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Borrowed Times - Red Rodney Quintets 1955-1959 CD CD, DVD, BLU-RAY lemez, ajándék tárgyak (póló, baseball sapka)

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Borrowed Times - Red Rodney Quintets 1955-1959
Red Rodney feat. Ira Sullivan, Tommy Flanagan, Oscar Pettiford, Roy Haynes, 'Philly' Joe Jones, Elvin Jones, Billy Root
első megjelenés éve: 2009

2 x CD
6.800 Ft 


Kosaramba teszem
1. CD tartalma:
1.  I Love The Rhythm In A Riff
2.  Taking A Chance On Love
3.  Dig This
4.  Red Is Blue
5.  Clap Hands, Here Comes Charlie
6.  On Mike
7.  The Song Is You
8.  You And The Night And The Music
9.  Laura
10.  Daddy-O
11.  Hail To Dale
12.  Jeffie
13.  Star Eyes
14.  You Better Go Now
15.  Stella By Starlight
2. CD tartalma:
1.  Red Arrow
2.  Box 2000
3.  Ubas
4.  Shaw Nuff
5.  Red Hot And Blue
6.  I Remember You
7.  5709
8.  Whirlwind
9.  Jordu
10.  Shelley
11.  Two By Two

CD 1, tracks #1-12 from "Modern Music From Chicago" (Fantasy 3-208).
CD 1, tracks #13-15 & CD 2, tracks #1-3 from "Red Rodney: 1957" (Signal S 1206).
CD 2, tracks #4-11 from "Red Rodney Returns" (Argo LP 643).

"Modern Music From Chicago":
Recorded at Universal Studios, Chicagi, IL, June 8 [#1-10] and 27 [#11-12]
Red Rodney (tp, vcl on #1)
Ira Sullivan (ts on #1-5, 7, 8, 10-12, tp only on #6), Norman Simmons (p), Victor Sproles (b), Roy Haynes (d)

"Red Rodney: 1957":
Recorded at Rudy Van Gelder Studio in Hackenshack, New Jersey, on November 22, 1957 [CD 1, #13-15] and November 24, 1957 [CD 2, #1-3]
Red Rodney (tp)
Ira Sullivan (ts, tp), Tommy Flanagan (p), Oscar Pettiford (b), Philly Joe Jones (d on CD 1, #13-15), Elvin Jones (d on CD 2, #1-3)

"Red Rodney Returns":
Recorded at Reco-Art Studios, Philadelphia, Pa, February 16 & 17, 1959
Red Rodney (tp)
Billy Root (ts), Danny Kent (p), Jay Cave (b), Frank Young (d)

Red Rodney was a brash young trumpeter who had the mark of greatness before narcotics cut short his career. His lowest point came in January 1953, when a judge in Chicago sentenced him to Leavenworth for five years. Rodney was released on parole in March 1955, having served two years of his sentence, and shortly thereafter he recorded an album for Fantasy (tracks #1-12).

His luck ran out again in November 1955, and he was sentenced to serve the remainder of his term at the Lexington, Ky., federal narcotics hospital. His release on June 5, 1957 was something of an event among aficionados, and the results of his recording contract with Signal (tracks #13-15 on CD-1, and #1-3 on CD-2), are proof of just how much he still had to offer to jazz. He got hooked again for a while after that, until early 1959, when he made a new and brief - but successful - comeback to the scene, cutting a new LP, this time for Argo.

Remarkably, the three stunning albums included in this set were made while Red was living on borrowed time, between one incarceration and the next. "I can only repeat what Bird said" he once explained about addiction. "'Don't do as I do, do as I say.'"

"Trumpeter Red Rodney first met up with multi-instrumentalist Ira Sullivan on records back in 1955; they would form a regular group together 25 years later. This Fantasy date, finds Rodney joined by Sullivan (doubling on tenor and trumpet), pianist Norman Simmons, bassist Victor Sproles and drummer Roy Haynes. Six of the songs are originals (five by Simmons, who was responsible for all of the arrangements) and they are very much in the modern bop mainstream of the time. In addition, there are six standards including "I Love The Rhythm in a Riff" which has a rare Rodney vocal. A fine straight-ahead date."

"Also at various times made available by Savoy (on an album titled Fiery) and Signal, this LP was one of trumpeter Red Rodney's finest sessions of the 1950s. "Red Arrow" features Rodney and Ira Sullivan trading off on an exciting trumpet battle. The other five selections (which include a lengthy "Star Eyes" and "Stella By Starlight") have Sullivan on tenor, pianist Tommy Flanagan, bassist Oscar Pettiford and either Philly Joe Jones or Elvin Jones on drums joining Rodney. The LP will be difficult to find, but this bebopper's delight is worth the search."
---Scott Yanow -All Music Guide

Red Rodney

Active Decades: '40s, '50s, '60s, '70s, '80s and '90s
Born: Sep 27, 1927 in Philadelphia, PA
Died: May 27, 1994 in Boynton Beach, FL
Genre: Jazz
Styles: Bop, Hard Bop

Red Rodney's comeback in the late '70s was quite inspiring and found the veteran bebop trumpeter playing even better than he had during his legendary period with Charlie Parker. He started his professional career by performing with Jerry Wald's orchestra when he was 15, and he passed through a lot of big bands, including those of Jimmy Dorsey (during which Rodney closely emulated his early idol Harry James), Elliot Lawrence, Georgie Auld, Benny Goodman, and Les Brown. He totally changed his style after hearing Dizzy Gillespie and Charlie Parker, becoming one of the brighter young voices in bebop. Rodney made strong contributions to the bands of Gene Krupa (1946), Claude Thornhill, and Woody Herman's Second Herd (1948-1949). Off and on during 1949-1951, Rodney was a regular member of the Charlie Parker Quintet, playing brilliantly at Bird's recorded Carnegie Hall concert of 1949. But drugs cut short that association, and Rodney spent most of the 1950s in and out of jail. After he kicked heroin, almost as damaging to his jazz chops was a long period playing for shows in Las Vegas. When he returned to New York in 1972, it took Rodney several years to regain his former form. However, he hooked up with multi-instrumentalist Ira Sullivan in 1980 and the musical partnership benefited both of the veterans; Sullivan's inquisitive style inspired Rodney to play post-bop music (rather than continually stick to bop) and sometimes their quintet (which also featured Garry Dial) sounded like the Ornette Coleman Quartet, amazingly. After Sullivan went back to Florida a few years later, Rodney continued leading his own quintet which in later years featured the talented young saxophonist Chris Potter. Red Rodney, who was portrayed quite sympathetically in the Clint Eastwood film Bird (during which he played his own solos), stands as proof that for the most open-minded veterans there is life beyond bop.
---Scott Yanow, All Music Guide

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