Описание CD

вернуться        закрыть окно  

 


  Исполнитель(и) :
   Hipp, Jutta  (Piano)
◄◄◄        ►►►

  Наименование CD :
   Jutta Hipp With Zoot Sims



Год издания : 1956/2004

Компания звукозаписи : Blue Note

Музыкальный стиль : Hard Bop, Cool, Bop

Время звучания : 54:20

Код CD : 0946 3 93178 2 0

  Комментарий (рецензия) :

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

Recorded at the Van Gelder Studio, Hackensack, New Jersey on July 28, 1956.

Tracks 7 & 8: bonus tracks

Jutta Hipp, a talented German pianist, came to the United States in the mid-'50s and quickly gained some attention. However, she was soon criticized for sounding too close to Horace Silver and, after recording this final Blue Note album, she gradually dropped out of music. Reissued in 1996 on CD with two extra selections, Hipp's boppish music on the set is very enjoyable and swinging. Oddly enough, she does not sound at all like Silver on the date, making one wonder why she soon left the jazz world. Teamed up with great tenor Zoot Sims (who dominates the music), somewhat hesitant trumpeter Jerry Lloyd (who briefly came out of retirement), bassist Ahmed Abdul-Malik, and drummer Ed Thigpen, Hipp sounds excellent on a couple of basic originals and such standards as "Violets for Your Furs," "Almost Like Being in Love," and J.J. Johnson's "Wee Dot." This formerly rare set is well worth picking up by straight-ahead jazz collectors.

All Music Guide

====

За последний год фирма Blue Note переиздала все три диска немецкой пианистки Ютты Хипп, которые вышли полвека назад, точнее даже - в 1956 году. Имя, которое до этого помнили только ее современники, дотошные коллекционеры и знатоки, всерьез изучающие историю европейского джаза. Хотя судьба Ютты Хипп так и просится на киноэкран: в 1948-м, за двенадцать лет до возведения Берлинской стены, молодая художница и пианистка из Лейпцига по имени Ютта Хипп перебирается в Мюнхен, регулярно выступает в небольших клубах для солдат-союзников (часто - вместе со своим австрийским коллегой, тоже художником и саксофонистом Хансом Коллером). Там с фройляйн Хипп знакомится будущий автор первой "Энциклопедии джаза" и музыкант Леонард Фэзер, который подает молодой пианистке идею перебраться на родину джаза и устраивает ей выступление на Ньюпортском фестивале 1956 года. Тогда же мисс Хипп заключает контракт с новой и амбициозной фирмой Blue Note. Мало того: молодая женщина, белая, да еще из Европы - первая в истории фирмы она выпустила в течение одного года все три свои пластинки. Две - это запись одного выступления (с собственным трио, в котором играл ударник Оскара Питерсона Эд Тигпен - Ed Thigpen) в Hickory House - том нью-йоркском клубе, который надолго облюбовала другая пианистка из Старого Света с совершенно другой судьбой - Мэриэн МакПартленд. Третий альбом Blue Note - студийная встреча с выдающимся тенор-саксофонистом Зутом Симсом. Ютта Хипп явно была "девушкой с характером", в частности, она отказалась играть музыку своего благодетеля Фэзера, блестящего знатока джаза, историка и теоретика, но как музыканта, между нами, почти графомана. А потом обиделась на то, что ее стали сравнивать с Хорасом Сильвером, тогда только что отделившимся от "Джазовых вестников" Арта Блейки, и... исчезла из музыки навсегда. Так что в Blue Note даже не знали, куда переводить ей гонорары.

А между тем одинокая мисс Хипп прожила довольно долгую жизнь, кое-как сводя концы с концами - в частности, занималась изготовлением кукол, которые у нее не очень охотно покупали. И умерла в 2003 году у себя дома в Квинсе, на окраине Нью-Йорка.

К тому же на этой записи Зут Симс явно был в ударе - достаточно заметить, как почти во все импровизации он вставляет нечто вроде лейтмотива из спиричуэла "When the Saints Go Marchin' In". Неплох в двух номерах биг-бэндовый трубач Джерри Ллойд. По иронии судьбы, два бонус-трека, которыми снабжен этот диск, демонстрируют, что немецкая пианистка не очень-то подражала Сильверу в те годы. Скорее уж она увлекалась интеллектуальным кул-джазом Ленни Тристано (Lenny Tristano). Но и в этом была достаточно самостоятельна.

06/2008 Дмитрий УХОВ

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

When the two volumes of music encased in BLP 1515 and 1516 were recorded under the title Jutta Hipp at the Hickory House, the red-headed Madchen from Leipzig had only recently opened her engagement at that Fifty-Second Street emporium. It was her first bow on the New York scene after many months of suspense due to the lack of that most material of prerequisites, a Musicians' Union membership card.

