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Jazz Profiles: Brass Shout

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Farmer on Art Farmer Meet The Jazztet . Farmer Brothers Coffee on Enter A Zip Code And Find A Custom Coffee Plan Refreshment Specialist. Meet the Jazztet - az-links.info Music. Includes FREE MP3 version of this album. Complete your purchase to save the MP3 version to your music library. az-links.info 1. Serenata. 2. http:// az-links.info?2vej0d8sljahnxw. May

I was planning to start a sextet last fall.

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And I heard that Art was leaving Gerry Mulligan. I planned to ask him to join the sextet, In the meantime, unknown to me, he was planning a quintet, and he was thinking of asking me to join him.

When I called him, he started laughing. So we got together and consolidated our plans. Meet The Jazztet featured the three horn men with a rhythm section of McCoy Tyner on piano, Art Farmer's twin brother, Addison Farmer, on bass, and Lex Humphries on drums, but the band was never to achieve much stability of personnel beyond the key Farmer-Golson association at its heart a reality already reflected in their more prominent billing on the cover. As the All Music Guide suggests, this album is a genuine hard bop classic.

It included three of Golson's best known compositions, the first recorded version of Killer Joe, and the band's takes on I Remember Clifford and Blues March. The principal soloists are in disciplined but inventive mood throughout, while Golson's arrangements add interest beyond the routine ensemble heads of the period, but without tying up the music in overly elaborate fashion. The overall effect is both less driving and more thoughtful than the general run of hard bop.

By their second date for Argo in September,only Farmer and Golson remained from the earlier line-up.

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Fuller had left the band in not entirely amicable fashion in June Down Beat reported that the trombonist 'pulled out without giving notice at the end of a one-day engagement at the Brooklyn Paramount theater'to be replaced in quick succession by Willie Wilson, Bernard McKinney and, by the time of the record date, Tom Mclntosh.

McCoy Tyner had joined John Coltrane Golson has told the story of how his old Philadelphia buddy had helped rescue a stranded Tyner when he broke down en route to New York to join The Jazztet, then promptly 'stole' him for his own band, although Coltrane had the pianist in mind prior to his arrival in New York in any caseto be replaced firstly by Duke Pearson, then Cedar Walton.

Tommy Williams had taken Addison Farmer's place on bass, and Tootie Heath, another Philadelphian, occupied the drum seat. That version of the band recorded Big City Sounds in September, and the game of musical chairs settled down long enough for the same personnel to record two more albums for the label.

It featured six of Lewis's own compositions which he had arranged specifically for the date, including versions of Django, Milano and 2 Degrees East, 3 Degrees West. They closed their account at Argo with The Jazztet at Birdhouse, a live set recorded at the Chicago club of that name on 15 May, His subtle harmonies and voicings again lent a sophisticated air to the music, providing both attractive ensemble passages and a productive framework for the soloists.

Golson described his aims as a composer in the original sleeve notes for the record: I don't want to be too complex.

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Basically I'd like to stay simple. I'd like to write melodically, and pretty harmonically. I'm not looking for anything that's going to revolutionize music. I like, most of all in writing, beauty. Mclntosh is not Fuller's equal as a soloist, but holds his own, while Farmer and Golson vie with one another to produce the most fluent, lyrical soloing, and trade glowing exchanges in Five Spot After Dark.

Johnson of his own Shutterbug. At their best, The Jazztet leavened the visceral, earthy appeal of hard bop with a more sophisticated approach to arranging, and achieved a highly effective balance between the two. Golson's arrangement opens unexpectedly, with a single declamatory brass note. Lee Morgan was chosen for his fire. A competitor for the laurels once worn by the late Clifford Brown, Morgan is today's greatest threat to established trumpet ranks.

Possessing superlative range and technique, endowed with a vivid, even prankish imagination, able to perform with the stamina of a 1st chair trumpeter, Lee needs only further development of his ballad style to insure enshrinement as one of the all time great brassmen.

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The trombone section is an ideal blend of strong technical and improvisational skills. Curtis Fuller, newly crowned winner of the Down Beat Critics Poll-New Star category, plays with warm humor, big tone, and rough hewn "soul". Constantly increasing his musical abilities, gaining stature as a composer of merit, Curtis is more than fulfilling the great promise he showed as long ago as Both Diz and Hamp were extending him offers to join their bands every time they played Nashvillebut Cleve stayed on to finish college.

Now he is one of New York 's most sought after studio musicians due to consistently high solo quality, keynoted by extremely wide range and the ability to "cut" any "chart", no matter how difficult. Wayne Andre, a young professional, highly recommended by the 'ace musicians' contractor Chet Amsterdam, is known for his flawless performances in ensemble or as a one man section.

In order to broaden and deepen the sound of the trombone section and to create the most effective blend with French horn and tuba, Golson wrote in a part for baritone horn on several selections: James Haughton, coming to jazz from the marching band tradition, performs robustly on that horn.

The rhythm section includes Percy Heath, the much acclaimed bassist with the Modem Jazz Quartet, and a brace of fabulously articulate drummers: Philly Joe Jones and Elvin Jones. Also, pianist Bobby Timmons plays a rollicking solo on his composition, Moanin', the album's only track with piano. Any survey of jazz history will reveal the extraordinary importance of brassmen, particularly trumpeters and cornetists, in the evolution of the music. In jazz review columns, Golson's rising importance as a source of original tenor sax improvisations is being constantly discussed.

It seems fitting that he should lend his mellow, sometimes searing, comfortably traditional yet dramatically modem, but always exciting stylings to these arrangements.

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Herein are heard all of the Golson trade marks: In the words of the arranger: It is an excellent example of good work that is only a slight degree removed from being a major effort. Golson rapidly is assuming his place as one of the most dexterous composers in jazz today. He has a remarkable gift for ordering the talents of others into composite works of his own. His settings for the appearances of Farmer and the other soloists in this excursion into brass textures are deftly handled, yet are not superficial; Golson has his roots where roots ought to be all along.

As a writer of jazz tunes, his compositions, such as Minor Vamp, are almost all touched with the quality that lasts.