We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
BLUE NOTE
c
EDMOND HALLS SWINGTET
EDMOND HALL Clarinet
BENNY MORTON... Trombone EVERETT BARKSDALE Guit
HARRY CARNEY Baritone Sax ALVIN RAGLIN Ba
DON FRYE Piano SIDNEY CATLETT Drum
• No. 36 BIG CITY BLUES 12 inch STEAMIN* AND BEAM IN'
THE well-known BLUE NOTE artists Edmond Hall and Sidney Catlett participate here in ensemble which includes the trombonist, Benny Morton, the pianist, Don Frye, the guitari Everett Barksdale, and two members of Duke Ellington's Orchestra, namely, the baritone sax phonist, Harry Carney, and the bassist, Alvin Raglin. In the selections listed, the diverse music personalities of the soloists coordinate in a novel, collective unity. Big City Blues, for example is richly complex with Morton's lyrical trombone utterances, with Hall's penetrating clarinei ideas, and with Carney's dark-toned baritone sax playing. Frye's piano background, an eloquem blues figure, is a pervasive motif. On the other hand, Steamin' and Beamin', a more rapic number, based on a twelve-bar chorus, has the soloists expertly maintaining and continuing c vivid melodic pattern, with a texture of highly varied timbres, or qualities.
IKE QUEBEC QUINTET
IKE QUEBEC Tenor Saxophone
ROGER RAMIREZ Piano MILTON HINTON
TINY GRIMES Guitar J.C.HEARD Drum
No. 37 BLUE HARLEM w 12 inch TINT'S EXERCISE
No. 38 SHE'S FUNNY THAT WAT P ,2 inch INDIANA
$1.50 F.O.B. New York. Excl. of Fed., State & Local Taxes
BLUE NOTE, in its preoccupation with meaningful expression in the jazz field, is no more limitec in its scope by sentimental predilections for any particular style of playing than it is swayed by publicity-motivated fashions in taste. In these new records, it introduces a wholly fresh, authentic musical invention. What is more, it introduces as soloists on records a group of very original and serious musicians. Three members of the Quintet are currently playing with Cab Calloway': Orchestra: Ike Quebec, tenor saxophonist, Milton Hinton, bassist, and J. C. Heard, drummer Tiny Grimes is guitarist with the Art Tatum Trio; Roger Ramirez is pianist with John Kirby'.' Orchestra. All dazzle with new resources, vAile the playing style of lice Quebec is especially noteworthy.
The music is closely-knit rather than lavish, expressive rather than merely exciting, and yet ii issues out of sheer virtuosity. Complex patterns are derived from virtuosity, but the patterns duced on these records are anything but decorative.
Purposeful virtuosity and complexity of an expressive, probing kind define She's Funny The Way, which is literally a Fantasia for tenor saxophone. A Fantasia, likewise, but for all fiv instruments, is Indiana, which evolves from an initial straight melody into an object of multif facets and implications.
Blue Harlem, for all its apparently involved musical thinking, is surprisingly simple, esche ing as it does all arabesque-like cliches. The saxophone probes desolately, while the piano ar guitar play limpidly. The final chorus is a canny piece of tersely stated relationship. Lastly, Trny'i Exercise is technically breathtaking, bright with humor and satire, and in general intention noi unlike Debussy's little piano compositions after Czerny's five finger exercises. The ensemble ploying is unparalleled. —MAX MARGULI'
For Complete Catalog Write to
BLUE NOTE RECORDS
767 LEXINGTON AVENUE. NEW YORK CITY