Clark Terry - Serenade To A Bus Seat

Clark Terry Serenade To A Bus Seat (Riverside 1957)

Clark Terry, who passed away in 2015 at the age of 95, was an authority with a discography of epic proportions. In 1957, already a veteran of swing who had mentored rising stars like Miles Davis in the 40s, the trumpeter made a superb hard bop album with Johnny Griffin, Wynton Kelly, Paul Chambers and Philly Joe Jones, the Riverside label’s Serenade To A Bus Seat.

Clark Terry - Serenade To A Bus Seat

Personnel

Clark Terry (trumpet), Johnny Griffin (tenor saxophone), Wynton Kelly (piano), Paul Chambers (bass), Philly Joe Jones (drums)

Recorded

on April 27, 1957 at Reeves Sound Studio, New York

Released

as RLP 12-237 in 1957

Track listing

Side A:
Donna Lee
Boardwalk
Boomerang
Digits
Side B:
Serenade To A Bus Seat
Stardust
Cruising
That Old Black Magic


Before turning into an internationally renowned figure through his seat in the orchestra of NBC’s The Tonight Show in the 60s, his vocal hit Mumbles, lauded appearances around the globe and a distinguished position as youth educator and (co-)founder of Jazz Mobile and the Clark Terry Jazz Festivals for the rest of his life, Terry already had a timelessness about him that is striking. He encompassed the best traits of the past while being in sync with the conception of the modernists, using his technical brilliance and vast knowledge of what one can achieve with the trumpet to the telling of meaningful stories. Not a term usually associated with the abundant Terry, he actually set a limit to himself in this regard, displaying effects and humor when it was called for by Duke Ellington for a certain compositional story to tell, or when he expressed his feelings as a sideman (Oscar Peterson Trio + One is an outrageous ball, but a structured and hi-level festivity) and leading artist, mostly feelings of distinct joy.

His long stint in the Duke Ellington Orchestra in the 50s was preceded by years with Count Basie in the 40s, and Terry was a featured, singular soloist in both classic bands. Nice resume. In fact, in 1957 Terry had just left Ellington, with a number of classic recordings in his hip pocket, notably Ellington Uptown, Such Sweet Thunder and At Newport. His tenure with Riverside was interesting. Serenade, his debut as a leader on Riverside, was preceded by a feature on Thelonious Monk’s Brilliant Corners in 1956. It was followed by Duke With A Difference in July ’57, a gem of an album, featuring mates from the Duke Ellington band including Johnny Hodges, Paul Gonsalves and Billy Strayhorn and, as the title suggests ironically, without Duke Ellington. He would add a couple more guest roles on Riverside such as Jimmy Heath’s Really Big and Johnny Griffin’s White Gardenia, but the most notable album is his own 1958 album In Orbit with Thelonious Monk, which is the only album including Monk as a sideman and set the standard of the use of flugelhorn in jazz.

The late Orrin Keepnews, label boss of Riverside together with Bill Grauer, looked back on a number of favorite releases a number of years ago, as can be seen on YouTube here. Serenade, Clark Terry’s second foray in small ensemble jazz after EmArcy’s Swahili, was among them, representing a masterstroke of bringing together Terry with the small ensemble hot shots of the day: “I always refer to Terry as Mr. Pulled Together. He is so tremendously talented, a nice guy, and he had that big band discipline in his life. (…) It was a very relaxed, and therefore, creative atmosphere. If you bring together musicians who have in a sense been rehearsing for years by playing with each other at lots of opportunities, that’s a very good way to get around that problem (of short rehearsing time)…”.

