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| I Want to Be Happy - 1944-1947 |
| Teddy Wilson |
első megjelenés éve: 2001
51 perc |
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| (2001)
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CD |
| 3.819 Ft
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| 1. | China Boy
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| 2. | Confessin' [That I Love You]
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| 3. | The Sheik Of Araby
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| 4. | I Surrender Dear
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| 5. | Bugle Call Rag
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| 6. | Every Time We Say Goodbye
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| 7. | Dinah
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| 8. | How High The Moon [arr. for piano]
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| 9. | Memories Of You
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| 10. | Stompin' At The Savoy
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| 11. | Blues Too
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| 12. | Time After Time
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| 13. | Moon -- Faced, Starry- Eyed
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| 14. | After You've Gone
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| 15. | Just For You Blues
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| 16. | I Want To Be Happy
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| 17. | As Time Goes By
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| 18. | Whispering
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Jazz / Swing, Jazz Instrument, Piano Jazz
Wilson, Teddy, piano
Teddy Wilson Quintet
Al Casey Guitar
Al Hall Bass
Ben Webster Sax (Tenor)
Billy Taylor, Sr. Bass
Buck Clayton Trumpet
Charlie Shavers Trumpet
Charlie Ventura Sax (Tenor)
David Lennick Producer, Transfers
Don Byas Sax (Tenor)
George James Sax (Baritone)
Graham Newton Digital Noise Reduction
Herman Hupfeld Composer
J.C. Heard Drums
Kay Penton Vocals
Maxine Sullivan Vocals
Morey Feld Drums
Peter Dempsey Liner Notes
Red Norvo Vibraphone
Remo Palmieri Guitar
Ron Hoares Design
Sarah Vaughan Vocals
Scoville Brown Clarinet
Specs Powell Drums
William Purnell Drums
After the wartime recording ban was lifted, Teddy Wilson made several nifty 78s with a succession of swing combos for Musicraft and Standard, as anthologized on this bargain-priced Naxos CD. Ranging in size from trios to octets, these combos mostly do the once-over with the old flag-wavers from the swing era and before, with an occasional concession to the present such as a preview of Kurt Weill's "Moon-Faced, Starry-Eyed" (from "Street Scene"), lit up by the dusky tenor sax of Charlie Ventura. In the 1944-45 quintets and sextets, Charlie Shavers always does pungently delightful things on muted and open trumpet, and Red Norvo's vibes are always on target. Buck Clayton and Ben Webster are an earthier pair of soloists on some 1945-46 sextet sessions, and a 1946 quartet offers a glimpse of the sensually keening 22-year-old Sarah Vaughan on "Time After Time." Throughout, Wilson keeps up a steady stream of impeccable swinging piano licks in a style pretty much unchanged from the 1930s. As in other Naxos Jazz Legends releases, no attempt is made to arrange the numbers in chronological order. But the transfers are honest, ungimmicked, and generally better than what the major labels have offered up in the CD era. This is a good, somewhat off the beaten path historical buy. ~ Richard S. Ginell, All Music Guide
Teddy Wilson
Active Decades: '20s, '30s, '40s, '50s, '60s, '70s and '80s
Born: Nov 24, 1912 in Austin, TX
Died: Jul 31, 1986 in New Britain, CT
Genre: Jazz
Styles: Big Band, Swing, Mainstream Jazz, Jazz Instrument, Piano Jazz
Teddy Wilson was the definitive swing pianist, a solid and impeccable soloist whose smooth and steady style was more accessible to the general public than Earl Hines or Art Tatum. He picked up early experience playing with Speed Webb in 1929 and appearing on some Louis Armstrong recordings in 1933. Discovered by John Hammond, Willie joined Benny Carter's band and recorded with the Chocolate Dandies later that year. In 1935, he began leading a series of classic small-group recordings with swing all-stars which on many occasions featured Billie Holiday. That was also the year that an informal jam session with Benny Goodman and Gene Krupa resulted in the formation of the Benny Goodman Trio (Lionel Hampton made the group a quartet the following year). Although he was a special added attraction rather than a regular member of the orchestra, Wilson's public appearances with Goodman broke important ground in the long struggle against segregation.
Between his own dates, many recordings with Benny Goodman's small groups and a series of piano solos, Teddy Wilson recorded a large number of gems during the second half of the 1930s. He left B.G. in 1939 to form his own big band but, despite some fine records, it folded in 1940. Wilson led a sextet at Cafe Society during 1940-1944, taught music at Juilliard during the summers of 1945-1952, appeared on radio shows, and recorded regularly with a trio, as a soloist and with pick-up groups in addition to having occasional reunions with Goodman. Teddy Wilson's style never changed, and he played very similar in 1985 to how he sounded in 1935; no matter, the enthusiasm and solid sense of swing were present up until the end.
---Scott Yanow, All Music Guide |
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