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| Mosaic Select 35 - John Handy |
| John Handy |
| első megjelenés éve: 2009 |
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| (2009)
[ LIMITED ]
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3 x CD |
| 10.600 Ft
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| 1. CD tartalma: |
| 1. | If Only We Knew [A]
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| 2. | Spanish Lady [A]
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| 3. | Dancy Dancy [D]
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| 4. | Blues For A High Strung Guitar [D]
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| 5. | Dance For Carlos B [D]
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| 6. | Scheme
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| 2. CD tartalma: |
| 1. | Theme X [D]
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| 2. | Right On The Line [E]
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| 3. | Debonair [E]
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| 4. | Tears Of Ole Miss [E]
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| 5. | What's New [E]
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| 6. | New Theme [E]
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| 7. | A Bad Stroke Of Luck [B]
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| 8. | Blues For A High Strung Guitar [B]
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| 9. | Spanish Lady [single version] [C]
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| 10. | If Only We Knew [single version] [C]
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| 3. CD tartalma: |
| 1. | The Thing [F]
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| 2. | Senora Nancye [live version] [F]
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| 3. | Three In One [G]
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| 4. | Projections [G]
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| 5. | A Song Of Uranus [G]
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| 6. | Senora Nancye [G]
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| 7. | Dance To The Lady [G]
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| 8. | Sanpaku [G]
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| 9. | Eros [G]
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| 10. | All The Way To The West, By God, Virginia [G]
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Jazz
DISCOGRAPHY
[A] John Handy (as), Michael White (vln), Jerry Hahn (g), Don Thompson (b), Terry Clarke (d)
Live at the Monterey Jazz Festival, September 18, 1965
[B] Same personnel
Columbia Studios, LA, April 27, 1966
[C] Same personnel
Columbia Studios, LA, April 28, 1966
[D] Same personnel
Columbia Studios, LA, July 25, 1966
[E] Same personnel
Columbia Studios, LA, July 26, 1966
-1 Handy plays tenor saxophone on this selection.
[F] John Handy (as, saxello), Michel Sampson (vln), Sonny Greenwich (g), Calo Scott (cello), Don Thompson (b), Terry Clarke (d)
Carnegie Hall, NYC January 15, 1967
[G] John Handy (as, saxello, flute), Michael White (vln), Mike Nock (p), Bruce Cale (b), Larry Hancock (d)
Columbia 30th Street Studio, NYC April 15, 1968
Original sessions produced by John Hammond
Original recording engineers: Wally Heider [A], Stan Tonkel & Martin Greenblatt [G]
Produced for release by Richard Seidel
Executive producer: Michael Cuscuna
Remixed and mastered in 24 bit by Mark Wilder
Note: The two tunes on session C have survived only in mono.
Special thanks to John Handy, Steve Berkoqitz, Mike Kull and Mike Panico
Design Direction: Richard Mantel
Design Production: InkWell, Inc.
One of The Unsung Greats of Modern Jazz
John Handy is one of the unsung greats of modern jazz -- as saxophonist, composer/arranger and group leader -- especially for the series of four albums he recorded for Columbia between 1965 and 1968. This Mosaic Select is devoted to the three albums he made for the label that featured violin in the instrumentation -- Recorded Live At The Monterey Jazz Festival, The 2nd John Handy Album and Projections, plus a live Carnegie Hall performance.
Handy's playing, on alto sax in particular, is a wonder with a beautiful "legit" sound, perfect intonation and articulation, and an extraordinary control of the upper register which he uses quite often in building excitement and intensity in his solos. He utilizes all of these extraordinary attributes in frequent lengthy and compelling acappella solos. His unending flow of fresh ideas seemingly devoid of licks is another striking characteristic of his work.
The group heard here on all of discs 1 and 2 is unique in jazz history. The instrumentation of alto saxophone, violin, guitar, bass and drums has rarely, if ever, been used, and certainly not to this extent. Combining the nature of this instrumentation with the styles of the five players (Handy, Michael White, Jerry Hahn, Don Thompson and Terry Clarke) helps to create an open, expansive musical palette. This enables a musical range from Coltranesque long trance-like modal pieces, to tauter more direct and edgier rock-oriented pieces.