With a distinctive tone like Terry’s, brassy, virile, tart and full-ringing, consisting of a festive, good-humored quality, the equilibrium between calling-the-children-home and chasing-the-kids-away neatly in check, contrast with the other horn is assured. In comes Johnny Griffin, maybe not such a fast gun as one always assumes, fast, yes, but on this session intent on subtle conversations. Their ensembles sparkle, lock tight during uptempo bop tunes like Charlie Parker’s Donna Lee, Terry’s Boomerang and Serenade To A Bus Seat. The latter’s title and mildly jubilant atmosphere perhaps alludes to the bus seat Rosa Parks bravely took on December 1, 1955 in Montgomery, Alabama. Her arrest led to the Montgomery Bus Boycott from Reverend Martin Luther King, a painful yet effective protest that eventually led to desegregation in the state’s public transport system. Clark Terry was from St. Louis, Missouri, where the NAACP protested against segregation in war factory jobs, a case it won through Shelly vs. Kraemer in the US Supreme Court, a feat Terry surely must’ve been conscious of, having been a bandsman in the Navy during WWII. Terry’s jubilant trumpet does a good job of honoring Ms. Parks, Martin Luther King and the others who’d made the boycott possible. Then again it might be more prosaic and better to stick to the assumption that the title refers to the tiresome days Terry spent in the band bus of Basie and Ellington.

For Griffin and Kelly, Serenade represented their first appearances on the Riverside label.
The typical hard bop set of Serenade benefits from variation in the order of soloing, for instance during Donna Lee, when Griffin takes first cue and Terry follows trading fours with Philly Joe Jones. Not a pedestrian phrase in sight, the session cooks and runs remarkably smooth, courtesy of Griffin, the tasteful Paul Chambers, who had the kind of intuitive bass genius few possessed at that age, Philly Joe Jones (one rarely hears a session involving Philly Joe Jones that isn’t gutsy and fiery!) and Wynton Kelly, whose balanced, hip and barrelhouse-y lines of the title track are a treat. The leader, Clark Terry, enlivens the I-Got-Rhythm-changes of Boomerang with phrases that dance naughtily from mid-to upper register. It’s a virtuosic, happy tale and the originality is enhanced by the delicious, sustained notes in between. Terry stresses the cooperative spirit during the easy-flowing mid-tempo Digits, ad-libbing behind Griffin and calms the stormy weather that Griffin set in motion during Serenade with just a few peaceful stretch of notes, only to regain steam for the finale, getting into the fast lane with a spontaneous wail.

Gutsy calmness also during Stardust, a sign of the exciting style of Terry, diamond in the rough with a heart of gold. He’s a bluesman too, playing poker with notes veering from high to low and back. Boardwalk is the album’s blues line with a New Orleans feel and once again Clark Terry is like honey and mustard seeping through the walls of doom, no stopping it, the redeeming quality of Terry’s blues, a blues perhaps only mildly sardonic, always residing at the forefront. Down by the Riverside, his blues resembles that of his (and everybody’s) great ancestor, Louis Armstrong.

Wynton Kelly - Kelly At Midnite

Wynton Kelly Kelly At Midnite (VeeJay 1960)

When thinking about Wynton Kelly, midnight is not the first allusion that comes to mind. The pianist’s style, however bluesy, predominantly brings about images of sunshine, broad daylight, wafts of salty sea air traveling through the seams of your Hawaiian shirt… But of course, the supple blue noted set of Kelly At Midnite justifies the title. Besides, it’s a perfect hang-up for a great sleeve.

Wynton Kelly - Kelly At Midnite

Personnel

Wynton Kelly (piano), Paul Chambers (bass), Philly Joe Jones (drums)

Recorded

on April 27, 1960 in NYC

Released

as VJLP 3011 in 1960

Track listing

Side A:
Temperance
Weird Lullaby
Side B:
On Stage
Skatin’
Pot Luck


1960, Hard bop in full flight, most of the musicians had embraced the rejuvenated kind of jazz that grew out of bebop, blues and gospel. However, at the same time, it functioned as an umbrella for a startling diversity of styles. Take pianists. The angular, kinetic Elmo Hope, long flowing line-specialist Sonny Clark, gently boppin’ Barry Harris and gospel-drenched, percussive Horace Parlan all blossomed on the same tree. Then there was Wynton Kelly, who possessed a conspicuous, generous bounce and a delicate sense of time, built driving stories with chapters of fragmented blues licks, boppish runs and pungent block chords. Never short on ideas. Above all, Kelly swings, swang, swung abundantly. The pianist is also hailed as one of the greatest accompanists in jazz history, who, said Philly Joe Jones, ‘puts down flowers behind a soloist.’

