Bebop

Bebop

Bebop
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Category: Music CD
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CD Details

Edition: Music CD
CD Release Date: 1999-02-02
Music Label: 32. Jazz Records
Soundtracks:
  1. Wee - Dave Pike
  2. Constellation - Sonny Stitt
  3. Blue 'N' Boogie - Don Patterson
  4. Bloomdido - Hank Jones
  5. Anthropology - Houston Person & Ron Carter
  6. Scrapple From The Apple - Richie Cole & Phil Woods
  7. All The Things You Are - Sonny Criss
  8. Rhythm-A-Ning - Cedar Walton
  9. Down With It - James Spaulding
  10. Just Friends - Sonny Stitt

Music reviews of Bebop

Music Review: Only for the intrepid
Rating: 5 Stars

Ten miscellaneous tracks from the holdings of Muse Records, all except one featuring pyrotechnical saxophonists playing at breakneck speed on a program comprising 60% "Rhythm" tunes (bebop adaptations of George Gershwin's "I Got Rhythm"). It's a rare opportunity (not to mention bargain), though with this label (32 Jazz) I've been annoyed on a couple of occasions not to receive the booklet identifying all of the musicians on a date or track. (If ordering a used copy, check with the seller; otherwise, go for a sealed new copy).

The prolific, oft-quoted literary critic, Harold Bloom, is best known for his volume "Anxiety of Influence," which distinguishes the truly great, original, "strong" poets from the weak poets based on their ability to "misinterpret" the predecessor (in Freudian terms, the threatening, castrating father-figure) and establish their own unique identity. Applying Bloom's theory to all of the Bird wannabes on this recording can only lead to the assessment of each as a "weak" player, shedding light perhaps on the international fame and accolades that continue to be bestowed on Ornette Coleman.

All the same, I'll take the players on these tracks, none of whom is afraid to rush in to fill the void left by the passing of the sainted one, Charlie Parker. If Sonny Stitt, Sonny Criss, Phil Woods, Richie Cole, Jimmy Heath, Houston Person and James Spaulding aren't the equal of Bird, they play with a professional brilliance that amounts to reassuring testimony to the possibility of keeping his singular flame alive.

Stitt is represented by the 2 sessions--"Tune Up" and "Constellation"-- he made in the early '70s, awakening many younger listeners to his actual talent, which for the preceding dozen or so years had been covered up by his seeking a more accessible sound in Hammond B3 ensembles and experimenting with an electric gadget (the Selmer Varitone), which only inflicted injury on his clear and majestic sound. Listening to this collection in a single sitting is likely to leave the listener breathless--especially given the engineering and mixing favored at Muse. The decision to capture, at equal loudness, every note played by two saxophones plus piano, bass and ride cymbal almost turns the Woods-Cole encounter into grating cacophony, likely to make some listeners miss the flowing, unobtrusive sound of Jimmy Cobb's cymbal as heard on Columbia sessions like "Kind of Blue" and "Friday and Saturday Night at the Blackhawk." But the '70s introduced electronics to the music, whether in the disco-inspired fusion groups of the day or the bass and reverb-heavy effects that were characteristic of many acoustic sessions.

Despite such reservations, this collection should be grabbed up before it disappears from circulation. It may not be as good as "being there," but it requires little imagination to recreate the scene of instruction--as it unfolded both during these latter-day sessions and three decades earlier when Bird himself was alive.

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