Jazz
Kenny Clare - Drums
Ake Persson - Trombone, Solo Instrumental
Art Farmer - Trumpet
Benny Bailey - Solo Instrumental, Trumpet
Bora Rokovic - Arranger
Clarke-Boland Big Band
Davide Rosa - Coordination
Derek Humble - Sax (Alto), Solo Instrumental
Derek Watkins - Trumpet
Fats Sadi - Percussion, Solo Instrumental
Francy Boland - Organ, Arranger, Solo Instrumental
Gerardo Frisina - Concept, Coordination
Gigi Campi - Producer
Gudrun Mettig - Assistant Engineer
Herb Geller - Horn (English), Solo Instrumental, Sax (Alto)
Idrees Sulieman - Trumpet
Jens Muller-Koslowski - Digital Remastering
Jimmy Deuchar - Trumpet
Johnny Griffin - Sax (Tenor), Solo Instrumental
Karl Drewo - Solo Instrumental, Sax (Tenor)
Luciano Cantone Coordination
Nat Peck - Trombone
Sahib Shihab - Flute, Sax (Soprano), Solo Instrumental, Sax (Baritone)
Sal Nistico - Sax (Tenor), Solo Instrumental
Shake Keane - Solo Instrumental, Trumpet
Stan Robinson - Sax (Tenor)
Tony Coe - Solo Instrumental, Sax (Tenor), Clarinet
Tony Inzalaco - Percussion
Wolfgang Hirschmann - Engineer
This 1999 reissue, which was simultaneously released as a two-record set and a single CD by the Italian label Rearward, compiles music from four separate studio sessions between 1967 and 1972 by the Kenny Clarke-Francy Boland Big Band. In spite of the title, only a few of the tracks have a connection to the music of either Johann Strauss or Richard Strauss. Oddly enough, Boland refused to do the arrangements of these timeless waltzes, as he didn't want to change their melodies, so Yugoslav composer Bora Rokovic did the job, marking the only time the band played arrangements by someone other than Boland. The charts consistently swing and prove to be excellent catalysts for individual solos, particularly "Rosenkavalier," although the frequent premature fadeouts are a bit of a disappointment. "My Favorite Things," the famous waltz from The Sound of Music, follows John Coltrane's lead by not resolving itself right away, instead featuring a series of solos by baritone saxophonist Sahib Shihab, vibraphonist Fats Sadi, and trumpeter Benny Bailey, all of whom are energized by the potent sounds of the full band. Shihab composed "Peter's Waltz" as a vehicle for alto saxophonist Derek Humble, tenor saxophonist Johnny Griffin, and himself. Bassist Jimmy Woode contributed the bittersweet "Keep On Keeping On," whose haunting melody is underscored by Clarke's brushwork. Since seven of the album's 16 tracks are previously unreleased, even collectors with the complete original records from which this set was assembled will want to pick up this beautifully remastered compilation. ~ Ken Dryden, All Music Guide
Kenny Clarke
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Jan 09, 1914 in Pittsburgh, PA
Died: Jan 26, 1985 in Paris, France
Genre: Jazz
Kenny Clarke was a highly influential if subtle drummer who helped to define bebop drumming. He was the first to shift the time-keeping rhythm from the bass drum to the ride cymbal, an innovation that has been copied and utilized by a countless number of drummers since the early '40s.
Clarke played vibes, piano and trombone in addition to drums while in school. After stints with Roy Eldridge (1935) and the Jeter-Pillars band, Clarke joined Edgar Hayes' Big Band (1937-38). He made his recording debut with Hayes (which is available on a Classics CD) and showed that he was one of the most swinging drummers of the era. A European tour with Hayes gave Clarke an opportunity to lead his own session, but doubling on vibes was a definite mistake! Stints with the orchestras of Claude Hopkins (1939) and Teddy Hill (1940-41) followed and then Clarke led the house band at Minton's Playhouse (which also included Thelonious Monk). The legendary after-hours sessions led to the formation of bop and it was during this time that Clarke modernized his style and received the nickname "Klook-Mop" (later shortened to "Klook") due to the irregular "bombs" he would play behind soloists. A flexible drummer, Clarke was still able to uplift the more traditional orchestras of Louis Armstrong and Ella Fitzgerald (1941) and the combos of Benny Carter (1941-42), Red Allen and Coleman Hawkins; he also recorded with Sidney Bechet. However after spending time in the military, Clarke stayed in the bop field, working with Dizzy Gillespie's big band and leading his own modern sessions; he co-wrote "Epistrophy" with Monk and "Salt Peanuts" with Gillespie. Clarke spent the late '40s in Europe, was with Billy Eckstine in the U.S. in 1951 and became an original member of the Modern Jazz Quartet (1951-55). However he felt confined by the music and quit the MJQ to freelance, performing on an enormous amount of records during 1955-56.
In 1956 Clarke moved to France where he did studio work, was hired by touring American all-stars and played with Bud Powell and Oscar Pettiford in a trio called the Three Bosses (1959-60). Clarke was co-leader with Francy Boland of a legendary all-star big band (1961-72), one that had Kenny Clarke playing second drums! Other than a few short visits home, Kenny Clarke worked in France for the remainder of his life and was a major figure on the European jazz scene.
---Scott Yanow, All Music Guide |
