sábado, 8 de abril de 2017

A. K. Salim • Savoy Recordings



A.K. Salim (Ahmad Khatab Atkinson) was an ex-reed man who retired from playing in 1943 to arrange and compose for several jazz and Afro- Cuban bands. This 2-CD set draws together all the recordings he did as a leader for Savoy Records in 1957-1958. Most of his work here reflects Salim’s deep knowledge of blues and his arranger’s talent for setting down relatively simple lines combining down home traditionalism with harmonic sophistication. His unpretentious arrangements have an unmistakably visceral quality and offer a fine framework for the eloquently powerful soloists of both reed and brass sections.
Some of the greatest modern jazz pianists, bassists and drummers round out the rhythm, along with guitar in a few tracks, in both support and solo capacities, while the presence of a conga blends well with the Latino-flavored charts in what is, overall, a satisfying and thoroughly swinging collection.




Tracks:
Cd. 1
1 Duo-Flautists 2:45
2 Miltown Blues 7:20
3 Ballin’ Blues 3:23
4 Pretty Baby 4:57
5 Lopin’ 2:51
6 Talk That Talk 4:11
7 Black Talk 3:38
8 D Minor Dipper 5:16
9 Dejeuner 6:20
10 A Private Cloud 4:40
11 June Is Bustin’ Out All Over 3:07
12 Blu-Binsky 6:12
13 R.U.1.2. 8:00
All Compositions by A. K. Salim,
except # 11 by Rodgers-Hammerstein II

Cd. 2
1 Shirley Ray 6:03
2 Ba-Lu-Ee-Du 5:48
3 Pretty For The People 8:05
4 Takin’ Care Of Business 5:24
5 Pay Day 3:55
6 Joy Box 6:03
7 Full Moon 5:11
8 Blue Baby 3:36
9 The Sultan 4:24
10 Blue Shout 3:23
11 Dikie How Long Baby 4:59
All Compositions by A. K. Salim

Músicos: A. K. Salim (director, arreglista) Joe Wilder, Johnny Coles, Jimmy Nottingham y Kenny Dorham (trompetas); Nat Adderley (corneta); Frank Rehak o Buster Cooper (trombón); Marshall Royal o Phil Woods (saxo alto); Frank Wess y Herbie Mann (flauta y saxo tenor); Johnny Griffin (saxo tenor); Howard Austin, Charlie Fowlkes, Pepper Adams o Sahib Shihab (saxo barítono); Kenny Burrell (guitarra); Hank Jones, Tommy Flanagan o Wynton Kelly (piano); Wendell Marshall, George Duvivier o Paul Chambers (contrabajo); Bobby Donaldson, Osie Johnson, Max Roach o Wilbur Hogan (batería); Chano Pozo (conga)
Recorded in Hackensack, New Jersey between 1957 & 1958.




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4 comentarios:

  1. Don't know what a reed man is. I guess it is the reed in a wind instrument but looking at the photo it looks like I'm wrong. Google is no help. OK I'll give it a go. Thanks as always for funking up my life, Rory, Dublin

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    1. A. K. Salim, a saxophonist and arranger best known for his scoring for big bands during the forties, wrote Flute Suite for Herbie and Frank Wess. Born Albert Atkinson in 1922, Salim converted to Islam in the 1940s, changing his ñame to Ahmad Khatab Salim. A jaw injury in 1943 resulted in his retirement as a performer, and from then on, he worked strictly as an arranger. For the next five years, he wrote for a variety of big bands, including those of Lucky Millinder, Jimmie Lunceford, and Lionel Hampton. After the American Federation of Musicians’ 1948 strike broke up many of the big bands, Salim returned to working with smaller groups. His arrangements, rooted in blues, also included work in Latin idioms, making his work attractive to bandleaders like Machito, Tito Puente, and Dizzy Gillespie. [Cary Ginell]
      Many thanks Rory, for your comment, ;)

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      Traducción Automática:
      A. K. Salim, un saxofonista y arreglista más conocido por su puntuación para las grandes bandas durante los años cuarenta, escribió la Suite Flauta para Herbie y Frank Wess. Nacido Albert Atkinson en 1922, Salim se convirtió al Islam en los años 40, cambiando su nombre a Ahmad Khatab Salim. Una lesión de la mandíbula en 1943 dio lugar a su retiro como ejecutante, ya partir de entonces, él trabajó estrictamente como arreglista. Durante los siguientes cinco años, escribió para una variedad de grandes grupos, incluyendo los de Lucky Millinder, Jimmie Lunceford y Lionel Hampton. Después de la huelga de 1948 de la Federación Americana de Músicos quebró a muchas de las grandes bandas, Salim volvió a trabajar con grupos más pequeños. Sus arreglos, arraigados en el blues, incluían también el trabajo en idiomas latinos, haciendo su trabajo atractivo para los bandleaders como Machito, Tito Puente, y Dizzy Gillespie. [Cary Ginell]

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  2. Excelentes discos, la formacion para este obra musical es de primera categoria cada uno dando lo mejor con su instrumento, unas ejecuciones excepcionales, gracias.

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