Word: tenore
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Dates: during 1960-1969
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...BLAKEY WITH THE ORIGINAL JAZZ MESSENGERS (Jazz Odyssey). Drummer Blakey was the spark that lit up several small groups in the '50s. Here, reissued, is a particularly successful set, with one of the finest Blakey combos-Horace Silver on piano, Hank Mobley on tenor sax, Donald Byrd on trumpet and Doug Watkins on bass. They play hard-bop tunes (two of which are by now familiar Silver compositions), while Blakey drives them on with a flavoring of calypso or a tight break to emphasize the beat. On InfraRae and Hank's Symphony, his throbbing rolls and cymbal cadences...
...Hermosa Beach, Calif., the Crusaders have plenty to say in this album and plenty of "chops" (technique) to say it with. Their musical message lies in today's mainstream -a blend of hard-rock rhythms, funky chords and uptempo bustling. Wayne Henderson is on trombone, Wilton Felder on tenor sax; the rhythm section includes Joe Sample's piano. They punch out Ooga-Boo-Ga-Loo, move briskly on the winning Native Dancer and the fleeting Impressions. Their Eleanor Rigby is unusually muscular but, oddly enough, moves along with grace...
EDDIE HARRIS, PLUG ME IN (Atlantic). An electric tenor saxophone? The idea may offend jazz purists, but rock fans will get a charge out of this easygoing soul session. With capable backing from such musicians as Jimmy Owens and Joe Newman, Harris uses his extra go-power to create warmth and depth. The set gets off to a rolling, sinew-stretching start on Live Right Now, a down-home boogaloo. Harris plays with heavy-throated gentleness on the bluesy Ballad (For My Love), and with a dulcet, flowing tone on Winter Meeting. There's just a bit of metallic...
ELVIN JONES, PUTT'N' IT TOGETHER (Blue Note). Drummer Jones, who played with the late John Cohrarie, became famous for his fiery musical duels with the master. With Jimmy Garrison on bass and Joe Farrell splitting three ways on tenor, soprano sax and flute, Jones here uses his flashy technique to inspire, shape and embroider a harmonically free, three-way dialogue. Reza and Jay-Ree brim with bright looping arches of sound reminiscent of Ornette Coleman. Soloing on Kei-Ko's Birthday March, Elvin gets under way with a humorous drum-corps pattern that soon turns into...
...problem was that his vocal solos were overshadowed by his own accompaniments. He won applause for the dextrous way that he applied blues and a beat to the delicate lines of traditional Spanish guitar. But his high, quavery tenor, though obviously brimming with feeling, was merely good; it had too much of other singers in it and too little of Feliciano. So Jose spent some lean years in search not only of exposure but also of an identity...