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THE 1965 MONTEREY JAZZ FESTIVAL
- Ralph Gleason, original liner notes
After playing with Charles Mingus at the Monterey Jazz Festival's historic session in 1964, Handy went to Vancouver, B.C., and met two Canadian musicians, bassist Don Thompson and drummer Terry Clarke. On his return, he told everyone about them and how he hoped to bring them to San Francisco. Eventually, it worked out and eventually the group opened at the Both/And. I was not there on the opening night; I didn't get there for a couple of weeks, and people kept telling me that I was missing something.
Finally, one night I decided to make a tour of the Divisadero Street section, which is becoming a new jazz area in San Francisco. I stopped at the Half Note, run by Herbert and Norma Warren who used to operate Sugar Hill in North Beach. Thus, I eventually got to the Both/And, in the company of Herbert, a rival nightclub owner, to hear John Handy. There was almost no one in the club, but the band was on stage and the Canadians were there, and so was Mike White, a violinist who had long had an underground reputation as an exciting soloist, and pianist Freddie Redd, once again in a period of San Francisco residence.
They started to play. I was stunned within moments. I simply couldn't believe it. The power and excitement which flowed from that band was overwhelming. I looked at Herbert Warren and he looked at me, and we shook our heads in disbelief. It was one of the great moments of a lifetime of listening to jazz.
So I wrote a column about it in the San Francisco Chronicle, a column filled with exuberance, hoping to reflect some of my own excitement at the band's performance.
Some weeks later, on the San Francisco educational television station, KQED, we did a Jazz Casual show (which one day I hope will play on the rest of the National Educational Television Network). We made a tape of that show, and I wrote a note to John Hammond at Columbia Records to tell him I was sending it to him. I don't know if this is ethical for a jazz critic, but I couldn't keep from screaming about this band.
Hammond expressed immediate and firm interest. Soon, we took Jimmy Lyons, general manager of the Monterey Jazz Festival, out to the Both/And. He, too, was knocked out by John Handy's group and signed them to appear at the 1965 Monterey Jazz Festival on the afternoon avant-garde program.
At Monterey, before an arena packed with 7,000 people sitting in the blazing sun, John Handy turned the band loose (guitarist Jerry Hahn had replaced Freddie Redd by then) and broke it up. They played two numbers - the performances in this album - and they were the hit of the Festival. People gave Handy a standing ovation and talked about what they had heard for weeks. They are still talking about it. I get calls every week asking when "the Monterey performance" will be released.
These unexpected delights, these sudden enlightenments are what those of us who listen to jazz as a way of life live for.
John Handy
Active Decades: '50s, '60s, '70s, '80s and '90s
Born: Feb 03, 1933 in Dallas, TX
Genre: Jazz
Styles: Crossover Jazz, Indian Folk, Modal Music, Post-Bop, World Fusion
A talented and adventurous altoist whose career has gone through several phases, John Handy started playing alto in 1949. After moving to New York in 1958, he had a fiery period with Charles Mingus (1958-1959) that resulted in several passionate recordings that show off his originality; he also recorded several dates as a leader for Roulette. Handy led his own bands during 1959-1964, and played with Mingus at the 1964 Monterey Jazz Festival, but it was at the following year's festival that he was a major hit, stretching out with his quintet (which included violinist Michael White and guitarist Jerry Hahn) on two long originals. Soon, Handy was signed to Columbia, where he recorded his finest work (three excellent albums) during 1966-1968. Since that time, he has performed world music with Ali Akbar Khan, recorded the R&B hit "Hard Work" for Impulse in 1976, gigged and recorded with Mingus Dynasty, and in the late '80s led a group (called Class) featuring three female violinists who sing. John Handy (no relation to the Dixieland altoist Capt. John Handy) remains a strong soloist who can hit high notes way above his horn's normal register with ease, but he has mostly maintained a low profile, teaching in the San Francisco Bay Area.
---Scott Yanow, All Music Guide |
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