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jueves, 13 de junio de 2019

Duke Pearson's Big Band • Introducing Duke Pearson's Big Band



 AllMusic Review by Stephen Thomas Erlewine
Duke Pearson had always displayed a flair for arranging, even on small combo albums, so it shouldn't have come as a surprise that he would attempt his own big band record. What is a surprise is how successful Introducing Duke Pearson's Big Band actually is. Pearson leads 13 other musicians through a selection of nine songs, including four originals, two contemporary jazz tunes by Chick Corea and Joe Sample, and three standards. His originals are continually unpredictable and memorable, and his arrangements, especially of the standards, are provocative and intriguing. While it might not appeal to fans of Pearson's wonderful small-group hard bop sessions, it is unquestionably an experiment that works, and one that confirms his remarkable skills and talents.



 Artist Biography by Richard S. Ginell
Duke Pearson was an accomplished, lyrical, and logical -- if rather cautious -- pianist who played a big part in shaping the Blue Note label's hard bop direction in the 1960s as a producer. He will probably be best remembered for writing several attractive, catchy pieces, the most memorable being the moody "Cristo Redentor" for Donald Byrd, "Sweet Honey Bee" for himself and Lee Morgan, and "Jeannine," which has become a much-covered jazz standard. Pearson was introduced to brass instruments and the piano as a youth, and his abilities on the latter inspired his uncle, an Ellington admirer, to give him his nickname. Dental problems forced Pearson to abandon the brass family, so he worked as a pianist in Atlanta and elsewhere in Georgia and Florida before moving to New York in 1959. There, he joined Donald Byrd's band and the Art Farmer-Benny Golson Sextet, and served as Nancy Wilson's accompanist. In 1963, he arranged four numbers for jazz septet and eight-voice choir on Byrd's innovative A New Perspective album; one of the tunes was "Cristo Redentor," which became a jazz hit. From 1963 to 1970, Pearson was in charge of several recording sessions for Blue Note, while also recording most of his albums as a leader. He also led a big band from 1967 to 1970 and again in 1972, hiring players like Pepper Adams, Chick Corea, Lew Tabackin, Randy Brecker, and Garnett Brown. Pearson continued to accompany vocalists in the 1970s, such as Carmen McRae, but he spent a good deal of the latter half of the decade fighting the ravages of multiple sclerosis.

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 Reseña de AllMusic por Stephen Thomas Erlewine
Duke Pearson siempre había mostrado un don para hacer arreglos, incluso en pequeños álbumes combinados, así que no debería haber sido una sorpresa que intentara grabar su propio disco de big band. Lo que es una sorpresa es lo exitosa que es la presentación de la Big Band de Duke Pearson. Pearson dirige a otros 13 músicos a través de una selección de nueve canciones, incluyendo cuatro originales, dos temas de jazz contemporáneo de Chick Corea y Joe Sample, y tres standards. Sus originales son continuamente impredecibles y memorables, y sus arreglos, especialmente los de las normas, son provocativos e intrigantes. Aunque puede que no atraiga a los fans de las maravillosas sesiones de hard bop en grupos pequeños de Pearson, es sin duda un experimento que funciona y que confirma sus notables habilidades y talentos.



Biografía del artista por Richard S. Ginell
Duke Pearson fue un pianista consumado, lírico y lógico, aunque bastante cauteloso, que jugó un papel importante en la formación de la dirección de bop duro de la etiqueta Blue Note en la década de 1960 como productor. Probablemente será mejor recordado por escribir varias piezas atractivas y pegajosas, siendo la más memorable el malhumorado "Cristo Redentor" para Donald Byrd, "Sweet Honey Bee" para él y Lee Morgan, y "Jeannine", que se ha convertido en una gran Estándar de jazz cubierto. Pearson fue introducido a los instrumentos de metal y al piano en su juventud, y sus habilidades en este último inspiraron a su tío, un admirador de Ellington, para darle su apodo. Los problemas dentales obligaron a Pearson a abandonar la familia de los latones, por lo que trabajó como pianista en Atlanta y en otras partes de Georgia y Florida antes de mudarse a Nueva York en 1959. Allí, se unió a la banda de Donald Byrd y al Art Farmer-Benny Golson Sextet, y prestó servicios Como acompañante de Nancy Wilson. En 1963, organizó cuatro números para el septeto de jazz y el coro de ocho voces en el innovador álbum A By New Perspective de Byrd; Una de las melodías fue "Cristo Redentor", que se convirtió en un éxito de jazz. Desde 1963 hasta 1970, Pearson estuvo a cargo de varias sesiones de grabación para Blue Note, mientras que también grabó la mayoría de sus álbumes como líder. También dirigió una gran banda de 1967 a 1970 y nuevamente en 1972, contratando a jugadores como Pepper Adams, Chick Corea, Lew Tabackin, Randy Brecker y Garnett Brown. Pearson continuó acompañando a vocalistas en la década de 1970, como Carmen McRae, pero pasó gran parte de la segunda mitad de la década luchando contra los estragos de la esclerosis múltiple.


Discogs ... 



 Tracklist:
Introducing Duke Pearson's Big Band
1 - Ground Hog - 3:05
2 - New Girl - 6:02
3 - Bedouin - 5:25
4 - Straight Up And Down - 6:59
5 - Ready When You Are C.B. - 2:53
6 - New Time Shuffle - 5:35
7 - Mississippi Dip - 2:32
8 - A Taste Of Honey - 5:28
9 - Time After Time - 4:11
Selections From: Now Hear This
10 - Disapproachment - 5:42
11 - Tones For Joan's Bones - 5:30
12 - Minor League - 6:35
13 - Here's That Rainy Day - 4:20
14 - Make It Good - 5:40
15 - Days Of Wine And Roses - 5:55


Credits:
    Alto Saxophone, Flute, Bass Clarinet – Al Gibbons
    Alto Saxophone, Flute, Piccolo Flute – Jerry Dodgion
    Baritone Saxophone, Clarinet – Pepper Adams
    Bass – Bob Cranshaw
    Bass Trombone – Kenny Rupp
    Drums – Mickey Roker
    Piano – Duke Pearson
    Recorded By – Rudy Van Gelder
    Tenor Saxophone – Frank Foster, Lew Tabackin
    Trombone – Benny Powell, Garnett Brown, Julian Priester
    Trumpet – Burt Collins, Joe Shepley, Marvin Stamm, Randy Brecker

Notes:
Tracks #1-9 were recorded on December 15, 1967 and tracks #10-15 were recorded on December 3, 1968 at the Van Gelder Studio, Englewood Cliffs, NJ.
Tracks 10 to 15 are bonus cuts.


Label: Blue Note ‎– 7243 4 94508 2 0, Blue Note ‎– 494 5082
Released: 1998
Genre: Jazz
Style: Big Band























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