Hank Crawford - More Soul & The Soul Clinic - 1960

Hank Crawford - More Soul The Soul Clinic - 1960 1961 (2012)
Жанр: Soul Jazz, Swing
Страна исполнителя: USA
Страна - производитель диска: Spain
Дата записи: New York City - October 7, 1960 October 7, 1960, February 24, May 2, 1961
Год издания: 1960 1961
Год переиздания: 2012
Издатель (лейбл): Fresh Sound Records
Номер по каталогу: FSR-CD 685
Аудио кодек: (MP3 + FLAC) (*.flac)
Тип рипа: (tracks + .cue)
Битрейт аудио: (lossy + lossless)
: full scans, png, 300 dpi
Продолжительность: 73:06
Тип: Compialtion
: коллекция Л Рендера, мой рип
Трэклист:
More Soul Atlantic S01356
1. Boo's Tune (James Moody) 6:38
2. Angel Eyes (M.Dennis-E.Brent) 6:31
3. Four-Five-Six (Hank Crawford) 5:06
4. The Story (James Moody) 4:40
5. Dat Dere (B.Timmons-O.Brown) 4:50
6. Misty (E.Garner-J.Burke) 5:30
7. Sister Sadie (Horace Silver) 4:36
The Soul Clinic Atlantic SD1372
8. Please Send Me Someone to Love (Percy Mayfield) 3:29
9. Easy Living (Robin-Rainger) 5:27
10. Playmates (Hank Crawford) 4:20
11. What a Difference a Day Made (Grever-Adams)5:29
12. Me and My Baby (Horace Silver) 4:19
13. Lorelei's Lament (Hank Crawford) 5:35
14. Blue Stone (Hank Crawford) 6:03
Состав:
Original recordings supervised by Nesuhi Ertegun
Recording engineers: Tom Dowd, Phil lehle, Bob Arnold George Engfer
This CD release produced by Jordi Pujol
This compilation© ® 2012 by Fresh Sound Records
MORE SOUL
Phil Guilbeau, trumpet;
John Hunt, trumpet, flugelhorn,
Hank Crawford, alto sax, piano arranger (except #4);
David Fathead Newman, tenor sax;
Leroy Hog Cooper, baritone sax
Edgar Willis, bass;
Milt Turner, drums;
Ray Charles, arranger #4
THE SOUL CLINIC
Phil Guilbeau, trumpet (soloist on #11);
John Hunt, trumpet, flugelhorn;
Hank Crawford, alto sax piano (on #8), arranger;
David Fathead Newman, tenor sax;
Leroy Hog Cooper, baritone sax
Edgar Willis, bass;
Bruno Carr or Milt Turner (on #11), drums

