The Jazztet had been in existence for two years when they recorded what would be their final LPs, this date plus Another Git Together. The personnel (other than the two co-leaders flugelhornist Art Farmer and tenor-saxophonist Benny Golson) had completely changed since 1960 but the group sound was the same. The 1962 version of the Jazztet included trombonist Grachan Moncur III, pianist Harold Mabern, bassist Herbie Lewis and drummer Roy McCurdy and it is remarkable to think that this talent-filled group could not find enough jobs in order to stay together…
Benny Carter's MusicMasters catalogue turned up some fine sessions in which colleagues included Clark Terry, Hank Jones, and Doc Cheatham, among a raft of musicians - for the stellar singers, see the end of this review. The recordings, made in various locations, span the years 1990-95 and reveal the altoist seemingly unruffled by the reach of Time, still spinning some sublime and harmonically darting lines as if for the first time.
Features 24 bit remastering and limited edition. Release Date: December 04, 2013. The idea of the Jazztet playing arrangements by John Lewis written especially for them is intriguing. According to Gene Lees' liner notes, Art Farmer first approached Lewis about writing something for the sextet, to which the composer replied that he'd rather score an entire record. Even though the Jazztet and Lewis' own group, the Modern Jazz Quartet, are dissimilar in many ways, the marriage is a successful one.
Benny Goodman took some stylistic chances during his 11-year tenure with Capitol. He listened closely to, then flirted with, bebop during this time, not altering his own swing-based playing but inserting it into a bop framework. He also played traditional swing in various small groups. The sessions covered on this most recent Mosaic four-disc (six-album) set were originally issued on a number of 10" and 12" albums, as well as the CDs BG in Hi Fi and The Benny Goodman Story, a Japanese issue.
Tying in with his cameo appearance in Steven Spielberg's film The Terminal, saxophonist Benny Golson returns with Terminal 1. Featuring more of his sophisticated and swinging tunes, the album finds Golson in top form on some of his best compositions in years. Joining him on the front line here are esteemed trumpeter Eddie Henderson, deft pianist Mike LeDonne, bassist Buster Williams, and drummer Carl Allen. The title track is a mid-'60s-sounding angular piece designed to bring to mind the hustle of airports. Similarly engaging is the gorgeous ballad "Park Avenue Petite," which allows for some burnished melodicism from Henderson. It is also nice to hear Golson and company dig into the under-recorded standard "Cherry." Calling to mind the best Blue Note-era recordings, Terminal 1 is one flight of fancy not to be missed.
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The Jazztet had been in existence for two years when they recorded what would be their final LPs, Here and Now and Another Git Together. The personnel, other than the two co-leaders, flugelhornist Art Farmer and tenor-saxophonist Benny Golson, had completely changed since 1960 but the group sound was the same. The 1962 version of the Jazztet included trombonist Grachan Moncur III, pianist Harold Mabern, bassist Herbie Lewis, and drummer Roy McCurdy. It is remarkable to think that this talent-filled group wasn't, for some reason, snapped up to record even more albums together. Highlights of their excellent out-of-print LP include Ray Bryant's "Tonk," "Whisper Not," "Just in Time," and Thelonious Monk's "Ruby My Dear." A classic if short-lived hard bop group.