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| 5.576 Ft
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| 1. | Hi Fly
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| 2. | Beef Blues Stew
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| 3. | Where
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| 4. | Star Crossed Lovers
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| 5. | Spot Five Blues
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| 6. | Lisa Lovely
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Jazz / World Fusion, Post-Bop, Hard Bop, African Jazz
Recorded: October 26, 1959, Five Spot, New York City
Kenny Dorham (tp, out on #4)
Coleman Hawkins (ts), Randy Weston (p), Wilbur Little (b), Roy Haynes (d), Clifford Jarvis (d, added on #6), Brock Peters (vcl on #3)
Arrangements by Melba Liston
The scene for Randy Weston's Open House was the Five Spot Cafe in Manhattan. The time, a rather dreary Monday in the Fall of 1959, and the setting about as wild a scene as you will ever make.
The live performance recording was scheduled for that same evening, but Coleman Hawkins was somewhere high in the skies between Chicago and New York; Roy Haynes was taking a similar route through the sky from Boston, and Wilbur Little and his bass were last heard from in Washington, D.C. Finally, Melba Liston, hospitalized in California, had air-mailed her arrangements for the date - but they had not as yet been delivered.
At 9:30 p.m. the missing musicians began to gather - Kenny Dorham, trumpet in hand, Hawkins and Haynes from their respective flights, Little from his train.
Shortly thereafter the missing arrangements were delivered, and a tall, rather relieved Randy Weston passed out the music. There was no rehearsal - very little warm-up.
The results are on this album - and you can wrap them up in just two words... Fabulous Musicianship.
Originally issued on United Artists UAL 4066 / UAS 5056.
Original recordings supervised by Tom Wilson.
This CD reissue by Jordi Pujol.
Randy Weston
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Apr 06, 1926 in Brooklyn, NY
Genre: Jazz
Styles: Modern Creative, World Fusion, Highlife, Post-Bop, Hard Bop, Mainstream Jazz, Progressive Jazz, African Jazz, African Traditions, Jazz Instrument, Piano Jazz
Placing Randy Weston into narrow bop-derived categories only tells part of the story of this restless musician. Starting with the gospel of bop according to Thelonious Monk, Weston has gradually absorbed the letter and spirit of African and Caribbean rhythms and tunes, welding everything together into a searching, energizing, often celebratory blend. His piano work ranges across a profusion of styles from boogie-woogie through bop into dissonance, marking by a stabbing quality reminiscent of, but not totally indebted to, Monk.
Growing up in Brooklyn, Weston was surrounded by a rich musical community: he knew Max Roach, Cecil Payne, and Duke Jordan; Eddie Heywood lived across the street; Wynton Kelly was a cousin. Most influential of all was Monk, who tutored Weston upon visits to his apartment. Weston began working professionally in R&B bands in the late '40s before playing in the bebop outfits of Payne and Kenny Dorham. After signing with Riverside in 1954, Weston led his own trios and quartets and attained a prominent reputation as a composer, contributing jazz standards like "Hi-Fly" and "Little Niles" to the repertoire. He also met arranger Melba Liston, who has collaborated with Weston off and on into the '90s. Weston's interest in his roots was stimulated by extended stays in Africa; he visited Nigeria in 1961 and 1963, lived in Morocco from 1968 to 1973 following a tour, and has remained fascinated with the music and spiritual values of the continent ever since. In the '70s, Weston made recordings for Arista-Freedom, Polydor, and CTI while maintaining a peripatetic touring existence -- mostly in Europe -- returning to Morocco in the mid-'80s.
However, starting in the late '80s, after a long recording drought, Weston's visibility in the U.S. skyrocketed with an extraordinarily productive period in the studios for Antilles and Verve. Among his highly eclectic recording projects were a trilogy of "Portrait" albums depicting Ellington, Monk, and himself, an ambitious two-CD work rooted in African music called The Spirits of Our Ancestors, a blues album, and a collaboration with the Master Gnawa Musicians of Morocco. Though he does tend now and then to recycle material written up to nearly half-a-century before, well in to his seventies, Weston remains an unpredictable, unusually enterprising musician, issuing Khepara in 1998.
---Richard S. Ginell, All Music Guide |
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