Review by Stephen Thomas Erlewine
Dial "S" for Sonny, Sonny Clark's first session for Blue Note Records and his first session as a leader, is a terrific set of laidback bop, highlighted by Clark's liquid, swinging solos. Clark leads a first-rate group -- Art Farmer (trumpet), Curtis Fuller (trombone), Hank Mobley (tenor sax), Wilbur Ware (bass), Louis Hayes (drums) -- through four originals and two standards, balancing the selections between swinging bop and reflective ballads. There are traces of Bud Powell in Clark's style, but he's beginning to come into his own, developing a style that's alternately edgy and charmingly relaxed. Mobley, Farmer and Fuller have their moments, but Clark steals the show in this set of fine, straight-ahead bop.
https://www.allmusic.com/album/dial-s-for-sonny-mw0000267905
Pianist Sonny Clark was culturally marginalized in much the same way as his contemporary Elmo Hope—both heroin-addicted jazz musicians in the 1950s: at the time, and romantically, a cliche. Both pianists have been sorely lumped into the "Bud Powell school of bop piano" which superficially may seem accurate until one considers the evolutionary continuum of jazz piano that places both Clark and Hope conceptually and stylistically beyond Powell.
Clark was born in Georgia and raised outside of Pittsburgh. His professional career began on the West Coast while visiting his Aunt where Clark met and began working with tenor saxophonist Wardell Gray. From southern California, Clark went to San Francisco with bassist Oscar Pettiford. The pianist joined clarinetist Buddy DeFranco in 1953, touring with him until 1956, when he joined The Lighthouse All-Stars, led by bassist Howard Rumsey. Wishing to return East, in 1957, Clark signed on to accompany singer Dinah Washington ensuring a move to New York City in February of that year. In July, Clark entered Rudy Van Gelder's Hackensack studio to begin cutting sides for what would become his debut recording for Blue Note Records, Dial "S" for Sonny.
Dial "S" for Sonny was a sextet recording featuring trumpeter Art Farmer, trombonist Curtis Fuller and tenor saxophonist Hank Mobley. Bassist Wilbur Ware and drummer Louis Hayes rounded out the rhythm section. The repertoire consisted of four Clark originals and two standards ("It Could Happen to You" and "Love Walked In"). Like hope, Clark was a full-service jazz composer. His performance informed the hard bop genre of which he was a powerful proponent.
Clark alternates between hard bop cookers and ballads: the title tune, "Bootin' It" and "Sonny's Mood" being upbeat definitive hard bop. 'The two standards offer the more meditative mood, with "Love Walked In" performed in a trio format. The breadth of Clark's capabilities are displayed in his tempo and rhythm switches on the Gershwin classic. "Shoutin' on a Riff" is Clark's all-out nod to bebop, with the pianist showing off his technical wares at speed. The ensemble playing is sprite and fresh with Farmer and Fuller hitting notes right on the nose, while Mobley kept things rounded up in that loose, fun way he had when he performed. Dial "S" for Sonny serves well as an example of hard bop when the subgenre was evolving.
By C. MICHAEL BAILEY
May 20, 2020
https://www.allaboutjazz.com/dial-s-for-sonny
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Reseña de Stephen Thomas Erlewine
Dial "S" for Sonny, la primera sesión de Sonny Clark para Blue Note Records y su primera sesión como líder, es un excelente conjunto de bop relajado, resaltado por los solos líquidos y oscilantes de Clark. Clark dirige a un grupo de primera categoría -Art Farmer (trompeta), Curtis Fuller (trombón), Hank Mobley (saxo tenor), Wilbur Ware (bajo), Louis Hayes (batería)- a través de cuatro originales y dos estándares, equilibrando las selecciones entre el swing bop y las baladas reflexivas. Hay rastros de Bud Powell en el estilo de Clark, pero está comenzando a desarrollar su propio estilo, que es alternativamente nervioso y encantadoramente relajado. Mobley, Farmer y Fuller tienen sus momentos, pero Clark se lleva la palma en este conjunto de buen bop directo.
https://www.allmusic.com/album/dial-s-for-sonny-mw0000267905
El pianista Sonny Clark fue marginado culturalmente de la misma manera que su contemporáneo Elmo Hope: ambos músicos de jazz adictos a la heroína en la década de 1950: en ese momento, y románticamente, un cliché. Ambos pianistas han sido agrupados en la "escuela de Bud Powell del piano bop", lo que superficialmente puede parecer acertado hasta que se considera el continuo evolutivo del piano de jazz que sitúa tanto a Clark como a Hope conceptual y estilísticamente más allá de Powell.
