The Tenor Scene

Eddie "Lockjaw" Davis & Johnny Griffin - The Tenor Scene (1961) {Prestige OJCCD-940-2 rel 1997}
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© 1961, 1997 Prestige Records / Fantasy | OJCCD-940-2
Jazz / Hard Bop / Soul Jazz / Saxophone

Formerly knows as The Breakfast Show, the music on this CD reissue was one of four albums cut by the Eddie "Lockjaw" Davis-Johnny Griffin quintet during a single evening. With swinging support provided by pianist Junior Mance, bassist Larry Gales and drummer Ben Riley, the two combative but complementary tenors stretch out on lengthy versions of Lockjaw's "Light and Lovely," "Straight No Chaser" and "I'll Remember April," plus more concise renditions of "Woody'n You" and Davis' "Bingo Domingo." The straight-ahead music contains plenty of sparks; this was a classic group.

One of the Canterbury scene's most revered bands, Hatfield and the North made up for the brevity of their career with some fascinating music. Always adventurous, the quartet had the keen sense to realize that only the most hardened jazz fans respond to numerous key changes and exceedingly complex time signatures, and thus enlivened their live set with the odd gnome smashing, suggestive lyrics, and jokey song titles. It worked a charm, with the band quickly amassing a large, loyal following at home in Britain and across the continent. On their eponymous debut, Hatfield stunningly succeeded in translating both their sense of fun and their musical brilliance onto disc.

Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed "the Spacemen" in 1958, and recorded this lone project with them for the Columbia label…

In 1949, producer Norman Granz released a remarkable album of 78s that consisted of a dozen selections (many of them specially recorded for the occasion) that perfectly summed up the modern jazz scene of the time. The deluxe set consisted of two Duke Ellington features for baritonist Harry Carney with strings, a pair of complex Neal Hefti arrangements, small-group sides by Lester Young, Charlie Parker, Bud Powell, and altoist Willie Smith, Machito's "Tanga," major works by arrangers Ralph Burns and George Handy and, the piece de resistance, Coleman Hawkins' pioneering unaccompanied tenor solo "Picasso."

Duke Ellington's Spacemen - The Cosmic Scene (1958) {Mosaic Singles MCD-1001 rel 2006}
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© 1958, 2006 Columbia / Mosaic Records / Sony BMG Music | MCD-1001 | Mosaic Singles Series
Jazz / Small Group / Progressive Jazz / Mainstream Jazz / Piano

Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed "the Spacemen" in 1958, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them down even more progressive paths.

King Curtis - The New Scene Of King Curtis (1960) {Prestige-New Jazz OJCCD-198-2 rel 1992}
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© 1960, 1992 Prestige-New Jazz / Fantasy | OJCCD-198-2
Jazz / Hard Bop / Soul Jazz / Saxophone

When most listeners think of King Curtis, jazz comes to mind. It is instrumental jazz that has strong R&B and even rock 'n' roll sensibilities. Some might even consider what King Curtis played as simply instrumental R&B. Forget about all of that. Set aside the King Curtis that you thought you knew. This is the King playing straight jazz. As one of King Curtis' first albums, this is a serious, straight jazz effort. This 1960 release is a timeless gem.

According to Christopher Hogwood, in his marvelous biography of Handel, "In the winter of that year [1750], Handel received what was for him an unusual commission. Although closely associated with the London theatre, he wrote very little incidental music for plays. A request from John Rich to provide airs and dances for Smollett's 'Alceste' was undertaken, according to Hawkins, in repayment of a debt to Rich."

The blues scene in Chicago has sadly deteriorated over the last 10 years or so. Most of the old, legendary musicians have died. Only a very few places still feature live music in the black neighbourhoods (the South- and Westside, where Muddy Waters, Howling Wolf, and all the other greats had their home base). Many new blues clubs opened on the (white) Northside, but the music there is mostly aimed at the white tourist market. The same old songs played over and over again, no steady bands, personnel in the. bands always changing, definitely never any rehearsal. One of the few bands that have maintained a high musical standard, is The Big Four Blues Band. They were formed more than ten years ago, have not changed the personnel, became better and better over the years, and without trying to become rock stars they are still playing that old Chicago Blues…