Word: saxophonist
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Dates: during 1960-1969
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Rollins, a tenor saxophonist who came out of a self-imposed retirement a few years ago with a whole new set of ideas, is one of the most inventive and original musicians in jazz. His cleanly phrased solos are tightly conceived, angular little tone poems. Though he takes great liberties with rhythm, his superb sense of timing prevents him from losing the feeling of swing. Rollins' meeting with Coleman Hawkins created the kind of excitement which Thelonious Monk's meeting with Pee Wee Russell completely failed to engender. The exchange of ideas between Rollins, with his jabbing, knife-like tones...
Real Ambassadors. The cool ones have spawned a whole school of sober-sided musicians who mistake the trancelike atmosphere of the nightclubs for concert-hall attentiveness. Their ambition is to brighten up jazz's image. Saxophonist Paul Winter, who came on the scene with a White House concert, is among the many who think that the presence of booze and dark lust in the nightclubs is harmful to their art. Winter, who figures that jazz musicians can be of greater help to the world's teetering countries than Peace Corpsmen or even helicopter pilots, wants them to clean...
...year. The Blue Notes, four of whom are also in Gary Berger's band, played five jazz standards with astonishing competence; there arrangements were often original, their ensemble work sharp and clean. But individual solos are the test of small-group jazz, and the Blue Notes' soloists shone. Tenor Saxophonist Ben Friedman, a real crowd-pleaser, is technically master of his instrument. His best solo, on Thelonius Monk's Straight, No Chaser, was a honking, exuberant anthology of tenor sax styles, jumping from Johnny Hodges to Ornette Coleman to John Coltrane with deftness and humor. Friedman is strongly influenced...
...Mind (RCA Victor) puts Mulligan in the company of Saxophonist Paul Desmond, who rarely swings at his regular employment as Dave Brubeck's commentator, but here is the match of Mulligan himself...
...orchestra sawed through three Lewis compositions and one by J. J. Johnson, producing milky overstatements of nice little ideas. Solos by Saxophonist Phil Woods and Vibraharpist Milt Jackson nimbly demonstrated that what would have been fragile, intricate music for a quartet had been made fragmentary, timid music for an orchestra. In his scoring, Lewis seemed barely able to tell his strings from his brass: the violins and cellos were misused in pursuit of inconsequential filigree, while the basses took long and vapid solo runs. Lewis had gone perilously far in the quest to make jazz more respectable without making...