Golf Faldo Simmons

Norman Simmons - The Art of Norman Simmons (2000) {Savant ‎SCD 2029}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 469 Mb | MP3 @320 -> 172 Mb
Full Artwork @ 300 dpi (jpg) -> 10 Mb | 5% repair rar
© 2000 Savant ‎Records | SCD 2029
Jazz / Bop / Hard Bop / Post Bop / Piano

As the accompanist for singers Dakota Staton, Carmen McRae, and Joe Williams, as well as a member of bands led by Johnny Griffin, Roy Eldridge and others, pianist Norman Simmons has spent little of his fifty-plus years as a musician in the spotlight. On the appropriately titled The Art of Norman Simmons, he successfully strikes a balance between putting his own talents front and center and melding them with musicians he respects and admires. The members of his quintet share the common goal of swinging in a relaxed, unhurried manner and no one ever feels compelled to shout to make a point.

Jeff Simmons (electric bass/piano/organ/accordion/vocals) - erstwhile member of the Indian Puddin' & Pipe, West Coast Natural Gas, Easy Chair, and Ethiopia - issued a pair of solo long-players on Frank Zappa's short-lived Straight Records imprint. First was the primarily instrumental Naked Angels original soundtrack (1969), followed several months later by this LP. Joining Simmons are Craig Tarwater (guitar), Ian Underwood (sax), and Ron Woods (drums/percussion) with Zappa (lead guitar) and John Kehlior (drums) collectively guesting on the exceedingly bluesy selections "Lucille Has Messed My Mind Up" and "Raye." Apart from the Zappa connection, the effort showcases Simmons' considerable talents as a composer and performer…

This 1982 recording features saxophonist Sonny Simmons and drummer Billy Higgins and a smokin' pickup band that included bassist Herbie Lewis and pianist Joe Bonner, and a horn section that added Michael Marcus on baritone, Al Thomas on trombone, and Joe Hardin on trumpet. The opener is "Sparrow's Last Jump," a stomping hard bop workout that features Simmons in top lyrical form and Lewis bowing the entire tune, despite the fact that it's based on hard bop – hell, post-hard bop – changes and is played in 6/8 Mingus tempo! Of course, Higgins is dancing all over the kit and it's obvious that, in his solo, Simmons is reading that frenetic yet seamless dance because he goes over the time signature with his legato phrasing and cascades his arpeggios right through the middle of the intervals. It settles a bit on the title track, where the horns are left out so Simmons is sitting in only the rhythm section. Here, Higgins plays out a double-time rhythm on the ride cymbal before slowing it to four.