Recent listening, current

Showing posts with label new jazz. Show all posts
Showing posts with label new jazz. Show all posts

Friday, May 24, 2013

105. Benny Golson / Groovin' with Golson (1959)

Golson only has a single composing credit on this album ("My Blues House"), which is too bad considering how much I enjoy his style of jazz. But that tune, a slow blues, is the very first one on Groovin'. It is adequately seasoned with Curtis Fuller's flashy statements on trombone, perhaps more than Golson himself. Things move to a mid tempo piece "Drum Boogie" that swings hard with Art Blakey at the helm, before cooling down with the Rodgers and Hart standard "I Didn't Know what Time it was." Golson's sax blends sweetly with Fuller's trombone, and both are accomplished soloists. It's nice to hear their tones in opposition, too, as in "The Stroller" where a caustic Golson veritably peels the paint off the walls before we hear Fuller's punchy but softer sounding approach with short, staccato phrases. There's some brilliant piano work by Ray Bryant, possibly overshadowed by Golson or Fuller but easily underrated. Chambers and Blakey get a turn before everyone does fours and the thing wraps up. The quiet "Yesterdays" finishes the album with a whisper. Groovin' was recorded immediately before the formation of the Jazztet, but it's easy to see where things were going. I think here, Blakey gives a hard edge that was missing from even the Jazztet's most brilliant moments.

Tuesday, April 16, 2013

83. Benny Golson / Gone with Golson (1959)

Rooted in Don Byas, et al., Golson takes at least one conservatively melodic chorus before stepping out a little farther. He's a very melodic player overall, but by the end of his turn, he's rushing ahead like a steam locomotive of emotional force. His arrangements and compositions are superb. In those furious bursts of energy it's easy to see his influence on Coltrane, but the leader's skills as composer also attracted Trane. Like the peculiar resolutions in "Soul Me" which work within, rather than toward, the gospel mode to ply such an intriguing charm. As for sidemen, Curtis Fuller is indispensable, transcending the slide and keenly harnessing the dynamic capabilities of his horn to make sympatico statements after Golson (try "Autumn Leaves). Brothers Ray and Tommy Bryant are an important unit whether it's comping, impeccable timekeeping, or taking their own choruses. So is Al Harewood felt, together about as solid a rhythm section as you could ask for. There's no Art Farmer in sight, but this isn't a Jazztet date and it's nice to watch Golson fly on his own, as it usually is.