Clark nació en Georgia y se crió en las afueras de Pittsburgh. Su carrera profesional comenzó en la Costa Oeste mientras visitaba a su tía, donde Clark conoció y empezó a trabajar con el saxofonista tenor Wardell Gray. Desde el sur de California, Clark se fue a San Francisco con el bajista Oscar Pettiford. El pianista se unió al clarinetista Buddy DeFranco en 1953 y estuvo de gira con él hasta 1956, cuando se unió a The Lighthouse All-Stars, dirigido por el bajista Howard Rumsey. Con el deseo de volver al Este, en 1957, Clark firmó para acompañar a la cantante Dinah Washington asegurando su traslado a la ciudad de Nueva York en febrero de ese año. En julio, Clark entró en el estudio de Rudy Van Gelder en Hackensack para empezar a cortar las caras de lo que sería su primera grabación para Blue Note Records, Dial "S" for Sonny.
Dial "S" for Sonny era una grabación de un sexteto con el trompetista Art Farmer, el trombonista Curtis Fuller y el saxofonista tenor Hank Mobley. El bajista Wilbur Ware y el batería Louis Hayes completaban la sección rítmica. El repertorio consistía en cuatro originales de Clark y dos estándares ("It Could Happen to You" y "Love Walked In"). Al igual que Hope, Clark era un compositor de jazz completo. Su interpretación dio forma al género hard bop del que fue un poderoso defensor.
Clark alterna entre los cocineros de hard bop y las baladas: la melodía del título, "Bootin' It" y "Sonny's Mood" son el hard bop definitivo. Los dos estándares ofrecen el estado de ánimo más meditativo, con "Love Walked In" interpretada en formato de trío. La amplitud de las capacidades de Clark se muestra en sus cambios de tempo y ritmo en el clásico de Gershwin. "Shoutin' on a Riff" es un guiño de Clark al bebop, con el pianista mostrando su técnica a toda velocidad. El conjunto de músicos es ágil y fresco, con Farmer y Fuller dando en el clavo, mientras que Mobley mantiene las cosas redondeadas en esa forma suelta y divertida que tenía cuando actuaba. Dial "S" for Sonny es un buen ejemplo de hard bop cuando el subgénero estaba evolucionando.
Por C. MICHAEL BAILEY
20 de mayo de 2020
https://www.allaboutjazz.com/dial-s-for-sonny
1 - Dial S For Sonny -
2 - Bootin' It (Stereo Take) -
3 - It Could Happen To You -
4 - Sonny's Mood -
5 - Shoutin' On A Riff -
6 - Love Walked In -
7 - Bootin' It (Mono Take) -
Credits:
Bass – Wilbur Ware
Design [Cover] – Reid Miles
Drums – Louis Hayes
Liner Notes – Robert Levin
Photography By [Artists' Photo] – Francis Wolff
Photography By [Cover Photo] – William Connors
Piano – Sonny Clark
Producer – Alfred Lion
Recorded By – Rudy Van Gelder
Tenor Saxophone – Hank Mobley
Trombone – Curtis Fuller
Trumpet – Art Farmer
Notes:
Recorded July 21, 1957
Recorded At – Van Gelder Studio, Hackensack, New Jersey
Remastered By – Rudy Van Gelder
Label: Blue Note – TOCJ-7013
Series: Blue Note RVG –
Released: 25 Jul 2007
Genre: Jazz
Style: Hard Bop
https://www.discogs.com/Sonny-Clark-Dial-S-For-Sonny-/release/10084275
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Thanks for Sonny.
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