Jamaica, Marley territory, land of hot breeze, rowdy clubs, shady hoodlums, ganja and tax shelter and probably much more than the stereotypes that yours truly the Flophouse Floor Manager conjures up, birthplace also of Dizzy Reece and Monty Alexander, is where Kelly was born in 1931, yet his family moved to Brooklyn, New York after a few years, which found the talented youngster in the capital of jazz. A look at the career path of Kelly takes your breath away: two extended stints in the Dizzy Gillespie band. Accompanist of Dinah Washington and Billie Holiday. Part of the Miles Davis group from 1959 to ’63. An amazing discography as a sideman that includes: Johnny Griffin’s A Blowin’ Session, Sonny Rollins’ Newk’s Time, Dizzy Gillespie’s Birks’ Works, Cannonball Adderley’s Cannonball Adderley Quintet in Chicago, Blue Mitchell’s Big Six, Clark Terry’s Serenade To A Bus Seat, Miles Davis’ Kind Of Blue (on Freddie Freeloader) and Friday Night At The Blackhawk I & II, John Coltrane’s Giant Steps, James Clay & David “Fathead” Newman’s The Sound Of The Wide Open Spaces, Hank Mobley’s Soul Station and Workout, Wes Montgomery’s Full House, Cecil Payne’s Zodiac. And so on. During his tenures with Miles Davis and Wes Montgomery in the sixties, Kelly recorded as a leader for VeeJay and Riverside, mostly with the guys he knew (inside out) from those groups, Jimmy Cobb and Paul Chambers.

Kelly never hit big as a leading artist. But history has been kind, as Kelly, who perhaps grew more out of Teddy Wilson and Erroll Garner than Art Tatum and Earl Hines, is seen as a very influential player. Being influential, alas, hardly pays for a mortgage, at least not in those dark jazz ages. By 1967, ultimate sideman Kelly’s career was effectively over. Paradoxically, that year’s album Full View on Milestone is one of his best albums. Kelly passed away in 1971 following an epileptic seizure.

Here, the drum chair is held by Philly Joe Jones. Jones, who before Kelly At Midnite was featured on Kelly’s Riverside album Piano in 1958, supplies the pianist with a trademark dose of fireworks, heat and taste. His drive is matched by Paul Chambers, the young bass master, who also contributes high-level solo’s throughout. On Stage is especially enticing, the uptempo mover crackles, sizzles, boils, with Kelly’s leaping, crisp lines the icing on the cake. A typical hard bop set of blues-based, largely medium-tempo tunes and a sole ballad, Kelly At Midnite is a collection of deceptively simple snappy tales from one of those pianists that has been copied frequently but seldom matched.

Ike Quebec - Blue & Sentimental

Ike Quebec Blue & Sentimental (Blue Note 1961)

Ike Quebec’s resonant, breathy tone, deep as if coming from a velvet cave, is plainly irresistable. It’s in full bloom on Blue & Sentimental, one of Quebec’s 1961 comeback albums on Blue Note, a set of moving ballads and gutsy blues performances.

