Hank Crawford was an alto sax sensation since he stepped out of the Ray Charles band back in 1963. A signature piercing, full bodied, blues, soul, and gospel drenched tone, sets him apart from the alto pack. He has an instantly recognizable voice, and his excellent choice of material suits his style perfectly. He is a bluesman turned preacher on the sax, and the sermon is always on time.
Bennie Ross Crawford Jr. was born in Memphis, Tennessee on December 21, 1934, began formal piano studies at age nine and was soon playing for his church choir. His father had brought an alto saxophone home from the service and when Hank entered high school, he took it up in order to join the band. He credits Charlie Parker, Louis Jordan, Earl Bostic and Johnny Hodges as early influences.
At school, he hung out with Phineas and Calvin Newborn, Booker Little, George Coleman, Frank Stozier and Harold Mabern—all of whom would go on to become important jazz figures. "We had a pretty good education just by being around each other," Crawford says now.
Before he had finished high school, Hank was playing in bands led by Ben Branch, Tuff Green, Al Jackson, Sr. and Ike Turner. They were frequently called upon to back such up-and-coming blues singers as B. B. King, Bobby Bland, Junior Parker, Johnny Ace and Roscoe Gordon and the Palace Theatre, the Club Paradise and other Memphis venues.
In 1953, Crawford went away to Tennessee State College in Nashville where he developed his arranging skills as a leader of the school dance band, which included vocalist Leon Thomas. During the evening, he led a quartet called Little Hank and the Rhythm Kings. Discovered one night at the Subway Lounge by country producer Roy Hall, the group cut "The House of Pink Lights" and "Christine" for a local label with Crawford as featured vocalist.
His big break came in 1958 when Ray Charles passed through Nashville. Baritone saxophonist Leroy “Hog” Cooper had just left the band, and Charles offered Crawford the baritone chair. “I learned a lot about discipline and phrasing from Ray,” Crawford says. “He would keep me up a lot of nights and dictate arrangements to me. I learned how to voice and get that soulful sound. I think I kinda had it before, but being around him just helped that much more.”
"Sherry", Hank's first composition and arrangement for the Charles septet, was recorded for the Ray Charles At Newport album shortly after he joined the band. He also contributed three tunes and six arrangements to Fathead Newman's debut albums later in 1958. Two years later, Charles expanded to full big band size and appointed Crawford musical director. (Crawford also switched to alto around this time.)
When Crawford left Ray Charles in 1963 to form his own septet, he had already established himself with several albums for Atlantic. From 1960 until 1970, he recorded twelve LPs for the label, many while balancing his earlier duties as Ray’s director. He released such pre-crossover hits as "Misty", "The Pepper", "Skunky Green", and "Whispering Grass".
After signing with Creed Taylor's Kudo label in 1971, he cut one album a year over the next eight years. At Kudu, Crawford wasn't allowed to write his own charts and was instead handed lavish arrangements in the then- fashionable CTI crossover mold. He still managed to come out with consistently quality work.
Crawford returned to classic form upon signing with Milestone Records in 1982, playing alto saxophone and often writing in the soulful manner that first made him famous. Some of his albums for the company— Midnight Ramble, (’82) Indigo Blue, (’83) Roadhouse Symphony, (’85) Night Beat, (’88) Groove Master, (’90) and South-Central. (’92).
In 1986, the saxophonist began working with blues-jazz organ master Jimmy McGriff. These are soul jazz played the way it should be, like going to school, it doesn’t get any better. They recorded four co-leader dates for Milestone—Soul Survivors, (’86) Steppin’ Up, (’87) On the Blue Side, (’89) and Road Tested, (’97) this duo also performed numerous club dates and concert dates in the U. S.
The new century found Hank Crawford, shifting gears and going for a more mainstream jazz set in his 2000 release “The World of Hank Crawford.” Though the songs are compositions from jazz masters as Ellington and Tadd Dameron, he delivers in that sanctified church sound that is his trademark.
Source: James Nadal
https://www.allaboutjazz.com/musicians/hank-crawford
///////
Hank Crawford fue una sensación del saxo alto desde que salió de la banda de Ray Charles en 1963. Su tono característico, penetrante y lleno de cuerpo, empapado de blues, soul y gospel, le distingue de los demás saxos altos. Tiene una voz reconocible al instante, y su excelente elección de material se adapta perfectamente a su estilo. Es un bluesman convertido en predicador del saxo, y el sermón siempre llega a tiempo.
Bennie Ross Crawford Jr. nació en Memphis, Tennessee, el 21 de diciembre de 1934, empezó a estudiar piano formalmente a los nueve años y pronto tocó en el coro de su iglesia. Su padre había traído a casa un saxofón alto del servicio y, cuando Hank entró en el instituto, lo cogió para unirse a la banda. Sus primeras influencias fueron Charlie Parker, Louis Jordan, Earl Bostic y Johnny Hodges.
En la escuela, se reunía con Phineas y Calvin Newborn, Booker Little, George Coleman, Frank Stozier y Harold Mabern, todos los cuales se convertirían en importantes figuras del jazz. "Tuvimos una buena educación sólo por el hecho de estar juntos", dice ahora Crawford.
Antes de terminar el instituto, Hank tocaba en bandas dirigidas por Ben Branch, Tuff Green, Al Jackson, Sr. e Ike Turner. A menudo eran llamados para respaldar a cantantes de blues prometedores como B. B. King, Bobby Bland, Junior Parker, Johnny Ace y Roscoe Gordon en el Palace Theatre, el Club Paradise y otros locales de Memphis.
