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| Hey, Chood |
| Red Rodney |
első megjelenés éve: 1998
69 perc |
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| (1998)
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CD |
| 4.728 Ft
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| 1. | Big Foot
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| 2. | Dead End
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| 3. | I Can't Get Started
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| 4. | The Red Tornado
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| 5. | For Dizzy
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| 6. | Donna Lee
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| 7. | Blues in the Guts [Live]
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| 8. | Helene
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| 9. | Lodgellian Mode [Live]
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| 10. | What Can We Do [Live]
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Jazz / Bop, Hard Bop
Red Rodney - Trumpet
Amy DiDonato Production Coordination
Barry Harris Piano
Bill Watrous Trombone
Billy Higgins Drums
Bob Porter Producer, Original Recording Producer
Charles McPherson Sax (Alto)
Chuck "Fingers" Irwin Engineer
Chuck Stewart Cover Photo, Photography
Don Schlitten Producer, Original Recording Producer
Garry Dial Piano
Gene Paul Mastering
George Duvivier Bass
George Young Sax (Tenor)
Grady Tate Drums
Ira Sullivan Flugelhorn, Sax (Tenor), Flute, Sax (Soprano), Multi Instruments
Joel Dorn Liner Notes, Series Producer
Lance Goler Compilation Producer
Leroy Williams Drums
Malcolm Addey Engineer
Mort Fega Liner Notes
Nancy Dwyer Graphic Design
Page Simon Graphic Design
Paul Berner Bass
Richie Cole Sax (Alto)
Roy Brooks Drums
Sam Jones Bass
Sir Roland Hanna Piano (Electric), Keyboards, Multi Instruments, Piano
Tom Whaley Drums
Turk Mauro Sax (Baritone), Sax (Tenor)
Trumpeter Red Rodney made a gradual comeback in the 1970s. Year by year, his chops would become less rusty, his solos more adventurous and his surroundings more stimulating, climaxing in his mutually beneficial relationship with Ira Sullivan in their classic quintet. This 1998 CD, a sampler of Rodney's Muse recordings, has some good selections, but is not programmed in chronological order and devotes too much to Rodney's earlier, less successful Muse dates. Any true best-of-Red Rodney set drawn from his later period would have to concentrate on his group with Sullivan, but only three of the ten selections are from that collaboration, while the other numbers (which feature such sidemen as altoists Charles McPherson and Richie Cole, pianists Barry Harris and Roland Hanna, and trombonist Bill Watrous) are, with a few exceptions, not up to the same level; Rodney's chops were not that strong yet. An OK sampler, but hopefully, 32 Jazz will reissue some of the complete sessions too. ~ 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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