Ike Quebec - Blue & Sentimental

Personnel

Ike Quebec (tenor saxophone, piano A2, A4), Grant Green (guitar), Sonny Clark (piano B3), Paul Chambers (bass), Sam Jones (bass B3) Philly Joe Jones (drums), Louis Hayes (drums B3)

Recorded

on December 16 & 23, 1961 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as BLP 4098 in 1962

Track listing

Side A:
Blue And Sentimental
Minor Impulse
Don’t Take Your Love From Me
Blues For Charlie
Like
Count Every Star


Quebec was a veteran of the swing era who recorded with Benny Carter, Coleman Hawkins, Hot Lips Page, Trummy Young, Ella Fitzgerald and Cab Calloway. In the late forties, Quebec recorded for Blue Note while also serving as an arranger and talent scout, stimulating the careers of Thelonious Monk and Bud Powell in the process. Both the decline of big bands and the struggle with a drug addiction kept Quebec under the radar in the fifties. At the end of the decade, Alfred Lion issued a series of Ike Quebec singles for the jukebox market, checking out if Quebec would gain audience attention after years of low visibility. The singles were well-received. Subsequently, the albums that Blue Note released in 1961 and ‘62, Heavy Soul, It Might As Well Be Spring, (with organist Freddie Roach) Blue & Sentimental and Bossa Nova Soul Samba (the latter with Kenny Burrell) were good sellers. Easy Living was released posthumously in 1987. Quebec’s comeback was cut short by lung cancer. He passed away in 1963.

Ike Quebec’s style is accesible but not plain, his sound imposing but not theatrical. A lusty mix of elegant phrasing and a tone with a slight vibrato that switches suavely from breathy whispers to solid honks. Ben Webster-ish, containing that same blend of tenderness and hot swing, with a whiff of romance borrowed from Coleman Hawkins. Do you ever put on Blue & Sentimental on a bright sunny morning? Of course not. It’s a full-blooded after-midnight album. Can’t you see yourself sunk into a battered old chesterfield chair with a 10 year-old single malt and Hajenius cigar in hand? Smoke billows upwards to the ceiling. Ponderings of the incompatible natures of Venus and Mars billow upwards to the ceiling as well, as Quebec delivers an achingly romantic version of Don’t Take Your Love From Me. The demons of a grinding working day and a general mood of nausea are driven out by the lithe, jumpin’ blues of Minor Impulse. Can’t you see? Well, I can. Battered Old Chesterfield is my middle name.

As far as ballads go, they rarely come as smoky as Blue & Sentimental. Quebec’s husky tenor carries the tune, with just the right punch to add steam. Guitarist Grant Green, finishing his first – prolific – year at Blue Note headquarters, is a perfect companion to Quebec’s warm-blooded blowing. Just slightly dragging the beat with his fat-toned, sustained Gibson licks and spicy excursions into bluesland, Green’s balladry is delightful. On the faster tunes, Green’s propulsive lines sparkle. Chambers and Philly Joe Jones also comprise an outstanding match with the veteran tenorist. No need to introduce Mr. PC. From his magnificent, allround package, Chambers chooses tasteful, chubby, blues-drenched notes for the ballads and fat-bottomed, lively walkin’ bass lines for the uptempo tunes. Philly Joe Jones provides sensitive and sprightly support, presenting a bonafide Papa Jo Jones beat in Quebec’s original tune, the lurid cooker Like.

The album ends with Count Every Star, a take from the December 23 session including Green, Sonny Clark, Sam Jones and Louis Hayes. Excellent stuff, but one wonders why Alfred Lion thought the inclusion necessary. The CD re-issue (also available on Spotify) reveals a spirited uptempo take of Cole Porter’s That Old Black Magic. Another sparse, piano-less gem that shows the fine rapport between the underrated master of the tenor saxophone and his illustrious supporting crew.

Red Garland - High Pressure

Red Garland High Pressure (Prestige 1957/62)

The Red Garland sessions of November 15 and December 13, 1957 spawned a number of Prestige releases. Initially, only All Mornin’ Long was released. Soul Junction came out in 1963 and High Pressure a year earlier, in 1962. High Pressure is a top-notch blowing session, memorable for Red Garland’s influential piano playing and our understanding of the rapid, exciting evolution of John Coltrane.