En 1953, Crawford se marchó al Tennessee State College de Nashville, donde desarrolló sus habilidades de arreglista como líder de la banda de baile de la escuela, que incluía al vocalista Leon Thomas. Por la noche, dirigía un cuarteto llamado Little Hank and the Rhythm Kings. Descubiertos una noche en el Subway Lounge por el productor de country Roy Hall, el grupo grabó "The House of Pink Lights" y "Christine" para un sello local con Crawford como vocalista principal.
Su gran oportunidad llegó en 1958 cuando Ray Charles pasó por Nashville. El saxofonista barítono Leroy "Hog" Cooper acababa de dejar la banda y Charles le ofreció a Crawford la silla de barítono. "Aprendí mucho sobre la disciplina y el fraseo de Ray", dice Crawford. "Me mantenía despierto muchas noches y me dictaba los arreglos. Aprendí a vocalizar y a conseguir ese sonido conmovedor. Creo que ya lo tenía, pero estar cerca de él me ayudó mucho más".
"Sherry", la primera composición y arreglo de Hank para el septeto de Charles, se grabó para el álbum Ray Charles At Newport poco después de unirse a la banda. También contribuyó con tres melodías y seis arreglos a los álbumes de debut de Fathead Newman más tarde en 1958. Dos años más tarde, Charles amplió el tamaño de la big band y nombró a Crawford director musical. (Crawford también cambió a contralto por esta época).
Cuando Crawford dejó a Ray Charles en 1963 para formar su propio septeto, ya se había establecido con varios álbumes para Atlantic. Desde 1960 hasta 1970, grabó doce LPs para el sello, muchos de ellos mientras compaginaba sus anteriores obligaciones como director de Ray. Publicó éxitos anteriores al crossover como "Misty", "The Pepper", "Skunky Green" y "Whispering Grass".
Tras firmar con el sello Kudo de Creed Taylor en 1971, grabó un álbum al año durante los ocho años siguientes. En Kudu, a Crawford no se le permitió componer sus propios temas y, en su lugar, se le entregaron lujosos arreglos en el molde crossover de CTI, tan de moda entonces. Aun así, se las arregló para hacer un trabajo de calidad constante.
Crawford volvió a su forma clásica cuando firmó con Milestone Records en 1982, tocando el saxofón alto y escribiendo a menudo de la manera conmovedora que le hizo famoso. Algunos de sus álbumes para la compañía: Midnight Ramble, ('82) Indigo Blue, ('83) Roadhouse Symphony, ('85) Night Beat, ('88) Groove Master, ('90) y South-Central. ('92).
En 1986, el saxofonista comenzó a trabajar con el maestro del órgano de blues-jazz Jimmy McGriff. Esto es soul jazz tocado como debe ser, como ir a la escuela, no hay nada mejor. Grabaron cuatro fechas como colíderes para Milestone-Soul Survivors, ('86) Steppin' Up, ('87) On the Blue Side, ('89) y Road Tested, ('97) este dúo también realizó numerosas fechas en clubes y conciertos en Estados Unidos.
El nuevo siglo encontró a Hank Crawford, cambiando de marcha y apostando por un conjunto de jazz más convencional en su lanzamiento de 2000 "The World of Hank Crawford". Aunque las canciones son composiciones de maestros del jazz como Ellington y Tadd Dameron, él las interpreta con ese sonido de iglesia santificado que es su marca.
Fuente: James Nadal
https://www.allaboutjazz.com/musicians/hank-crawford
Tracks:
1 - Please Send Me Someone To Love 3:28
2 - Easy Living 5:27
3 - Playmates 4:21
4 - What A Difference A Day Made 5:30
5 - Me And My Baby 4:19
6 - Lorelei's Lament 5:36
7 - Blue Stone 6:05
Credits:
Alto Saxophone, Arranged By – Hank Crawford
Baritone Saxophone – Leroy "Hog" Cooper*
Bass – Edgar Willis
Coordinator [Re-releases] – Andree Buchler, Claude Nobs, Thierry Amsallem
Design [Booklet] – Urs Tschuppert
Design [Front cover] – Loring Eutemey
Drums – Bruno Carr, Milt Turner (tracks: 4)
Flugelhorn [Fluegelhorn], Trumpet – John Hunt
Liner Notes [Original] – Ralph J. Gleason
Liner Notes [Reissue] – Claude Nobs, Yves Bigot
Mastered By – Jean Ristori
Photography By [Cover Photo] – Elbert Budin
Piano – Hank Crawford (tracks: 1)
Recorded By – Bob Arnold, George Engfer, Phil Iehle, Tom Dowd
Sleeve Notes – Ahmet Ertegun
Supervised By – Nesuhi Ertegun
Tenor Saxophone – David Newman
Trumpet – Phillip Guilbeau
Label: Atlantic – 7567-80758-2
Series: Atlantic Original Sound
Released: 1998
Genre: Jazz
Style: Bop, Hard Bop
https://www.discogs.com/release/3662926-Hank-Crawford-Soul-Clinic
This file is intended only for preview!
I ask you to delete the file from your hard drive or device after reading it.
thank for the original uploader
Thanks for this one.
ReplyDelete;)
Delete