Quite an unusual album for trumpeter Howard McGhee – one that has the famous bop trumpeter working in a sweet "with strings" format – ala similar 50s sessions on Verve! Frank Hunter handles the larger group here – working the strings with some nice touches that go way past just sleepy orchestrations – into a realm of playful passages that help coax some quite unfamiliar sounds from Howard's horn! The approach is quite different than some of McGhee's more seminal sides, but is also a great illustration of this under-acknowledge side of his talents – and a voice that definitely seems to echo some of his personal struggles at the time. Titles include "Sonny Boy", "The Thrill Is Gone", "The Best Things In Life Are Free", "Life Is Just A Bowl Of Cherries", and "My Sin".
The superb compilation West Coast 1945-1947 brings together various studio and live radio broadcasts from bop jazz trumpeter Howard McGhee. Born in Tulsa and raised in Detroit, McGhee was a powerhouse bop trumpeter in the vein of Fats Navarro and Dizzy Gillespie. He was also a melodicist, which meant that he was capable of soloing with both dazzling technical proficiency and gorgeous romantic lyricism. One of the few bop musicians to relocate to California during the '40s, McGhee even backed Charlie Parker on some Dial sessions during the saxophonist's West Coast tour at about the same time he made the recordings featured here.
Reissue. Features the latest remastering. Includes a Japanese description, lyrics. Features original cover artwork. The 1950s had largely been a waste for Howard McGhee, as drug addiction had taken its toll on his playing. But he is in good form for this 1961 studio session for Bethlehem, leading a septet with baritone saxophonist Pepper Adams, trombonist Bennie Green, and tenor saxophonist Roland Alexander, with a top-notch rhythm section of Tommy Flanagan, Ron Carter, and Walter Bolden an added bonus.
Features the latest remastering. Includes a Japanese description and lyrics. Easily one of the best albums ever cut by this oft-overlooked bop trumpeter – and a clean, clear, no-nonsense session played with some great modern touches! The session really steps off from McGhee's earlier work nicely – and is noteworthy not only for Howard's great trumpet work, but also for the presence of baritonist Sahib Shihab in the group, making a great small group appearance here and really dominating the session with his strong sound. Other players include Duke Jordan on piano, Percy Heath on bass, and Philly Joe Jones on drums – and titles include a good number of originals by McGhee.
Among the rarest Blue Note recordings are the ones issued in the early '50s on 10" LPs, a format that did not catch on (being quickly overshadowed by 12" LPs). Among the two albums that fell into the cracks were sessions by Howard McGhee (another CD has his initial Blue Note date) and Tal Farlow.
Other than an album in 1966 and a few isolated numbers in 1970, trumpeter Howard McGhee made no recordings as a leader during 1963-75. In 1976 he started his final three years of recording activity with a date for Sonet and then this obscure effort for Steeplechase. McGhee shows some age in his playing but his crisp sound was still intact as was his bop-oriented style. Recorded in Copenhagen with old friend Kenny Clarke on drums, baritonist Per Goldschmidt, pianist Horace Parlan and bassist Mads Vinding, this set features McGhee performing four of his straightahead originals plus J.J. Johnson's "Wee Dot." The spirit of classic bebop is very much alive on this enjoyable set.
Tenor saxophonist Teddy Edwards and trumpeter Howard McGhee had played together regularly from 1945 to 1947. For their recorded reunion, they are assisted by the masterful pianist Phineas Newborn, bassist Ray Brown and drummer Ed Thigpen. Edwards, McGhee, and Brown contributed one new song apiece which alternates with a trio of standards ("You Stepped Out of a Dream," "Misty" and Charlie Parker's "Perhaps"). The trumpeter was having a short-lived comeback at the time and he had largely regained his earlier form. Edwards sounds as strong as ever and Newborn was an up-and-coming talent. Their collaboration for this boppish date is generally quite memorable.