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At Newport

4.0 étoiles sur 5 1 commentaire client

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Page Artiste Coleman Hawkins

Détails sur le produit

  • CD (10 septembre 2007)
  • Nombre de disques: 1
  • Label: Verve
  • ASIN : B000SQJ2IC
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
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Par frenchjazzfan MEMBRE DU CLUB DES TESTEURS le 3 octobre 2007
Format: CD
Ce disque présente une belle performance Live de vétérans du Jazz déjà à l' époque de son enregistrement, 1957. La musique est pourtant pleine de santé avec de beaux solos de Hawkins, Eldridge et du méconnu Pete Brown. Le disque bénéficie d' une belle prise de son qui met en valeur la chaleur des sonorités des solistes.
Ce concert se termine par une version enflammée de "Sweet Georgia Brown" avec un fabuleux solo de batterie du grand Jo Jones.
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Amazon.com: HASH(0x9c21d54c) étoiles sur 5 6 commentaires
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x9c251b2c) étoiles sur 5 Great playing...so-so sound quality 3 juillet 2009
Par Keegan R. Lerch - Publié sur Amazon.com
Format: CD
I have longed for the day when I would be able to find a copy of this live set when Verve finally reissued it on CD in 2007! Thank God for Norman Granz, who brought all of his recording equipment to the 1957 Newport Jazz Festival.

This certainly is an all star group: Coleman Hawkins, one of the heavy-weight contenders of tenor sax (and still in great form); Roy Eldridge, the link between Louis Armstrong and modern trumpeters; Pete Brown, a lesser known alto saxophonist who plays very well; Jo Jones, one of the forefathers of modern drumming; and Ray Bryant on piano and Al McKibbon on bass.
Hawkins and Eldridge are the spotlight of this show, both have consistently interesting solos and their tone and intonation is impeccable 95% of the time. Roy has an amazing solo at the end of "I Can't Believe..." and another on "Sweet Georgia Brown," which is followed by a blazingly fast solo by Hawkins, and then Ray Bryant on piano (who holds his own very well with these giants).

The sound quality, which was sourced from disc due to damage to the master tapes, is very good for a live recording from 1957 (for the most part). There are times when the sound gets a little "hazy," or there is a pop, but, for the most part, the instruments sound crisp and clean (the bass is a bit muddy). This remastering sounds better than the original master. At just under 37 minutes, I wouldn't say this is a great place to start with Coleman Hawkins, Roy Eldridge, or Jo Jones, but is a great testament to how great these guys sounded live!
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x9c266528) étoiles sur 5 Giants of jazz at Newport 1 octobre 2007
Par Nikica Gilic - Publié sur Amazon.com
Format: CD
Those who claim that 1957 was a good year for the Newport are right on the ball:
First of all, many great musicians were in the best of form; check out Basie's reunion with Jimmy Rushing, Lester Young and Jo Jones ( featuring Roy Eldridge and Illinois Jacquet as well) and see for your self - Count Basie at Newport, Count Basie at Newport, Count Basie at Newport .

Also significant - Norman Granz was there with his mikes and other equipment, saving this gem for posterity and future generations (both my parents were still children in 1957!)

Now, to this album.
It is a tad too short - under 40 minutes, including the introduction... But the opening number "I Can't believe that your'e in love with me" is everything it's supposed to be; a true swing/mainstream cornucopia of rhythm, dynamics and emotion, with Coleman Hawkins and Roy Eldridge performing at their hottest level. The rhythm section is driving them ever further : Jo Jones proves himself on drums once again, but others are great as well; no wonder Ray Bryant became a major jazz pianist very soon after this was recorded...

Pete Brown's alto sax performance is somewhat puzzling, but his strange, often staccato style is at times quite interesting, reminding me of Lester Young's lesser efforts in the 50's.

The rest of the album is fine, although not on the same magnificent level, but the opening number may very well be one of the hottest jazz recordings I've heard in years...

However, "Sweet Georgia Brown" is also swinging very hard; it's a pity that the finale of the performance is mostly taken by Jones-Eldridge drumming duet; blowing the horns with Jones' drumming is always a much better option (although to see the drum battle live must have been fun).

