Harold Vick • Watch What Happens

 

About Harold Vick:
"When Harold Vick was a young boy his ambitions went in two directions. Either he would become a professional basketball player or a professional musician. As he grew up he attained six feet four inches, the height that helps an aspiring basketball player, and he also had talent, evidenced by his winning an award in the sport while at college. As a child in Rocky Mount, North Carolina (he was born there on April 3, 1936), Vick heard the music of Louis Armstrong and Bing Crosby on his grandmother's Gramophone. When Vick was fifteen he received a tenor saxophone for Christmas, and in seven months he was playing weekend jobs. After high school he entered Howard University in Washington, D.C. where he studied psychology and sociology. Although he knew, after two years, that music was to be his life, he decided to finish his liberal arts education before devoting himself fully to his chosen profession.

Until his graduation in 1958, Harold helped support himself by working in the house band at the Howard Theater under former Ellington saxophonist Rick Henderson. There he was able to play with pros and absorb the kind of varied experience that is invaluable to the young musician. After graduation Vick began working with a series of bands that used to be called rhythm and blues. First he was with Red Prysock, then Paul Williams, Ruth Brown and Lloyd Price. In 1960 he left Price, came to New York, and gigged with Howard McGhee and Philly Joe Jones. Then he became part of organist Jack McDuff's group for several years. Recently he has appeared with the quartet of pianist Walter Bishop, Jr., and in a big band led by pianist Duke Pearson.

Through the years, some of Vick's preferred saxophonists have been Lester Young, Sonny Stitt, Sonny Rollins, Dexter Gordon, Gene Ammons and John Coltrane. He credits Miles Davis' former tenorman George Coleman with helping his approach. From this list you can get an idea of Harold's playing attitude. It is modern, but within a tradition that stands for melodic improvisation and that forward thrust known as swing. It has a relaxed, unhurried, unharried quality that is decidedly very easy listening." - Ira Gitler
https://www.freshsoundrecords.com/harold-vick-albums/3634-watch-what-happens-featuring-herbie-hancock.html

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Sobre Harold Vick:
"Cuando Harold Vick era joven, sus ambiciones iban en dos direcciones. O se convertía en jugador profesional de baloncesto o en músico profesional. A medida que crecía llegó a medir 1,90 m, la estatura que ayuda a un aspirante a jugador de baloncesto, y también tenía talento, como demuestra el hecho de que ganara un premio en este deporte mientras estaba en la universidad. De niño en Rocky Mount, Carolina del Norte (nació allí el 3 de abril de 1936), Vick escuchaba la música de Louis Armstrong y Bing Crosby en el gramófono de su abuela. Cuando Vick tenía quince años recibió un saxofón tenor por Navidad, y en siete meses ya tocaba los fines de semana. Después del instituto, ingresó en la Universidad Howard de Washington D.C., donde estudió psicología y sociología. Aunque a los dos años ya sabía que la música iba a ser su vida, decidió terminar sus estudios de artes liberales antes de dedicarse plenamente a la profesión que había elegido.

Hasta su graduación en 1958, Harold se ayudó a sí mismo trabajando en la banda del Howard Theater con el antiguo saxofonista de Ellington Rick Henderson. Allí pudo tocar con profesionales y absorber el tipo de experiencia variada que tiene un valor incalculable para el joven músico. Tras su graduación, Vick empezó a trabajar con una serie de bandas que solían llamarse de rhythm and blues. Primero estuvo con Red Prysock, luego con Paul Williams, Ruth Brown y Lloyd Price. En 1960 dejó a Price, vino a Nueva York y actuó con Howard McGhee y Philly Joe Jones. Después formó parte del grupo del organista Jack McDuff durante varios años. Recientemente ha actuado con el cuarteto del pianista Walter Bishop, Jr. y en una big band dirigida por el pianista Duke Pearson.

A lo largo de los años, algunos de los saxofonistas preferidos de Vick han sido Lester Young, Sonny Stitt, Sonny Rollins, Dexter Gordon, Gene Ammons y John Coltrane. Reconoce que George Coleman, antiguo tenor de Miles Davis, le ayudó en su enfoque. Esta lista permite hacerse una idea de la actitud de Harold a la hora de tocar. Es moderna, pero dentro de una tradición que defiende la improvisación melódica y ese empuje hacia delante conocido como swing. Tiene una cualidad relajada, sin prisas, sin prisas, que es decididamente muy fácil de escuchar". - Ira Gitler
https://www.freshsoundrecords.com/harold-vick-albums/3634-watch-what-happens-featuring-herbie-hancock.html

Tracks:
1 - Watch what happens
2 - Ode to Trane
3 - Serenata
4 - Where butterflies play
5 - If ever I would leave you
6 - This Hotel
7 - Eloquence
8 - Angel eyes
9 - Whisper not
10 - Guava Gelly
11 - Autumn sunset


Credits:
 Tracks #3, 10, 11: Harold Vick Orchestra with Harold Vick (ts), Jimmy Owens (tp,flh), Tom McIntosh (tb), George Marge and Joe Farrell (rds), John Blair (v), Herbie Hancock (p), Everett Barksdale (g), Bob Cranshaw (b), Grady Tate (d), Teddy Charles (vb), Dave Carey (perc)

Tracks #1, 4, 6, 7, 9: Same as above except McIntosh out and Lawrence Lucie (g) added.

Tracks #2, 5, 8: Harold Vick Quartet with Harold Vick (ts,ss), Herbie Hancock (p), Bob Cranshaw (b), Grady Tate (d)

Arranged by Ed Bland

Recorded in NYC, August 1967.

Label:    RCA – 82876643582
Released:    2004
Genre:    Jazz
Style:    Cool Jazz
https://www.discogs.com/release/9161437-Harold-Vick-Watch-What-Happens

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