibly to play music. Instead, he was drafted into the Army. Stationed in Germany, Walton played with American musicians Leo Wright, Don Ellis, and Eddie Harris. After his discharge, Walton moved back to New York, where he began his career in earnest. From 1958-1961, Walton played with Kenny Dorham, J.J. Johnson, and Art Farmer's Jazztet, among others. Walton joined Blakey in 1961, with whom he remained until 1964. This was perhaps Blakey's most influential group, with Freddie Hubbard and Wayne Shorter. Walton served time as Abbey Lincoln's accompanist from 1965-1966 and made records with Lee Morgan from 1966-1968; from 1967-1969, Walton served as a sideman on many Prestige albums as well. Walton played in a band with Hank Mobley in the early '70s and returned to Blakey for a 1973 tour of Japan.
Walton's own band of the period was called Eastern Rebellion, and was comprised of a rotating cast that included saxophonists Clifford Jordan, George Coleman, and Bob Berg; bassist Sam Jones; and drummer Billy Higgins. In the '80s and '90s, Walton continued to lead his own fine bands, recording on the Muse, Evidence, and Steeplechase labels. In addition to his many quantifiable accomplishments, Walton is less well known as the first pianist to record, in April 1959 with John Coltrane, the tenorist's daunting "Giant Steps" -- unlike the unfortunate Tommy Flanagan a month later, Walton wasn't required to solo, though he does comp magnificently.
---Chris Kelsey, All Music Guide |
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