A must have for all Hawkins, Eldridge and Jones fans.
6 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x9c253ab0) étoiles sur 5 Glad I didn't read the inside statement... 30 janvier 2008
Par Rubén - Publié sur Amazon.com
Format: CD
Live recordings can be especially "iffy" with regard to technical quality; I ordered this after seeing AMG's mention of this gig's "remarkable" sound quality. Upon first listen, it was indeed an excellent recording. Imagine my surprise when I read on the inside credits that it was "sourced from disc due to master tape damage." I am glad I didn't know this before, otherwise, I might have passed on this CD. I have not heard any pops/clicks, etc. characteristics of LPs, so I'm guessing it's either from a very clean vinyl source and/or software was used to clean it up, or a master acetate was used. If there's been compression as would be common in LP production, my old ears don't hear it. I am open to corrections/enlightenment re this. The actual performance is excellent on its own merits and I leave others better suited to add their comments on that.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x9c26a6fc) étoiles sur 5 Hawkins and Eldridge, Together Again 12 janvier 2009
Par Roger Berlind - Publié sur Amazon.com
Format: CD
Coleman Hawkins and Roy Eldridge cut some discs under the name of "The Chocolate Dandies" in 1940 with Benny Carter, Bernard Addison, John Kirby, and Sid Catlett including a 4 minute version of the song "I Can't Believe That You're In Love With Me" that kicks off this album. (You can hear that recording on any of the Benny Goodman, Coleman Hawkins, or Roy Eldridge box sets from Proper Records.)

This live recording from the 1957 Newport Jazz Festival features long 13 minute renditions of that tune and "Sweet Georgia Brown" with a medley of 3 ballads sandwiched inbetween: "Day by Day", "Embraceable You", and "Moonglow". Altogether, it's a pretty short set since the 3 ballads only add up to 10 minutes, giving a total of 36 minutes. No bonus tracks on this CD.

Each of the ballads features one soloist: Brown, Eldridge, and Hawkins in that order; the ballads are pretty, but all seem rather matter-of-fact and dull. Additionally, the non-featured horns sit out, so what we end up with are 3 different quartets. These ballads would have been better if they had been extended so that each of the 3 horns and Ray Bryant could have soloed on all 3 pieces. I also don't like the way the edits between the first two ballads was done; there is a gap between them. Ray Bryant supports the ballads nicely on piano, giving them some consistency.

"Sweet Georgia Brown" gives Jo Jones a chance to demonstrate his versatility on the drums. He and Al McKibbon on bass are good throughout the entire set.

I agree that this CD will be best appreciated by fans who want to extend their Hawkins and/or their Eldridge collections.
1 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x9c26a8ac) étoiles sur 5 One from the good old days (where perhaps it should have remained) 12 mai 2008
Par Giuseppe C. - Publié sur Amazon.com
Format: CD
This was one of those spirited, fiery sets that no doubt came off better "in person" than when listened to 50 years later. Both Hawkins and Eldridge are in peak form, heard at their best on the extended first and final up-tempo numbers. But there are a few sour notes on the session.

Altoist Pete Brown is either authentically primitive or presciently avant-garde (he brings to mind certain "free jazz" exponents on the horn), depending on your point of view. All the same, his fragmented, choppy melodic lines and frequently clawing and abrasive, pitch-approximate sound contribute little to the proceedings other than make the two principals look all the better. Unfortunately, as well as Hawkins plays, he's off mike and occasionally lost in the mix whereas Brown's horn is front and forward.

The rhythm section is a formidable threesome with plenty of firepower, hard-driving but not necessarily "swinging" or locating that special "groove." On the ballad medley, "Moonglow" (one of Bean's favorite standards) sounds more plodding than inviting (the tempo is somewhat slow for the tune, and Jones passes up the opportunity to give things a lift through judicious double-timing). McKibbon is, as usual, steady as a rock, but his bass sounds like it has been electronically boosted at some point in the post-production mastering. Ray Bryant solos masterfully, his piano tones during his solos coming through clearer than Hawkins' tenor. Along with Eldridge, he deserves most praise on the date. But as good a pianist as Bryant is, one can't help but wonder how much of a difference the addition of the usual Norman Granz team of Oscar Peterson and Ray Brown would have made on this occasion.

This is one highlight from yesteryear perhaps just as well forgotten, except by Hawkins and Eldridge completists--or those who were in attendance (though reliving a moment that has become a golden memory could paradoxically contribute to its departure).
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