Word: sax
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Dates: during 1950-1959
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...Basie (Paul Quinichette, tenor sax; Shad Collins, trumpet; Nat Pierce, piano; Freddie Greene, guitar; Walter Page, bass; Jo Jones, drums; Prestige). "Count don't play nothin'," said a Basie veteran once, "but it sure sounds good." This nostalgic album is a fine reminder of what that line meant. The selection of five Basie classics (including Texas Shuffle and Diggin' for Dex) is taken from the period 1937 to 1941 and played by three veterans of the Basie rhythm section...
...name was Edgar Pool, and he was out of KayCee (Kansas City, that is). Of course, no one but a square called him Edgar or Pool or even Eddie. He was simply "The Horn," and, man, he could really blow. His deeds on the sax and his misdeeds on and off the bandstand made him a legend in his lifetime. The Horn was so hip that he just did not care. He had had all the booze, all the drugs, all the women. And he could blow his horn so marvelously that, through him, jazz achieved a new dimension...
...trouble digging up talented drummers, found that most of his sidemen (average age: 23) had a classically oriented training: "They kept giving me the blue-serge treatment. I had to work hard to get that rough-tweed effect." Language was a problem too; Brown's instructions to a sax man, for instance, were delivered to a trombonist, who translated them to a trumpeter, who again translated them for the confused saxophonist. The situation was further complicated by the fact that Brown's band was to play mostly new works, especially commissioned for the festival, e.g., John La Porta...
...Cooker (Lee Morgan, trumpet; Pepper Adams, baritone sax; Bobby Timmons, piano; Paul Chambers, bass; "Philly" Joe Jones, drums; Blue Note). A talented group cooks up some minor frenzies, e.g., A Night in Tunisia, Heavy Dipper, with unabashed spontaneity and irresistible drive. The prize sound is Gillespie Protégé Morgan's trumpet, which speaks hard and clear even when it is going like sixty...
...Arthur Honegger and Darius Milhaud, have since written for the saxophone, serious Saxophonist Mule, 56, still feels like a man without a musical country. It pains him to hear of abuses such as those practiced by the rock 'n' roll players who put chewing gum in the sax to dull its glorious tone. Mule notes sadly that even at the Paris Conservatory, where he is professor of saxophone, most of his students graduate into jazz or military music. "I have one mission in life," he says. "That is to make people take the saxophone seriously...