Описание CD

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  Исполнитель(и) :
   Kelly, Wynton  (Piano)
◄◄◄        ►►►

  Наименование CD :
   Kelly Blue



Год издания : 1991/2004

Компания звукозаписи : Riverside, OJC

Музыкальный стиль : Hard Bop

Время звучания : 56:47

Код CD : RIVERSIDE OJCCD-033-2 RLP 1142)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Piano - Bop)      

Recorded in New York; tracks 1 & 6 February 19, 1959; other selections March 10, 1959

Wynton Kelly was a relatively new member of the Miles Davis band when he made this 1959 session, but he had already formed a strong musical partnership with bassist Paul Chambers and drummer Jimmy Cobb. The trio would stay together long after their departure from the Davis band and a further tenure with Wes Montgomery. Kelly was an original stylist, who had a lyrical and economical approach and a way of insinuating the blues into everything he touched. You can feel it here in the moving "Willow Weep for Me" and the bright takes on "Softly, As in a Morning Sunrise" and "On Green Dolphin Street," just getting established as standards in the jazz repertoire and getting distinctive treatments here. His light, flowing lines are well matched by Cobb's spare accents and Chambers's own melodic bass. Benny Golson on tenor, Bobby Jasper on flute, and Nat Adderley on cornet join in to make up a powerful sextet on the extended title tune and two takes of another Kelly original, "Keep It Moving." It's apparent how much Kelly's comping could add to a soloist's work.

-Stuart Broomer

Originally cut for Riverside, this set mostly features the influential pianist Wynton Kelly in a trio with his fellow rhythm section mates from the Miles Davis bands, bassist Paul Chambers and drummer Jimmy Cobb. "Kelly Blue" and "Keep It Moving" add cornetist Nat Adderley, flutist Bobby Jaspar and the tenor of Benny Golson to the band for some variety. The CD reissue augments the program with a previously unreleased "Do Nothin' Till You Hear from Me" and the alternate take of "Keep It Moving." Kelly was renowned as an accompanist, but as he shows on a set including three of his originals and four familiar standards (including "Softly, As in a Morning Sunrise" and "Willow Weep for Me"), he was also a strong bop-based soloist too. A fine example of his talents.

Originally released in 1959, JVC Victor reissued Kelly Blue on a Japanese import-only CD in 2002; Riverside also reissued an import-only CD in 2003.

All Music Guide

========= from the cover ==========

Kelly green is a familiar enough color, a rich and vibrant shade. Kelly Blue, on the other hand, is newly invented for this occasion. It's a term created to identify not only the title tune of this LP, but the album's prevailing mood as well: a mood that is also rich and vibrant -and full of the particular shade of blue that goes with the jazz talents of Wynton Kelly.

This album has been designed to display to the fullest Wynton's notable blues feeling. Actually, only the opening and closing selections on the LP, both written by Kelly for this recording, are "blues" in the strict sense of the word. But the other four members lend themselves fully to the same sort of soulful, blues-y treatment, adding up to an album strongly steeped in the earthy mood and spirit that we feel is best described as Kelly Blue.

Fellow musicians have recognized for quite some time that Wynton is one of the very finest pianists around, although the jazz public (as is the case unfortunately frequently) has been rather slow to learn this fact and is only recently beginning to appreciate his considerable abilities. Although still quite a young man (he was born in December of 1931), Kelly has been playing with the best since he was in his 'teens. Most notably, he has given valuable service as an accompanist to Dinah Washington and in both large and small bands led by Dizzy Gillespie. Then, early in 1959, Miles Davis asked him to join his sextet, and it has been as a member of that notable group that Wynton has at last started to attract some long-deserved attention.

A great many of those who have worked with him will tell you without hesitation that there is no pianist today who can really be ranked ahead of Kelly as an asset to a jazz group. Both as a brilliant, fertile soloist and as a sturdy focal point of the rhythm section he is quite invaluable. This album presents Wynton in both these roles (in addition to indicating that he is a jazz composer of considerable wit and originality). On Kelly Blue, an extended and well-structured exploration of the blues, and on Keep It Moving, he has a sextet to work with, enabling him to demonstrate, among other things, just how much he can do for an ensemble and in support of horn soloists. The other four selections turn the spotlight more fully on Wynton's richly melodic, flawlessly swinging solo style. Old Clothes is a blues; Willow Weep for Me and Softly, as in a Morning Sunrise are familiar standards that are given fresh, resoundingly blues-tinged development here. Green Dolphin Street, derived from the theme music of a Lana Turner movie of a few years back, was converted to jazz uses by Miles. He has been particularly impressed by Wynton's handling of the number with the Davis group, and it was at Miles' strong suggestion that it was included in this album.

Kelly's five co-workers on the LP are among the best of the many fine young jazzmen who have come to the fore in the past few years. To begin with, the rest of the rhythm section consists of the two with whom Wynton has been teamed in Miles' sextet: the formidable and outstandingly melodic bassist, Paul Chambers (who also has opportunity to demonstrate once again his unique abilities as a soloist); and Jimmy Cobb, a most tasteful and promising young drummer. Cornetist Nat Adderley is rapidly putting an end to the practise of describing him merely as Cannonball's younger brother; he is a constantly and rapidly growing musician with astonishing range, power and control, and a wealth of soulful ideas. Benny Golson, still most widely known as the writer of many of the most highly regarded jazz compositions of the past few years, has also (particularly through his work with Art Blakey's Jazz Messengers in 1958) developed into an outstandingly firm and fluent tenor man; his two solos here offer notable evidence of this. Bobby Jaspar, Belgian-born but now thoroughly assimilated into the American jazz vein, helps greatly in the creation of an unusual ensemble sound and also adds a couple of solo examples of probably the warmest flute sound in jazz today.

With such support, plus the support that his own fingers and imagination give him, plus a repertoire ideally suited to the blues concept on which the album is based, it stems likely that this could be the push needed to put Wynton Kelly out in front, where he belongs.

- Orrin Keepnews


  Соисполнители :

Benny Golson (Tenor Saxophone)
Bobby Jaspar (Flute)
Jimmy Cobb (Drums)
Nat Adderley (Cornet)
Paul Chambers (Bass)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Kelly Blue         0:10:51 Kelly
   2 Softly, As In A Morning Sunrise         0:06:34 Hammerstein, Romberg
   3 Do Nothin' Till You Hear From Me     T       0:04:26 Ellington, Russell
   4 On Green Dolphin Street         0:04:44 Kaper, Washington
   5 Willow Weep For Me     T       0:06:08 Ronell
   6 Keep It Moving (Take 4)         0:07:34 Kelly
   7 Keep It Moving (Take 3)         0:08:50 -"-
   8 Old Clothes         0:07:40 -"-

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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