Word: sax
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Dates: during 1960-1969
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...show (especially in contrast to the corny folk music that accompanied the first set of dances). Pianist Peter Larson has a good feel for the consonances of large chords and his playing is always solid, though sometimes a little too standard. Steve Brown plays flexibly on sax and flute, and some of his choruses, especially the uninterrupted fast passages, are quite imaginative. Bruce Vermeulen plays solid jazz bass, and Hayden Duggan on drums provides the most driving, emotional playing of the group...
...Blue Note) is his first recording in three years, and shows the happy effects of his welcome in Sweden as a cultural force-the Willem de Kooning of jazz. Coleman has been such a successful musical iconoclast that his music no longer sounds far "outside," although his alto sax still skips and dips in a blithe, wild way. Here, it occasionally turns into a little tune and then suddenly wrenches free again. His string bass player, David Izenzon, provides a wonderfully eerie foggy bottom in Dawn...
...MORGAN, a junior Dizzy Gillespie, last year unexpectedly found his jazz LP, The Sidewinder, winding its way inexorably up the country's bestseller charts. Now along comes The Rumproller (Blue Note), which is overflowing with Morgan's fluent and expressive trumpeting and some good tenor-sax playing by Joe Henderson. The title piece is a bit ponderous, with more rump than roll, but Morgan's composition Eclipso is a humorous bit of hopscotch through calypsoland, and The Lady is a dreamlike, moving ballad for Billie Holiday...
...driving piano and compositions both bright and Silvery blue. The title piece of his Cape Verdean Blues (Blue Note) is a spunky bit of funk with a samba beat. In Nutville, Bonita and Mo' Jo, Veteran Trombonist J. J. Johnson adds a third horn to the trumpet and sax of the mellow, swinging combo...
...abstract musings of their own invention (Agitation by Davis, Iris by Tenor Saxman Wayne Shorter, Mood by Bassist Ronald Carter). Sometimes the drum, bass and piano drive the soloists, but mostly they provide only phantom rhythms under the fluid runs and fragmentary phrases of the trumpet and tenor sax. No one will be tempted to tap a foot or sing along, but few with any E.S.P. at all will stop listening...