AllMusic Review by Stephen Thomas Erlewine
Duke Pearson had always displayed a flair for arranging, even on small
combo albums, so it shouldn't have come as a surprise that he would
attempt his own big band record. What is a surprise is how successful
Introducing Duke Pearson's Big Band actually is. Pearson leads 13 other
musicians through a selection of nine songs, including four originals,
two contemporary jazz tunes by Chick Corea and Joe Sample, and three
standards. His originals are continually unpredictable and memorable,
and his arrangements, especially of the standards, are provocative and
intriguing. While it might not appeal to fans of Pearson's wonderful
small-group hard bop sessions, it is unquestionably an experiment that
works, and one that confirms his remarkable skills and talents.
Artist Biography by Richard S. Ginell
Duke Pearson was an accomplished, lyrical, and logical -- if rather
cautious -- pianist who played a big part in shaping the Blue Note
label's hard bop direction in the 1960s as a producer. He will probably
be best remembered for writing several attractive, catchy pieces, the
most memorable being the moody "Cristo Redentor" for Donald Byrd, "Sweet
Honey Bee" for himself and Lee Morgan, and "Jeannine," which has become
a much-covered jazz standard. Pearson was introduced to brass
instruments and the piano as a youth, and his abilities on the latter
inspired his uncle, an Ellington admirer, to give him his nickname.
Dental problems forced Pearson to abandon the brass family, so he worked
as a pianist in Atlanta and elsewhere in Georgia and Florida before
moving to New York in 1959. There, he joined Donald Byrd's band and the
Art Farmer-Benny Golson Sextet, and served as Nancy Wilson's
accompanist. In 1963, he arranged four numbers for jazz septet and
eight-voice choir on Byrd's innovative A New Perspective album; one of
the tunes was "Cristo Redentor," which became a jazz hit. From 1963 to
1970, Pearson was in charge of several recording sessions for Blue Note,
while also recording most of his albums as a leader. He also led a big
band from 1967 to 1970 and again in 1972, hiring players like Pepper
Adams, Chick Corea, Lew Tabackin, Randy Brecker, and Garnett Brown.
Pearson continued to accompany vocalists in the 1970s, such as Carmen
McRae, but he spent a good deal of the latter half of the decade
fighting the ravages of multiple sclerosis.
///////
Reseña de AllMusic por Stephen Thomas Erlewine
Duke Pearson siempre había mostrado un don para hacer arreglos, incluso
en pequeños álbumes combinados, así que no debería haber sido una
sorpresa que intentara grabar su propio disco de big band. Lo que es una
sorpresa es lo exitosa que es la presentación de la Big Band de Duke
Pearson. Pearson dirige a otros 13 músicos a través de una selección de
nueve canciones, incluyendo cuatro originales, dos temas de jazz
contemporáneo de Chick Corea y Joe Sample, y tres standards. Sus
originales son continuamente impredecibles y memorables, y sus arreglos,
especialmente los de las normas, son provocativos e intrigantes. Aunque
puede que no atraiga a los fans de las maravillosas sesiones de hard
bop en grupos pequeños de Pearson, es sin duda un experimento que
funciona y que confirma sus notables habilidades y talentos.
Biografía del artista por Richard S. Ginell
Duke Pearson fue un pianista consumado, lírico y lógico, aunque bastante
cauteloso, que jugó un papel importante en la formación de la dirección
de bop duro de la etiqueta Blue Note en la década de 1960 como
productor. Probablemente será mejor recordado por escribir varias piezas
atractivas y pegajosas, siendo la más memorable el malhumorado "Cristo
Redentor" para Donald Byrd, "Sweet Honey Bee" para él y Lee Morgan, y
"Jeannine", que se ha convertido en una gran Estándar de jazz cubierto.
Pearson fue introducido a los instrumentos de metal y al piano en su
juventud, y sus habilidades en este último inspiraron a su tío, un
admirador de Ellington, para darle su apodo. Los problemas dentales
obligaron a Pearson a abandonar la familia de los latones, por lo que
trabajó como pianista en Atlanta y en otras partes de Georgia y Florida
antes de mudarse a Nueva York en 1959. Allí, se unió a la banda de
Donald Byrd y al Art Farmer-Benny Golson Sextet, y prestó servicios Como
acompañante de Nancy Wilson. En 1963, organizó cuatro números para el
septeto de jazz y el coro de ocho voces en el innovador álbum A By New
Perspective de Byrd; Una de las melodías fue "Cristo Redentor", que se
convirtió en un éxito de jazz. Desde 1963 hasta 1970, Pearson estuvo a
cargo de varias sesiones de grabación para Blue Note, mientras que
también grabó la mayoría de sus álbumes como líder. También dirigió una
gran banda de 1967 a 1970 y nuevamente en 1972, contratando a jugadores
como Pepper Adams, Chick Corea, Lew Tabackin, Randy Brecker y Garnett
Brown. Pearson continuó acompañando a vocalistas en la década de 1970,
como Carmen McRae, pero pasó gran parte de la segunda mitad de la década
luchando contra los estragos de la esclerosis múltiple.
Tracklist:
Introducing Duke Pearson's Big Band
1 - Ground Hog - 3:05
2 - New Girl - 6:02
3 - Bedouin - 5:25
4 - Straight Up And Down - 6:59
5 - Ready When You Are C.B. - 2:53
6 - New Time Shuffle - 5:35
7 - Mississippi Dip - 2:32
8 - A Taste Of Honey - 5:28
9 - Time After Time - 4:11
Selections From: Now Hear This
10 - Disapproachment - 5:42
11 - Tones For Joan's Bones - 5:30
12 - Minor League - 6:35
13 - Here's That Rainy Day - 4:20
14 - Make It Good - 5:40
15 - Days Of Wine And Roses - 5:55
Credits:
Alto Saxophone, Flute, Bass Clarinet – Al Gibbons
Alto Saxophone, Flute, Piccolo Flute – Jerry Dodgion
Baritone Saxophone, Clarinet – Pepper Adams
Bass – Bob Cranshaw
Bass Trombone – Kenny Rupp
Drums – Mickey Roker
Piano – Duke Pearson
Recorded By – Rudy Van Gelder
Tenor Saxophone – Frank Foster, Lew Tabackin
Trombone – Benny Powell, Garnett Brown, Julian Priester
Trumpet – Burt Collins, Joe Shepley, Marvin Stamm, Randy Brecker
Notes:
Tracks #1-9 were recorded on December 15, 1967 and tracks #10-15 were recorded on December 3, 1968 at the Van Gelder Studio, Englewood Cliffs, NJ.
Tracks 10 to 15 are bonus cuts.
Label: Blue Note – 7243 4 94508 2 0, Blue Note – 494 5082
Released: 1998
Genre: Jazz
Style: Big Band
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