Review by Steve Huey:
Like two of his other three albums, Tina Brooks' final session as a leader (in March 1961) was sequenced and prepared for release, but remained on the shelves until well after the tenor's tragically early death. That's why the title of The Waiting Game is not only apt, but sadly poignant. Despite Blue Note's reservations at the time, Brooks' output for the label was uniformly strong, demonstrating his skills as a smooth, graceful soloist and a composer of considerable dexterity within the hard bop idiom. Swinging and bluesy, yet sophisticated and refined, The Waiting Game upholds the high standard Brooks set with his previous sessions. Brooks is especially fine on his minor-key compositions, such as "Talkin' About" and "Dhyana," which allow his streak of melancholy romanticism to emerge (as does the lone cover here, the Tony Bennett hit "Stranger in Paradise"). With its hints of Eastern modalities, "David the King" is perhaps the most challenging piece here; in fact, it had been attempted without success at the Back to the Tracks sessions. Brooks sounds especially searching on the album-closing title cut, and pianist Kenny Drew and trumpeter Johnny Coles contribute some long, fluid lines of their own. Hard bop fans will find The Waiting Game just as necessary as Brooks' other albums. Not counting the out-of-print Mosaic box, The Waiting Game was first issued as its own entity in 1999 in Japan, and was finally released in the U.S. in October 2002.
https://www.allmusic.com/album/the-waiting-game-mw0000230533
Biography by Thom Jurek:
Tina Brooks had a short-lived career during the heyday of hard bop and didn't record for the last 12 years of his life. Nonetheless, his own records and his sessions with Freddie Hubbard, Jackie McLean, Freddie Redd, Jimmy Smith, and Kenny Burrell leave the impression that he was on his way to becoming a tenor giant when he was overcome by health problems due to drug addiction. Brooks did session work with both Amos Milburn and Lionel Hampton, but the key to his own artistry is on the Blue Note label. He led only four sessions as a leader for Blue Note from 1958 through 1961 -- during his lifetime. The first two, Minor Move and True Blue, define the weighty edge in Brooks' playing and his plethora of improvisational ideas that extended the blues framework he operated out of beyond what most players were doing at the time. His reliance on minor-key signatures and open-ended harmonic figures were much-envied trademarks among his peers. Also on Blue Note is his work with McLean and Redd, both of whom played on his recordings. Perhaps Brooks' most seminal moment as an improviser, though, was on Redd's score for Jack Gelber's Beat play The Connection, performed by the Living Theater, where the musicians played themselves as characters and drug addicts, which was close to, if not spot on, the actual truth. Here he and McLean turned the hard bop blues into an aggressive, deeply emotional wail of truth and beauty winding around each other in short bursts and long lines as Redd turned the intervals inside out for the pair to blow. Brooks work on McLean's Street Singer and Jackie's Bag in 1959 and 1960 as well as Shades of Redd are stunning also.
https://www.allmusic.com/artist/tina-brooks-mn0000600900/biography
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Reseña de Steve Huey:
Al igual que dos de sus otros tres álbumes, la última sesión de Tina Brooks como líder (en marzo de 1961) fue secuenciada y preparada para su publicación, pero permaneció en las estanterías hasta mucho después de la trágica y temprana muerte del tenor. Por eso el título de The Waiting Game no sólo es acertado, sino tristemente conmovedor. A pesar de las reservas de Blue Note en ese momento, la producción de Brooks para el sello fue uniformemente sólida, demostrando sus habilidades como solista suave y elegante y como compositor de considerable destreza dentro del lenguaje del hard bop. Con swing y blues, pero sofisticado y refinado, The Waiting Game mantiene el alto nivel que Brooks estableció con sus sesiones anteriores. Brooks está especialmente bien en sus composiciones en clave menor, como "Talkin' About" y "Dhyana", que permiten que aflore su vena de romanticismo melancólico (al igual que la única versión aquí, el éxito de Tony Bennett "Stranger in Paradise"). Con sus toques de modalidades orientales, "David the King" es quizás la pieza más desafiante aquí; de hecho, se había intentado sin éxito en las sesiones de Back to the Tracks. Brooks suena especialmente inquieto en el corte que cierra el álbum, y el pianista Kenny Drew y el trompetista Johnny Coles contribuyen con algunas líneas largas y fluidas. Los fans del hard bop encontrarán The Waiting Game tan necesario como los otros álbumes de Brooks. Sin contar la caja de Mosaic, ya descatalogada, The Waiting Game se publicó por primera vez como una entidad propia en 1999 en Japón, y finalmente se editó en Estados Unidos en octubre de 2002.
https://www.allmusic.com/album/the-waiting-game-mw0000230533
Biografía de Thom Jurek:
Tina Brooks tuvo una carrera efímera durante el apogeo del hard bop y no grabó durante los últimos 12 años de su vida. Sin embargo, sus propios discos y sus sesiones con Freddie Hubbard, Jackie McLean, Freddie Redd, Jimmy Smith y Kenny Burrell dejan la impresión de que estaba en camino de convertirse en un gigante del tenor cuando se vio superado por problemas de salud debidos a la adicción a las drogas. Brooks realizó trabajos de sesión tanto con Amos Milburn como con Lionel Hampton, pero la clave de su propio arte está en el sello Blue Note. Sólo dirigió cuatro sesiones como líder para Blue Note desde 1958 hasta 1961 - durante su vida. Las dos primeras, Minor Move y True Blue, definen el peso de la interpretación de Brooks y su plétora de ideas de improvisación que ampliaron el marco del blues en el que operaba más allá de lo que la mayoría de los músicos estaban haciendo en ese momento. Su confianza en las tonalidades menores y en las figuras armónicas abiertas era una marca muy envidiada por sus colegas. También en Blue Note se encuentra su trabajo con McLean y Redd, que tocaron en sus grabaciones. Sin embargo, el momento más importante de Brooks como improvisador fue la partitura de Redd para la obra Beat de Jack Gelber The Connection, representada por el Living Theater, en la que los músicos se interpretaban a sí mismos como personajes y drogadictos, lo que se acercaba, si no se acercaba, a la realidad. Aquí, él y McLean convirtieron el blues hard bop en un lamento agresivo y profundamente emocional de verdad y belleza que se enroscaba en ráfagas cortas y líneas largas mientras Redd daba vuelta a los intervalos para que la pareja soplara. El trabajo de Brooks en McLean's Street Singer y Jackie's Bag en 1959 y 1960, así como en Shades of Redd, es también impresionante.
https://www.allmusic.com/artist/tina-brooks-mn0000600900/biography
1 - Talkin' About
2 - One For Myrtle
3 - Dhyana
4 - David The King
5 - Stranger In Paradise
6 - The Waiting Game
Credits:
Bass – Wilbur Ware
Design [Cover] – Kaoru Taku
Drums – Philly Joe Jones*
Engineer [Recording] – Rudy Van Gelder
Mastered By [In 24-bit] – Ron McMaster
Photography By [Cover And Liner Photographs] – Francis Wolff
Piano – Kenny Drew
Producer – Alfred Lion
Producer [Produced For Release], Liner Notes – Michael Cuscuna
Tenor Saxophone – Tina Brooks
Trumpet – Johnny Coles
Notes:
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on March 2, 1961.
Label: Blue Note – 7243 5 40536 2 7
Series: Blue Note Connoisseur Series
Released: 2002
Genre: Jazz
Style: Hard Bop
https://www.discogs.com/Tina-Brooks-The-Waiting-Game/release/3122484
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thank for the original uploader
Thanks for Tina
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