Red Garland - High Pressure

Personnel

Red Garland (piano), John Coltrane (tenor saxophone), Donald Byrd (trumpet), George Joyner (bass), Art Taylor (drums)

Recorded

on November 15 and December 13, 1957 at Van Gelder Studio, Hackensack, New Jersey

Released

as PRLP 7209 in 1962

Track listing

Side A:
Soft Winds
Solitude
Side B:
Undecided
What Is There To Say
Two Bass Hit


At the time, Red Garland and John Coltrane were colleagues in Miles Davis’ group, which included Philly Joe Jones and Paul Chambers. It was Davis’ first great quintet that recorded the landmark hardbop albums Miles, Workin’, Cookin’, Relaxin’ and Steamin’. These albums were scheduled to let Davis fullfill his contract with Prestige, whereafter the group could record Davis’ Columbia album ‘Round About Midnight. Red Garland was fired by Davis, who alledgedly had enough of Garland’s narcotics abuse and erratic behavior, but Garland returned for the session of Milestones. There was a musical conflict during the recording of Straight, No Chaser and Garland walked out for good.

Soft Winds, taken at a brisk medium tempo, is essential Red Garland. Garland’s solo is a sumptuous blend of bop and blues, distinctive for Garland’s trademark block chord technique and extended, imaginative right hand lines. Never a dull moment in a five minute solo, of which the groove that Garland sustains through locked-hands playing on the three minute mark is especially enticing. Coltrane fires off phrases that attack the mind like lightning bolts hit a roof top antennae. His famous (and back then, infamous) ‘sheets of sound’ are backed powerfully by five note bombs of Garland and Art Taylor. Donald Byrd contributes a nicely contrasting, buoyant bit. The band trades fours before returning to the robustly swinging theme.

Of the two ballads Solitude and What is There To Say, Solitude stands out. The tempo remains slow throughout this rendition, double timing is avoided. It is the hardest way to play a ballad and, arguably, the greatest way. One has to show what he’s got, naked, no trickery. The band does a badass job, both interactively and solo-wise.

Garland stays close to the swing feeling of Robin & Shavers’ 1938 tune Undecided while adorning it with intricate, rollicking phrases. The group blasts through it like a quintet of Joint Strike Fighters.

Two Bass Hit, the Gillespie/Lewis composition, is also the opposite of lame, including a fiery opening (the theme is stated by the trio only) and contributions from the soloists that are evidence of mutual understanding and suggest that there was a relaxed studio atmosphere.

Two and a half months later, Two Bass Hit was recorded for the beforementioned Columbia album of Miles Davis, Milestones. That band (including Cannonball Adderley alongside a no less imposing, more subdued and structured Coltrane) delivers a crispy, coherent and slightly amended take. In which, lest we forget, the wayward leader didn’t contribute a solo.

The association of Red Garland with Miles Davis ended on a sour note. However, sessions like High Pressure make abundantly clear why Davis wanted to play with Garland in the first place.

YouTube: Soft Winds

John Coltrane - Lush Life

John Coltrane Lush Life (Prestige 1957/58/1961)

When Prestige released the mid ‘57/early ’58 sessions that comprise Lush Life in 1961, John Coltrane, ever the restless seeker, had already moved into very different directions. But that doesn’t take anything away from the great material contained within these sides.

John Coltrane - Lush Life

Personnel

John Coltrane (tenor saxophone), Donald Byrd (trumpet B1), Red Garland (piano B1-2), Earl May (bass A1-3), Art Taylor A1-3), Paul Chambers (bass B1-2), Louis Hayes (drums B1), Albert Heath (B2)

Recorded

on May 31 & August 16, 1957 and January 10, 1958 at Van Gelder Studio, Hackensack, New Jersey

Released

as PR 7188

Track listing

Side A:
Like Someone In Love
I Love You
Trane’s Slo Blues
Side B:
Lush Life
I Hear A Rhapsody


Coltrane had gained recognition and notoriety with his second stint with the Miles Davis Quintet and the recordings of Giant Steps and My Favorite Things on Atlantic. Prestige, eager to capitalise on Coltrane’s fame, released a string of LP’s up to 1965 containing material from the vaults. (Other tracks of the May/August ’57 and January ’58-sessions were released on Coltrane and The Last Trane) At the time of the Lush Life-sessions, people were still catching their breath after Coltrane’s tenures with Miles Davis (the first tenure) and Thelonious Monk, and after the recording of the classic hard bop album Blue Train.