Booklet

This inspired and talented group under the leadership of altoist/arranger Hank Crawford, is the Ray Charles band, minus Ray. Bat it is also a striking unit in its own right. The big-little-band sound on these two exciting albums, More Soul and The Soul Clinic, is compellingly arranged and orchestrated, equally arresting on incendiary, swinging up-tempo performances as it is on blues-drenched ballads. And it provides a frame for notably lyrical and melodic soloists. The result is a joyous blend combining order and vitality in equal measure. Crawford - who also plays piano, when it is heard - is revealed as a moving and beautifully singing post-Bird alto player whose highly vocalized horn displays an instinctive understanding of structure and the tension-release qualities of good jazz. And, while bearing a relationship to what became known as soul music, it is also a reaffirmation of the validity of the original concept of that feeling. Remarkably, given the way that jazz and blues suffused its DNA, the unique voice of this gripping Ray Charles small-band operated only in concert or dance halls, outside the jazz club circuit.
Original liner notes from the Atlantic album More Soul (SD1356)
Soul. There's a word that's really getting batted around these days. This didn't hit me so forcefully when Down Beat devoted a special issue to Soul some time ago - but when I ambled down Seventh Avenue roundabout Birdland the other day and saw a big sign in a chili parlor's window reading WE SERVE SOUL FOOD it was, like, food for thought. Before getting too glum over the prospect of Soul on cigar wrappers and tubes of toothpaste, remember something Bobby Timmons said: You can't take a thing like real soul and wrap it up in packages and sell it and say 'this is soul' and 'that is not soul.' It is not so easily determined as that. Soul is an innate thing in people. Some people have it, and some don't. You can't just snatch it and throw it around like it's nothing.
Having a good deal of respect for the word soul, I assure you that soul is not only appropriate in Hank Crawford's case, but it is the indispensable word. Hank is a veteran of the Ray Charles band, and his saxophone has long contributed a more than ample share of the soul that goes into Ray's sound. In this first album of his as a leader, Hank impresses us here as a strong-minded individual whose conceptions, and yes, soul, are worth exploring on their own account.
Sincerity, jazz writers seem to agree, is the sine qua поп of soul. The best short definition of it, I believe, is John Tynan's: Soul simply means heart and conviction, an unconscious feeling for jazz roots that emerges in a musician's playing and makes it authentic. That not only sums up soul very well, it also epitomizes the qualities in Hank Crawford's music that strike the listener most forcefully on first hearing.
In this album, Hank says, his aim was to present a swingy, soulful program that would have an instinctive, emotional appeal for his listeners. I want to move people, not impress them, he said. The most attractive feature of the Soul school is this return of a concern for communicating to the audience, of getting the music across emotionally. As in gospel, the music demands that the listener himself participate. Hank demonstrates in this album that music that frankly stresses communication on an emotional level does not have to sacrifice qualities of interest on technical and formal levels.
Hank Crawford was born in Memphis, Tennessee on December 21, 1934. He attended public schools in Memphis and then went on to Tennessee State University in Nashville, from which he took his Bachelor of Music degree. His first instrument was the piano, on which you also hear him in this album. In high school he took up the alto saxophone (he now plays baritone and tenor saxes as well).
The first time Hank heard Ray Charles was in 1956 in Nashville. Hank happened to know some of the members of the band and tried to get them to arrange an audition with Ray Charles, hoping that Ray might hire him. This never seemed to work out, but in 1958 Ray needed a baritone saxophone player in a hurry, and then at the urging of Hank's friends in the band, Ray sent for Hank and hired him. He played baritone sax in the band for a year and a half; then Ray enlarged his band and Hank got the chance he had been looking for, to play alto. The contemporary saxophonists that interest Hank most are Cannonball Adderley, John Coltrane, James Moody and Eddie Davis. What their influence on Crawford is will be argued, but, in general, his is a sparer, more lyric, flowing line than any of these.
The musicians with Hank on this album are his colleagues in the Ray Charles band. Without a piano here, the group produces a sound for which it would be easy to develop a taste. A piano-less rhythm section, in the opinion of some, is generally cleaner, crisper and less cluttered than one with a piano. The arrangements, with only one exception, are Hank's own and are fresh and articulate, knowingly designed for the specific talents of the individual members of this group.
Several of the tunes in this album are what might be called soul standards. Like Sermonette, The Preacher and Dood-lin', they have established themselves as blowing numbers of great popularity with musicians who are of the soul persuasion. One of the most interesting in this album is the enigmatic Dat Dere, the sequel to Bobby Timmons' This Here, perhaps his most famous composition. Of it Hank says, Actually I like Dat Dere better than This Here. I believe it has more to say.
Sister Sadie, which John Coltrane kiddingly refers to as one of Horace Silver's amen numbers, is also one of the staples of the rapidly growing soul repertoire. The arrangement, with its witty Ellington East Saint Louee touches, is one of Crawford's finest, and inspired some of the best solo flights in the album.
James Moody is a musician that Hank likes personally and professionally. He said, I like Moody's band very much, and if I had my own band, it would be built along those lines. Two pieces in this album are tunes that the Moody band plays: Boo's Tune and The Story. Of the former, Hank says, It's a tune that stays in your ear. We have styled it in our own way. We play