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New Blue Horns Enregistrement original remasterisé, Import

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Détails sur le produit

  • CD (2 mai 2007)
  • Nombre de disques: 1
  • Format : Enregistrement original remasterisé, Import
  • Label: Fantasy Concord
  • ASIN : B000000YEI
  • Autres éditions : Album vinyle  |  Téléchargement MP3
  • Classement des meilleures ventes d'Amazon: 415.832 en Musique (Voir les 100 premiers en Musique)
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6 internautes sur 6 ont trouvé ce commentaire utile 
What you want 4 mars 2010
Par Matthew Watters - Publié sur Amazon.com
Format: CD
It was common practice for jazz recording sessions in the 1950s, which tried to grab an LP's worth of performances in a single day's recording, to conclude with the artists jamming on a simple blues riff. It allowed the record label to get a potentially useable extra track on tape and in the can, either to be used to fill out the LP, or held back for a special occasion like this. Like the marvelous 'Blues for Tomorrow' compilation issued by the Riverside Records a year earlier, 'New Blue Horns' gathers together a number of extended blues performances left over from the label's 1958 sessions. This time, the collection has an additional unifying element: all the leaders were trumpet players (although, in the cases of Clark Terry and Nat Adderely, they were here playing flugelhorn and cornet, respectively).

The opening cut on 'New Blue Horns' is a track familiar to all of those many jazz fans who already own the CD 'In Orbit' by Clark Terry, his famous date with Thelonious Monk making a rare appearance as a sideman, but there's a difference: the version here, mastered in the mid-1990s, sounds noticeably better, more spacious and detailed, than the 'In Orbit' disc mastered by Fantasy in 1987. It allows you to hear what may be already be a familiar recording with new ears. If you've never heard it, it's a relaxed but joyous extended improvisation featuring Terry's puckery horn and a tasty Monk solo, booted along by drummer Philly Joe Jones.

Next up is the highlight of this disc, an outtake from Blue Mitchell's 'Out of the Blue' session called "Studio B" that just swings like mad. Mitchell plays it cool, but tenor Benny Golson is fiery, almost avant-garde in his slashing attack. But the MVP is Art Blakey, making one of his occasional appearances as a 'mere' session drummer, and he just knocks this one every which way but loose. The track is one of those concentrated reminders of everything you liked about jazz in the first place.

Things cool down and stretch out a bit for a long outtake from Chet Baker's 'Chet' album, likely left off the final album due to Chet's rather enervated turn. But sidemen Pepper Adams (baritone) and Herbie Mann (flute) are in top-flight form, as are pianist Bill Evans and bassist Paul Chambers. The chesty power and inventiveness of Adams are particularly impressive. The second Chet Baker selection, "Soft Winds" picks things up in terms of tempo and energy. It's from the 'Chet Baker in New York' album - which is one of Chet's best small group, straight jazz (non-vocal) reocrdings - and what a tune, with fantastic piano from Al Haig, a beautifully conceived solo from the always tasteful and intelligent Paul Chambers, and another driving performance at the drum kit from Philly Joe. My second favourite moment on this album, and, again, I think this master sounds better than the earlier one that's out there.

Closing out the collection is the slighly hokey "Mama Yokum" from Nat Adderely's 'Branching Out' sessions and a lovely bit from a sax-less quintet featuring a frontline of Kenny Dorham and trombonist Curtis Fuller, both lyrical players who mesh together beautifully. They'll chase your blues away.
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