Category Archives: Tommy Flanagan

Classic Albums on downwithit.info in 2014

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Happy New Year to all visitors, new and old. Here’s my 100th post on downwithit.

I still have an unfinished task from 2014 which is to look back at all the classic sets that I reviewed here in 2014. By classic I mean anything other than a new release so there are one or two sets from the present millennium included here. A quick count indicates that I wrote about 26 of these albums in 2014, so I think I can conclude that I wasn’t idle, especially given that I also wrote about a number of contemporary sets and offered up some live reviews.

What follows may be a bit of a trudge through a list, but I have linked to all the reviews and if any catch your interest, please click and take a look.

On NYD 2014 I started with a bang by taking a look at John Coltrane’s Blue Train, one of my all-time favorites that I urged everyone to obtain and listen to if they hadn’t done so already.

This was followed up by Lee Morgan’s The Sidewinder and a track that inspired numerous imitations.

My January postings dipped into dinner jazz in the form of Grover Washington Jr’s All The King’s Horses and British hard bop from the 1980’s UK jazz revival via Tommy Chase and Groove Merchant.

Thoughts of Tommy Chase led downwithit.info into fresh territory and I decided to devote some time to exploring the current scene, which was something that I really enjoyed during the course of 2014. If you want a recap of the newly released albums that I reviewed last year, they can be found here and my trawl of live performances is referred to here. I’m not sure if my ramblings have encouraged the purchase of a single album or attendance at any gigs but if they have, please leave a comment and let me know.

I wrote five reviews in February 2014 opening with Horace Parlan’s piano trio set Movin’ And Groovin’. I followed this up with Johnny Griffin’s Big Soul Band. I wavered about posting on that one because I thought that it was something of a departure from the classic small band context and that it would not fit- but it seemed to be OK and remains a popular review according to my stats.

Fred Jackson’s great Hootin”N Tootin’ was next up. At the time, I checked Wikipedia which did not give a date of death. Hopefully Fred still is with us and is enjoying a peaceful retirement at the grand age of 85 years old. If anybody knows more, please tell us.

A further less well-known Blue Note set, John Jenkins With Kenny Burrell was placed in the spotlight, before I took a look at Thembi by my favourite living saxophonist, Pharoah Sanders.

March 2014 saw me take an overdue look at Yusef Lateef (more to come in 2015) and Jazz Mood, his first set as a leader from 1957. The Cats, a fine session featuring John Coltrane followed and I made my first visit to a Grant Green recording on these pages with Grant’s First Stand.

In April, I brought news a a real gem: Heavy Sounds by Elvin Jones and Richard Davis, another set to listen to even if you have to beg steal or borrow. A slow journey north up the motorway system led me to grapple with Bobby Hutcherson’s Happenings. The same trip north gave me time to take a look at The Hot Club Of San Francisco’s Veronica and I got hold of a copy of Jimmy Smith’s lacklustre a less then incredible Softly As A Summer Breeze.

In May Sonny Clark’s Sonny Clark Trio was followed by another Sonny in the form of Sonny Rollins On Impulse, which sounds like a compilation album but isn’t. Later in the month, my local second-hand record store yielded up a copy of John Coltrane’s Ole.

I took another look at Grant Green with his lesser known Iron City, featuring a strong version of Hi-Heeled Sneakers, before returning to Blue Note and Harold Vick’s Steppin’ Out and later in September with Joe Henderson and Inner Urge.

I took the view that Archie Shepp and Dollar Brand’s Duet was slightly spoiled by Shepp’s poor sax technique on a couple of tracks, but I enjoyed Hank Mobley’s great Roll Call, Grant Green’s Green Street and Freddie Hubbard’s Ready For Freddie.

2014 was the year in which a bit of research yielded some more answers about Freddie Roach’s later years and I shelled out for a first pressing of All That’s Good which turned out to be much better than a shocking review suggested it would be.

I’ve already got a the first few reviews for 2015 in mind, so please come back soon and see what I’ve been listening to and remember that comments are most welcome.

One New Year’s Resolution– the quality of the photography at downwithit must improve. No excuses!

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The Cats: Tommy Flanagan, John Coltrane, Kenny Burrell, Idrees Sulieman

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“The cats? Which cats?”
“John Coltrane, Kenny Burrell, Tommy Flanagan, Idrees Sulieman, Louis Hayes and Doug Watkins.”
“Oh, those cats. Any good?”

This is another of the recordings that was on my list to write about when I was initially planning downwithit

This set recorded in April 1957 brings together John Coltrane, Kenny Burrell and Tommy Flanagan. Essentially, this was Flanagan’s session and four of the five compositions were written by the pianist. The resulting release is an engaging listen, without breaking through into new territories.

Minor Mishap opens matters. Whilst it sounds conventional and straightforward it survives as an opportunity to hear John Coltrane and Kenny Burrell playing together. It is a foot-tapper that you can hear on the following YouTube clip:

Next up, How Long Has This been Going On is a delightful piano centred version of the George and Ira Gershwin ballad (with sax, trumpet and guitar sitting out). Flanagan shows a real delicacy of touch and the accompaniment from drums and bass has a suitably light feel to it.

Eclypso combines a 5/4 introduction, followed by a longer 4/4 main section. Idrees Sulieman sounds somewhat brash and abrasive and his trumpet style throughout the album is not one that I particularly like. However, matters are redeemed by some sunny sounding guitar from Kenny Burrell, which brought a smile to my 92 year old aunt’s face, although she said that she does not think she will ever match KB’s playing, due to a wrist injury. She joked that maybe she would have to settle for the trumpet. There’s not too much to say about Solacium, other than it allows space for the playing of Coltrane and Burrell, while Tommy’s Time gives Flanagan nearly 12 minutes to show off his talents and include a good bass solo from Doug Watkins.

Four of the band are from. Detroit and provide evidence of a strong cohort of musicians who travelled from Motown to New York City to ply their trade. There’s more from Watkins and Hayes to be heard on fellow Detroit man Yusef Lateef’s Jazz Mood, an account of which follows below.

Tommy Flanagan spent 20 years as Ella Fitzgerald’s Musical Director, a testament to the silky elegance of his piano playing. He also contributed to two of the all time greatest sessions led by saxophonists, Sonny Rollins Saxophone Colossus and John Coltrane’s Giant Steps. The genius of of those ground breakers is not matched by The Cats, but it is an enjoyable session nonetheless. The New York Times obituary of Tommy Flanagan is to be found here.

The band etc: Tommy Flanagan (piano); John Coltrane (tenor saxophone); Idrees Sulieman (trumpet); Kenny Burrell (guitar); Louis Hayes (drums); Dough Watkins (bass). Recorded: 18 April 1957. Rudy Van Gelder Studio, Hackensack, New Jersey. Produced: Bob Weinstock. Recording Engineer: Rudy Van Gelder. Cover photos & design: Don Schlitten. Cover notes: Ira Gitler. Issued as Prestige 8217. Released 1959.

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