[Classic Jazz Revisited] … features the remarkable Sonny Clark Trio

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African American, Jazz, Piano, Sonny Clark

Flux Classic Jazz Revisited

One of my main goals at The Urban Flux each week is to pursue and capture the images of these legendary artists and their compelling recordings from previous decades (primarily the sixties era) when cool jazz and be-bop reign supreme. It’s an honor to to be allowed to pay homage to these powerful voices who made an unmeasurable imprint in the fabric of our culture as the cornerstone of this phenomenal movement in jazz are simply unmatched.

Sonny CLark Trio - Sonny Clark

Sonny Clark -][- Sonny Clark Trio – [BLUE NOTE, 1957]

Sonny Clark always chose the best sidemen, when he led a recording session. Like on his marvelous quintet album “Cool Struttin‘”, on bass and drums we have the very best musicians of their time, namely Paul Chambers and Philly Joe Jones, so be prepared for some great music. Though also known as a good composer, here Sonny Clark concentrates on bop standards written by Gillespie or Dameron. It’s quite interesting to compare his version of “Be-Bop” with Bud Powell’s interpretations of that tune. You will notice, that Clark cannot be called one of those numerous Powell imitators, he’s got a different, more “funky” touch and phrasing.

About the other tunes on that album, just let me say, that I was surprised to hear his romantic solo version of “I Remember April“, usually played at fast tempo. “One Bass Hit” also is quite a surprise with Clark choosing the original big-band arrangement of that tune with it’s change of the key from C-major into D-flat for solos. Really a most enjoyable trio-album. —G. Schranke | Amazon.com

..:: Source: Amazon.com ::..

[Classic Jazz Revisited] … featured artist of the week pianist Sonny Clark -||- Leapin’ & Lopin’

Tags

African American, Bebop, Jazz, Sonny Clark

Flux Classic Jazz Revisited

Sonny Clark - Leapin' & Lopin'

Sonny Clark -//- Leapin’ & Lopin’ – [Blue Note Records, 1961]

Sonny Clark had something special in regards to his instrument: he had an identity. Like Dexter Gordon or Ike Quebec on the tenor sax, Charlie Parker or Jackie McLean on the alto, Clifford Brown or Miles Davis on the trumpet, Scott La faro or Paul Chambers on bass, and Thelonious Monk, Herbie Nichols, or Bud Powell on piano, you didn’t need a program to tell you that Sonny was on the ivory. Along with “Cool Struttin‘” this is the album that captures what Clark could do when some brass was along for the ride. Charlie Rouse, who was so superb with Monk, shows that there was none better on sax when it came to giving his pianist/leaders what they wanted. The older, lesser known Turrentine does honor to the family name, and Butch Warren and Billy Higgins are excellent as always, but an added treat is hearing the deep voice of Ike Quebec’s tenor on ‘deep in a dream’, a elegant, languid, tune whose wistful, romantic quality was tailor made for the emotional musings of Quebec.

In many ways this song reminds me of the great version of “In a sentimental mood” that was the highlight of the album Coltrane and Ellington created. In any case this is an album that has the unity of a certain mellow-cool-tone, while at the same time shows enough jagged edges beneath the smooth-liquid-surface to keep things very interesting. Sonny Clark was always appreciated in accompaniment, but personally I appreciate the opportunity to hear something of his own conception. Sonny Clark was one of the great individualists on ivory, a rare and beautiful breed. *Note: this is a review of the non-RVG edition of this album. —Todd Stellhorn/Amazon.com

..:: Source: Amazon.com ::..