There was no telling how America would take to Miss Hipp or she to America. Perhaps after a couple of nervous weeks the gig would be over and the time charged off to experience. It speaks eloquently for Jutta that no such thing happened. She stayed at the Hickory House for no less than six months - a run that might be the envy of 999 jazzmen out of a thousand in these days of one-week stands. During those spring and summer months of 1956, the German jazz queen held court for many a visiting citizen at the oval bar that surrounded her trio. When not busy chatting with Duke Ellington, Lennie Tristano, and other distinguished guests, she could be found around the corner at Basin Street, watching what the opposition was cooking up. It was during this time that she had a musical meeting of the minds with Zoot Sims, with results that can be heard here.

Zoot and Jutta were not strangers. They had met a couple of years earlier, when Zoot was touring the Continent with Stan Kenton's orchestra, and had jammed together in one of Frankfurt's hipper cellars.

For this Blue Note reunion two-thirds of the Hipp trio (the leader and her fine drummer, Ed Thigpen, who has since joined Billy Taylor) joined forces with three-fifths of the Zoot Sims Quintet. Zoot brought along his trumpeter, Jerry Lloyd, who a few years ago was on the New York music scene as Jerry Hurwitz, but of late had taken to driving a taxicab, preferring a calling that offered advancement, in a more literal sense. It is good to know that he has shifted gears and rejoined the ranks of the blowing. Ahmed Abdul-Malik, who practices bass playing as seriously as Mohammedanism, lent a solid foundation to the proceedings.

The style for the session, as might be suspected by anyone familiar with Jutta's musical and personal character, was completely without formality or restriction; improvisation is engagingly audible from start to finish on most of the tracks.

"Just Blues" is a lengthy and thorough inspection of the twelve-bar tradition in which the California-born tenor man helps himself to the first eleven choruses (and at 13 seconds to a chorus this doesn't make him a glutton) in the firmly swinging, Young-rooted but Sims-styled manner that brought him so successfully through the Herman, Goodman, and Kenton ranks. Jerry Lloyd follows with about seven choruses (we were more interested in what he had to express than in the exact numbers of measures it took him to express it), after which Jutta takes over for a few exercises in hip restraint, her style clearly reoriented by the time spent listening to Horace Silver and other modernists since her arrival in the U.S. a year ago. Ahmed walks a couple before the blues swings its way to a close.

"Violets for Your Furs," possibly better known for its Matt Dennis lyrics than for the Tom Adair melody, is Zoot and Jutta almost all the way, with Jerry coming in only briefly at the end.

"Back Home," an excursion to Indiana along a harmonically familiar trail, starts with a thematic framework, mostly in unison by the two horns, but is again primarily a workout for Zoot, Jutta, and Jerry.

"Almost Like Being in Love" gets right into a good middle-ground tempo and groove from the first bar, with Zoot swinging the melody before taking off into chord-based ad libbing, on the 40-bar chorus. Again the accent is on understatement in Lloyd's slightly Bakerish approach and in Jutta's single-note, middle-register lines, which rarely stray more than an octave or so above middle C.

"Wee Dot" is an up-tempo blues theme written back in the late-'40s by Jay Jay Johnson. After 24 bars of theme the solo spotlight is on Zoot from choruses 3 through 10, on Jutta for the next eight, and Jerry for six more, but everyone comes back for another taste before going out on chorus 37 (this time we did happen to keep count). "Too Close for Comfort" is, of course, the recent hit from Broadway's Mr. Wonderful. I suspect that Sammy Davis is going to get a big kick out of this, the first recorded cool jazz version. It hits a nice medium pace with Zoot in charge at the outset, followed by Jutta and Jerry in a mood that seemed to me slightly more assertive than some of the other performances in this set.

The total effect to be observed on these sides is similar to what you would experience if you happened to drop in one night at Basin Street or the Bohemia and found Jutta Hipp sitting in with Zoot's combo. The same laisser-souffler (or man, let's blow) spirit; the same concentration on individual expression. In fact, everything is there but the audience applause; it only remains to be hoped that you' Il feel like providing it yourself.

-Leonard Feather


  Соисполнители :

Ahmed Abdul-Malik (Bass)
Ed Thigpen (Drums)
Jerry Lloyd (Trumpet)
Zoot Sims (Tenor Saxophone)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Just Blues         0:08:43 Sims
   2 Violets For Your Furs     T       0:06:10 Adair, Dennis
   3 Down Home         0:06:43 Hiatt, Lloyd, Tyner
   4 Almost Like Being In Love         0:06:16 Lerner, Loewe
   5 Wee Dot         0:07:29 Johnson, Parker
   6 Too Close For Comfort     T       0:06:53 Bock, Holofcener, Weiss
   7 These Foolish Things     T       0:06:12 Link, Marvell, Strachey
   8 'S Wonderful     T       0:05:54 Gershwin, Gershwin

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

вернуться        закрыть окно

Последние изменения в документе сделаны 20/10/2016 22:10:32

Главная страница коллекции

Collection main page