Sonny Criss - The Beat Goes On!

Sonny Criss - The Beat Goes On!
Жанр: Hard Bop, Soul Jazz
Страна-производитель диска: США
Год издания: 2000
Издатель (лейбл): Prestige/Original Jazz Classics
Номер по каталогу: OJCCD-1051-2 (P-7558)
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 33:29
: meszrum (hqshare)
: да
Треклист:
01. The Beat Goes On (Bono) - 7:21
02. Georgia Rose (Rosenthal-Sullivan-Flynn) - 3:31
03. Somewhere My Love (Jarre) - 4:58
04. Calidad (Criss) - 5:29
05. Yesterdays (Kern-Harbach) - 5:51
06. Ode to Billie Joe (Gentry) - 6:19
Состав:
Sonny Criss - alto saxophone
Cedar Walton - piano
Bob Cranshaw - bass
Alan Dawson - drums
Recorded in New York City on January 13, 1968.

Лог создания рипа

Содержание индексной карты (.CUE)

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Отчет CUETools

Review by Jim Todd

This is one of a group of Prestige dates by Sonny Criss from the late '60s that featured the altoist elegantly ripping through pop tunes, standing them on their heads and making them into credible vehicles for his dazzling virtuosity. For this 1968 recording, Criss gets hold of Sonny Bono's The Beat Goes On and makes it sophisticated, soulful, and swinging. The saxophonist is ably aided in this unlikely transformation by bassist Bob Cranshaw, pianist Cedar Walton, and drummer Alan Dawson, whose swirling brush work is key to the success of the title track. The group is less successful in pulling off a similar identity change on Somewhere My Love. The melody gets an overly snappy Las Vegas lounge treatment, but then the piece comes together for some crisp, exciting solo work. Bobbie Gentry's Ode to Billy Joe also gets the Criss treatment. Partial success again, as the rhythm section remains a bit too static. Moving outside the pop repertoire, Criss scores full marks with a fiery, focused, up-tempo version of Yesterdays; the mid-tempo standard Georgia Rose; and his own urbane blues, Calidad. This last piece is one of the performances on the CD where Criss, with his rapid, serpentine flow of ideas, begins to sound almost like Eric Dolphy. But where Dolphy regularly pushed towards the avant-garde, Criss' astonishing abilities are based within a more traditional, accessible syntax.