Review by Alex Henderson
Over the years, Buddy DeFranco's
admirers have often wondered why the clarinet's popularity as a jazz
instrument declined considerably after World War II and the swing era --
why haven't more improvisers applied Charlie Parker's ideas to the
clarinet, and why is the clarinet usually stereotyped as a
swing/Dixieland/classic jazz instrument rather than a bebop, post-bop,
avant-garde, soul-jazz, or fusion instrument? Perhaps it has something
to do with the demands of the clarinet -- it is a tough instrument to
master, and it becomes even more demanding when you're dealing with the
complexities of bop. But those challenges never stopped DeFranco, who
was 30 when he recorded Mr. Clarinet for Verve in 1953. By that time,
DeFranco was being hailed as "the Charlie Parker of the Clarinet," and
he lives up to that title on this excellent album (which boasts Kenny
Drew on piano, Milt Hinton on bass, and Art Blakey on drums). Throughout
Mr. Clarinet, DeFranco makes the clarinet sound perfectly logical as a
bop instrument -- which was certainly an innovative thing to do back in
the late '40s and early '50s. Whether he is playing original material or
standards (including "But Not for Me" and "It Could Happen to You"),
DeFranco refuses to let the clarinet's evolution end with Benny Goodman,
Artie Shaw, Sidney Bechet, and Barney Bigard; he has no problem making
the clarinet sound relevant to the bebop scene of 1953. (It should be
noted that Shaw was also exploring bop on the clarinet in the early
'50s, but regrettably, he decided to retire from music in 1955.) Most of
the bop-oriented recordings that DeFranco provided in the '50s are well
worth owning; Mr. Clarinet
///////
Reseña de Alex Henderson
A lo largo de los años, los admiradores de Buddy DeFranco se han preguntado a menudo por qué la popularidad del clarinete como instrumento de jazz disminuyó considerablemente después de la Segunda Guerra Mundial y la era del swing - ¿por qué no han aplicado más improvisadores las ideas de Charlie Parker al clarinete, y por qué se suele estereotipar al clarinete como un instrumento de swing/Dixieland/jazz clásico en lugar de un instrumento de bebop, post-bop, vanguardista, soul-jazz o de fusión? Tal vez tenga algo que ver con las demandas del clarinete... es un instrumento difícil de dominar, y se vuelve aún más exigente cuando se trata de las complejidades del bop. Pero esos desafíos nunca detuvieron a DeFranco, que tenía 30 años cuando grabó el Sr. Clarinete para Verve en 1953. Por entonces, DeFranco era aclamado como "el Charlie Parker del Clarinete", y está a la altura de ese título en este excelente álbum (que cuenta con Kenny Drew en el piano, Milt Hinton en el bajo y Art Blakey en la batería). A través del Sr. Clarinete, DeFranco hace que el clarinete suene perfectamente lógico como un instrumento de bop - lo cual fue ciertamente algo innovador a finales de los 40 y principios de los 50. Ya sea que esté tocando material original o estándares (incluyendo "But Not for Me" y "It Could Happen to You"), DeFranco se niega a dejar que la evolución del clarinete termine con Benny Goodman, Artie Shaw, Sidney Bechet y Barney Bigard; no tiene ningún problema en hacer que el clarinete suene relevante para la escena del bebop de 1953. (Cabe señalar que Shaw también exploraba el bop en el clarinete a principios de los 50, pero lamentablemente, decidió retirarse de la música en 1955). La mayoría de las grabaciones orientadas al bop que DeFranco proporcionó en los años 50 son dignas de ser poseídas; el Sr. Clarinete
Tracklist:
1 Buddy's Blues 9:01
2 Ferdinando 5:05
3 It Could Happen To You 4:21
4 Autumn In New York 3:53
5 Left Field 4:00
6 Show Eyes 3:09
7 But Not For Me 7:00
8 Bass On Balls 7:50
Credits:
Bass – Milt Hinton
Drums – Art Blakey
Piano – Kenny Drew
Clarinet – Buddy DeFranco
Notes
Recorded April 1953 in New York City.
Originally released as Verve MGV-8159
Label: Verve Records – 847 408-2
Series: LP Reproduction –
Released: 06 Aug 2002
Genre: Jazz
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