Regardless of Lush Life’s haphazard nature, it includes a number of interesting and exciting moments, as one might expect from someone of Coltrane’s calibre. A great moment is the way Coltrane imaginatively deals with the straightforward chord sequence of Trane’s Slow Blues, wringing notes out of his tenor the way wrestlers tend to do with each other’s torso. Art Taylor’s insistent beat and Earl May’s big-sounding bass constitute a perfect vehicle for Coltrane’s forceful style. Included as well is a spirited stop-time section.

The other two trio tunes on side A lack dynamic rhythm work and Earl May’s bass sounds a bit muddy. But Coltrane turns Like Someone In Love inside out, utilizing melodic inversions (opening the tune with the bridge, in true bebop fashion, is just the starter) and cluster bombs of notes typical of early Coltrane. Furthermore, I Love You is a tale with beautiful lines and firmly placed blue notes. There wasn’t a particular artistic strategy to leave out the piano for this date, as Joe Goldberg states in the liner notes. The reality was prosaic: the piano player didn’t show up. The absentee probably was either Red Garland or Mal Waldron, frequent early Coltrane collaborators.

Red Garland is part of the other session, which resulted in a haunting rendition of Lush Life, in which the rhythm section of Paul Chambers and Louis Hayes responds well to Coltrane’s changes of mood, and a hard-swinging version of I Hear A Rhapsody. Young lion Donald Byrd, Coltrane’s sideman on this session, feels at home in the charged atmosphere of the reworked standard and his phrases have a floating quality not unlike the trumpeter that influenced many of the modern young trumpeters, Fats Navarro.

Prestige didn’t have the decency to consult Coltrane in the matters of organising a record release. However, as both a longtime Coltrane fan and vinyl freak, I’m glad those ‘crumbs’ of Coltrane saw the light of day in 1961. I’m not disputing the merit of listening to remastered jazz albums on that tiny, horrible absurdity they call the compact disc. Moreover, vinyl re-issues are pleasant commodities. But the vintage vinyl experience is priceless. The chills and feelings of surprise aroused by the crackling mono LP sounds of Trane’s Slow Blues still reverberate after all these years. Imagine what groundbreaking cuts like My Favorite Things (from My Favorite Things) and Dahomey’s Dance (from Ole) do to one’s nervous system. I guess you can.

Paul Chambers - 1st Bassman

Paul Chambers 1st Bassman (Vee-Jay 1960)

It’s not so unusual that Paul Chambers, one of the foremost bass players of modern jazz, made a string of five solo albums between 1956 and ’60. It is unusual, considering Chambers’ standing and the dawning of an equally promising next decade, that 1st Bassman is his last. Another distinctive feature of 1st Bassman is that Yusef Lateef wrote all of the tunes of this enjoyable blowing session, with the exception of a Cannonball Adderley blues, Who’s Blues. Lateef displays unique horn chops as well.

Paul Chambers - 1st Bassman

Personnel

Paul Chambers (bass), Yusef Lateef (tenor sax), Tommy Turrentine (trumpet), Curtis Fuller (trombone), Wynton Kelly (piano), Lex Humphries (drums)

Recorded

on May 12, 1960 at Bell Sound Studios, NYC

Released

as VJLP 3012 in 1960

Track listing

Side A:
Melody
Bass Region
Side B:
Retrogress
Mopp Shoe Blues
Blessed


The session contains an interesting line-up. Paul Chambers and Wynton Kelly made up an elite rhythm unit with drummer Jimmy Cobb, that recorded with John Coltrane and Wes Montgomery. Yusef Lateef was in between his formative years as a recording artist and the period wherein he started to incorporate Eastern influences into his style and had a great stint in The Cannonball Adderley Quintet. Drummer Lex Humphries recorded two albums with Lateef during the 1st Bassman-period. Curtis Fuller had been making a name for himself as an astute and soulful trombonist. Trumpeter Tommy Turrentine, finally, had just left Max Roach’s group, where he’d followed in the footsteps of the legendary Clifford Brown.

