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A Buck Clayton Jam Session (1975)




Исполнитель: Buck Clayton
Название альбома: A Buck Clayton Jam Session
Год выпуска: 2002
Формат файлов: Mp3, 320
Размер архива: 170 Mb
Скачать с: rusfolder, depositfiles

Jazz suffered a major loss when, in the late 1960s, Buck Clayton had to retire from playing due to problems with his lip. But instead of permanently retiring from jazz altogether, he continued to make his mark as an arranger, bandleader, and educator. Clayton doesn't play at all on A Buck Clayton Jam Session: 1975; instead, this blowing date finds him overseeing and directing a 12-piece band that includes Joe Newman and Money Johnson on trumpet, Vic Dickenson and George Masso on trombone, Buddy Tate, Buddy Johnson, and Sal Nistico on tenor sax, Lee Konitz and Earle Warren on alto sax, Tommy Flanagan on piano, Milt Hinton on bass, and Mel Lewis on drums. To be sure, that's a variety of musicians -- some have strong swing credentials, others were primarily hard boppers, and you even have a musician who came out of the Cool School (Konitz) and went on to explore post-bop. But they manage to find common ground on this swing-oriented jam, which concentrates on Clayton's own compositions and emphasizes blowing, blowing, and more blowing. Thankfully, the liner notes list the order of the solos. Originally a vinyl LP in the '70s and reissued on CD in 1995 (when Chiaroscuro added two previously unreleased bonus tracks), A Buck Clayton Jam Session is less than essential but is an enjoyable jam that die-hard swing fans will appreciate.
Alex Henderson, AMG

But then, what is "essential"? I am no "diehard swing fan", but I more than "appreciate" this session.
It's a pity Chiaroscuro did not preserve its tapes well - this rip is from the 1995 CD (which admittedly restored on one album what had been spread over two doubles, and adding a bit of unreleased material).
I really should go back to the vinyl version (1975) for a better rip sometime.

Some of the highlights to me when I heard the session at the end of the 70s (mainly buying it for Konitz and Flanagan) were: "Sidekick". Wonderful by any standards. An expert restyling (and cute renaming) of "I Ain't Got Nobody", with fine solos all over the park, with a melange of styles from New Orleans to advanced Cool.
The varied band ensembles in each soloist's second chorus add a harmonic challenge and (in the later solos) a real (side?-)kick , which the soloists cope with in their different, suitably inspired ways.

Earle Warren's playing. He enters surprisingly like Konitz in places, oblique, resourceful and highly responsive to the music around him, but I love his creamy blues warble (a sort of low yodelling trill) and his intelligent passion generally - again, Konitz-like! Basie should have given him way more solos.
Yes, even with all the rest of that talent.

Joe Newman. His mute release (a sort of harmonious explosion) is amusing. But it's not just pleasant tricks - he plays with heart and understanding all the time.
The well-chosen contrasts of tones - Hank O'Neal shouldn't have needed to wonder why Buck chose the "unknown"
George Masso - he has the old-time volume of tone and uninhibitedness of style that contrasts with Vic Dickenson's drier sound, cunning approach and finer feeling.

I honestly didn't know the work of the tenorists so well at the time (and there are three of them - though I
had just heard Nistico in Munich!), but otherwise Alex Henderson must have cloth ears ... that is, if he
can't tell the trombonists, trumpeters and altoists apart, and really needs that list of soloists!

The rhythm section is exceptional, both together and separately. They play their collective and individual
asses off. Mel gives drive and touch, Milt Hinton is completely solid but fluent at the same time
(music surpasses physics), Tommy Flanagan offsets and supports like a master, and employs his usual
effortlessly inventive, legato dancing style in solos.
And Lee Konitz. The Palo Alto of the 40s had developed his tone, understanding of blues and sense of
danger by the 70s: the man is a genius.

If you enjoy this session half as much as I have enjoyed it over the years ... then, as they say,
I will have enjoyed it twice as much as you.
But I hope you find many things you like in this treasure trove of a session.
From Liner Notes

01. Sidekick (17:43)
02. Change for a Buck (11:53)
03. The Duke We Knew (12:12)
04. Glassboro Blues (15:11)
05. Glassboro Blues (rehearsing the ensemble) (5:10)
06. The Duke We Knew (rehearsal take) (13:30)

Recorded: Warp Studios, NYC, June 6, 1975
Label: Chiaroscuro, Marth 04, 2002

Personnel:
Buck Clayton - Trumpet, Composer, Arranger, Director
"Money" Johnson - Trumpet
Joe Newman - Trumpet
Vic Dickenson - Trombone
George Masso - Trombone
Earle Warren - Sax Alto
Lee Konitz - Sax Alto, Sax Soprano (tr. 4 & 5)
Budd Johnson - Sax Tenor
Sal Nistico - Sax Tenor
Buddy Tate - Sax Tenor
Tommy Flanagan - Piano
Milt Hinton - Bass
Mel Lewis - Drums

Production: Hank O'Neal

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Профиль
(16.04.13 - 21:26) - garson:

Jaro, mersi! Обожаю джемы! up up

 
 

Профиль
(16.04.13 - 21:35) - Jaro:

garson, пожалуйста! Солидарен с Вами, особенно, когда за инструментами такие парни!

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