Word: sax
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Dates: during 1960-1969
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...prayers from the Roman Catholic Mass out of conviction that the vitality of jazz is the best way to modernize the spirit of church worship. High point of the record is Schifrin's eerie, agonized Creed: behind the free-form obbligato of Paul Horn's alto sax, the eight members of a chorus autonomously sing, at their own pace and in their own key, the words of the Nicene Creed, dynamically ascending in volume with each phrase. By the final "amen," the shouting cacophony shatters the ear, yet conveys a sense that this too-familiar proclamation of faith...
...also with alto sax, clarinet, bongos and bass? Increasingly, U.S. churches are coming around to the idea that contemporary worship can have a contemporary beat, and jazz in the liturgy, once a way for adventurous pastors to shock their congregations, is now taken seriously as an approach that Christianity can follow in praising the Lord. More important, the jazz being heard in cathedral chancels is no longer amateurish doodling at Dixieland by clerics in their off-hours but scores composed and played by topflight professional musicians who are intrigued by the possibilities of blending their art with the traditional forms...
...SHAM AND THE PHARAOHS: WOOLY BULLY. Sam, who comes from Dallas, plays a jazzy organ and travels by hearse with his harum-scarum pharaohs, who sing falsetto or blow the sax. Wooly Bully is their runaway hit, but there are other lightheaded numbers like Gangster of Love and a Latin piece by Sam called Juimonos (meaning "Let's Went" in slangy Spanish...
...GOLDEN BOY (Colpix). Blakey doubled the length and breadth of five pieces from this musical (Lorna's Here, I Want to Be with You) and added Yes, I Can, which was cut out of the Broadway production, but makes a showpiece for Wayne Shorter's quicksilver tenor sax. The ten-member band, backed by Drummer Blakey, works such solid changes on the textures and rhythms of the score that it seems to come from Birdland rather than Broadway...
BODY AND SOUL: A JAZZ AUTOBIOGRAPHY (RCA Victor). Coleman Hawkins, the granddaddy of the tenor sax, says he got his famous full tone from trying to play over seven other horns. He managed so well that he has outblown and outclassed most other saxophonists of the past three decades. These 16 selections (1927 to 1963) bring back not only the Hawk but McKinney's Cotton Pickers, the Mound City Blue Blowers, and the bands of Fletcher Henderson, Lionel Hampton and Red Allen as well...