| | Duke Pearson Honeybuns CD Duke Pearson Discography of CDs
Recorded in New York, New York on May 25 & 26, 1965. Originally released on Atlantic (3002). Includes liner notes by Nat Hentoff.
All tracks have been digitally remastered using HDCD technology.
This 1998 Koch CD reissues a Duke Pearson LP from 1966, containing music from the previous year. Other than "Our Love" (a familiar classical theme adapted to American pop music by Larry Clinton), all six selections are originals by the pianist. Utilizing a nonet that includes trumpeter Johnny Coles (who does his best to be soulful on "Honeybuns"), trombonist Garnett Brown, flutist Les Spann, altoist James Spaulding, tenor saxophonist George Coleman, baritonist Pepper Adams, bassist Bob Cranshaw, and drummer Mickey Roker, Pearson performs music in a style that would have fit in quite well on Blue Note. Most memorable among his originals is "Is That So." This is not an essential date, but it is nice to have this rarity back in print again. ~ Scott Yanow
This 1998 Koch CD reissues a Duke Pearson LP from 1966, containing music from the previous year. Other than "Our Love" (a familiar classical theme adapted to American pop music by Larry Clinton), all six selections are originals by the pianist. Utilizing a nonet that includes trumpeter Johnny Coles (who does his best to be soulful on "Honeybuns"), trombonist Garnett Brown, flutist Les Spann, altoist James Spaulding, tenor saxophonist George Coleman, baritonist Pepper Adams, bassist Bob Cranshaw, and drummer Mickey Roker, Pearson performs music in a style that would have fit in quite well on Blue Note. Most memorable among his originals is "Is That So." This is not an essential date, but it is nice to have this rarity back in print again. [Collectables reissued the album in 2008.] ~ Scott Yanow
Duke Pearson Nonet: Duke Pearson (piano); James Spaulding (alto saxophone); George Coleman (tenor saxophone); Pepper Adams (baritone saxophone, clarinet); Les Spann (flute); Johnny Coles (trumpet); Garnett Brown (trombone); Bob Cranshaw (bass); Mickey Roker (drums).
Producer: Joel Dorn.
Reissue producers: Donald Elfman, Naomi Yoshii.
Duke Pearson: Duke Pearson (piano); Garnett Brown, Les Spann, Pepper Adams.
Personnel: Les Spann (flute); Pepper Adams (clarinet, baritone saxophone); James Spaulding (alto saxophone); George Coleman (tenor saxophone); Johnny Coles (trumpet); Garnett Brown (trombone); Bob Cranshaw (bass instrument); Mickey Roker (drum). Duke Pearson Honeybuns Songs Honeybuns Review
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In addition to having excellent cover art (an illustrated cityscape in which a giant saxophone--complete with windows, a doorway, and stoop--takes its place among the neighboring buildings), LENOX AVENUE BREAKDOWN is also a dynamic, unjustly overlooked jazz album. Prodigiously talented as an instrumentalist and composer, alto saxophonist Arthur Blythe was one of the most innovative jazz musicians of the 1970s and '80s, and LENOX AVENUE BREAKDOWN, his Columbia Records debut, proves it.
Blythe's ability to marry the best of the genre's traditions (he is equally versed in swing, post-bop, and romantic styles) with his avant-garde leanings ...
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Recorded live in Scandinavia in April 1960. Originally released on Atlantic (2-603). Includes liner notes by Joel Dorn and Jule Foster.
Digitally remastered by Gene Paul (DB Plus Digital Services, New York, New York).
Long considered one of, if not the classic album from the Modern Jazz Quartet, European Concert defines them simultaneously as a recording entity as well as a working band. MJQ presented jazz in the context of a formally structured environment, much like a chamber group in the classical context. Within the band, the groove of Milt "Bags" Jackson's vibes met the solid swing of Connie Kay's drums, ...
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After 1970's Old Socks, New Shoes...New Socks, Old Shoes landed them a spot on the charts briefly for the single "Hard Times" the Crusaders decided on an entirely new approach by making a very small change: they dropped the word "Jazz" from their moniker for 1971's Pass the Plate, the group's final offering on Chisa. Pass the Plate is notable for many things. For starters, a member of the band wrote every composition on it and yet it's a thoroughly modern recording. It begins with trombonist Wayne Henderson's 15- plus-minute title suite that contains no less than five separate parts (the Crusaders were no strangers to the pop music of the era; here they did their own nearly side-long take on what the Beatles accomplished on side two of Abbey Road). The original quartet of Henderson, pianist Joe Sample, saxophonist Wilton Felder, and drummer Stix Hooper are assisted on guitar -- and one assumes on bass since this instrument is uncredited -- by soul and blues legend Arthur Adams. It is a seamless track that allows for the individual abilities of all of its members to shine through as improvisers and displays Henderson's impeccable sense of time, seamlessly melding genres such as gospel, blues, and vintage and latter day soul into jazz. In addition to Adams, there are also uncredited female and male choruses edited into the proceedings at two points (they're in the background and they don't distract) and Philemon Hou, from the Friends of Distinction, adds some "tapping" and "begging" to the mix, bringing it the feel of some good-time street theater. The first side closes with a reprise of the group's first hit of a decade earlier, "Young Rabbits (71-72)," with a brief but tough drum break by Hooper. The second half of the album is almost all Sample. It begins with "Listen and You'll See," one of the pianist's now trademark sleight-of-hand compositions where theme, interlude, bridge, and improvisation ...
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