Not only the line-up is an asset, the impressive drive of Chambers’ walkin’ bass and his outstanding solo abilities contribute to the relevance of this album as well. Lateef graces many tunes with simultanuously idiosyncratic and bluesy tenor and Turrentine’s trumpet style works well within the loose proceedings. However, the straightforward vehicles for blowing in four/four time that Lateef wrote, do tend to get tiresome. Mainly, they’re started off with intricate bass figures and thereafter possess intelligent bass interludes from Chambers and extended horn and piano solos. Ballad Blessed is the black sheep among the herd, containing bowed bass and the muted, lyrical trumpet style of Tommy Turrentine.

Paul Chambers, as is well documented, contributed to a stunning amount of recordings, among them many legendary albums. To name but a few: John Coltrane’s Blue Train and Giant Steps, Thelonious Monk’s Brilliant Corners, Sonny Clark’s Cool Struttin’, Oliver Nelson’s The Blues And The Abstract Truth, Lee Morgan’s Leeway, Miles Davis’ Milestones and Kind of Blue, Sonny Rollins’ Tenor Madness and Hank Mobley’s Workout. Being in constant demand probably prevented Chambers from recording more solo albums from 1960 to his untimely passing in 1969. 1st Bassman doesn’t rank among his prime performances, but it still is well above average.

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Art Taylor A.T.’s Delight (Blue Note 1960)

Just for the fun of it I took a peek in my record collection to find albums drummer Art Taylor played on; a cinch, as Taylor appeared on many quality sessions, mostly for Prestige and Blue Note. I have particularly fond memories of Taylor’s sparse work on John Coltrane’s Trane’s Slo Blues (from Lush Life) and probing, brilliantly produced snare drumming on Dexter Gordon’s hard bop extravaganza Tanya. (from One Flight Up) It shows a drummer that built his distinctive style coming out of the school of Max Roach and Kenny Clarke.

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Personnel

Stanley Turrentine (tenor saxophone), Dave Burns (trumpet A1-3, B2, B3), Wynton Kelly (piano), Paul Chambers (bass), Carlo ‘Potato’ Valdez (conga A2, A3, B2), Art Taylor (drums)

Recorded

on August 6, 1960 at Van Gelder Studio, Englewood Cliffs, NJ

Released

as BST 84047 in 1960

Track listing

Side A:
Syeeda’s Song Flute
Epistrophy
Move
Side B:
High Seas
Cookoo And Fungi
Blue Interlude


Alot of drummers have a tendency to yield to excessive exercise once their name is up in light. Art Taylor’s endeavor as leader for the Blue Note label is far from egomaniacal. Indeed he took the opportunity to engage in a drum solo with conga player Carlos “Potato” Valdez on Taylor’s composition Cookoo And Fungi; however, in the forefront are bebop and hardbop tunes from colleagues Taylor was well acquainted with, pieces that he supports attentitive and faultlessly. Drummer Denzil Best’s Move (an often played composition, immortalized especially by Bud Powell) is particularly exciting; trumpeter Dave Burns (in speedy, playful Clark Terry-mode), Stanley Turrentine and Wynton Kelly deliver suave solo’s in spite of Move’s breakneck tempo.

Coltrane’s Syeeda’s Song Flute is a proper vehicle for Taylor to not only keep time steadfastedly but inventively fill the spaces between its intriguing and innovative changes. Kenny Dorham’s High Seas and Blue Interlude are fine renditions of typically ‘twisty and turny’ hard bop compositions. Blue Note surely was secured of a drummer to be trusted with the keys to the building.