Jazz, like other forms of art, has a unique language which serves not only as a pattern of speech for the performing musician but also as a working vocabulary for those who discuss and evaluate the music. This language of jazz is noted for the remarkably descriptive set of idioms and phrases which reflect and define the nature of the music itself The phrase "gettin' into somethin'" has great significance for both the musician and the talented listener. It means one is at the point where important musical events are about to take place. There is a sense of arriving at the heart of the matter, of coming to that which is most important In Dave Bailey's first album for Epic, "One Foot in the Gutter" (LA 16008, BA 16008, stereo), there was a great feeling of relaxation and camaraderie; most reviewers noted that everyone concerned was very much at ease. In "Gettin' Into Somethin'" there is a different approach. The audience acted as a great motivating force, as you will hear on the opening of Slop Jah. Dave asked the audience to clap time, and this audience participation affects the mood of the entire performance The first track, Slop Jah, is an original by Clark Terry. It features a "no-nonsense" piano solo by Horace Parlan and an opening phrase on tenor sax by Charlie Rouse which in effect defies description. The tune is based on the blues, and the slow-medium tempo is very much in the current "back-to roots" movement. The second track, Little Old Mongoose, is an up-tempo swinger by Clark and Archie Moore. The things to listen for here are Clark Terry's magnificent control of his horn and perhaps the most integrated rhythm section sound ever behind Curtis Fuller's set of trombone choruses. Evad Smurd is Dave Bailey's solo spot. There are some excellent breaks by Dave and a wonderful trombone chorus by Curtis Fuller On the second side, Blues for J. P. by Horace Parlan is a soulful number dedicated to his wife. Charlie Rouse is the man to listen for here. His tenor solo is one of the most explosive of the year Clark Terry plays both flugel-horn and trumpet within the same chorus, pointing up the fact that Clark's sense of humor adds enormously to the value of his improvising It is obvious from these numbers that Dave Bailey and friends "got into somethin'." We hope that you will feel that "somethin'" too.
MIKE BERNIKER
Japanese 2015 Cd Liner Notes (google translated) Dave Bailey's albums draw listeners into the fascinating world of modern jazz and leave them feeling truly good. There are no flashy drum solos, which are common in drummer leader albums, and the exchanges of verse between soloist and drummer are almost unheard of. As the leader, Bailey focuses on supporting the soloists, bringing out their individuality and individuality while providing the perfect cushion. It's safe to say that there have been few drummers who could deliver such a precise and lively beat for the soloists. Dave Bailey was born in Portsmouth, Virginia, in February 1926. He aspired to be a pilot as a teenager, and began studying jazz at age 21 after moving to New York. In the 1950s, he played in bands such as Lou Donaldson and Gerry Mulligan. He visited Japan in January 1962 as part of singer Chris Connor's trio, and again in 1964 as a member of the Mulligan Quartet.
"Gettin' Into Something" was recorded in the fall of 1960, under the leadership of Dave Bailey. Between 1960 and 1961, Bailey released five albums as a leader for Epic, Jazz Time, and Jazz Line, all of which exude the funky charm unique to black jazz. This Epic release is his second, following "One Foot in the Gutter." Bailey's drumming is best described as "moderate," but that doesn't mean his playing is limited to simply keeping rhythm. While inspiring his soloists, Bailey also maintains control as a leader, overseeing the band and creating a tight, cohesive sound. What may seem a bit rough at first glance is actually quite satisfying to listen to, demonstrating Dave Bailey's true talent and impressive musicianship.
To record the album, Bailey called on familiar players and invited close colleagues and friends to the studio, creating an atmosphere reminiscent of a club jam session. This creates a more relaxed atmosphere and allows the performance to evoke the joy and passion unique to black jazz. The musicians include drummer Dave Bailey, Clark Terry (trumpet, flugelhorn), Curtis Fuller (trombone), Charlie Rouse (tenor saxophone), Horace Parlan (piano), and Peck Morrison (bass). The relaxed studio atmosphere allows each musician's individuality to emerge even more clearly, adding to the unique enjoyment of this album. All three tracks, "Slop Jar," "Little Old Mongoose," and "Evad Smurd," are originals written by Clark Terry. The composer's own trumpet solos, masterfully manipulating the mute on "Slop Jar," are truly virtuosic. The contrast between Terry's solos and the earthy feel of Rouse and Fuller's is also enjoyable. "Blues for J.P." is by pianist Horace Parlan. J.P. refers to trombonist Julian Priester. The track has a funky theme, and each player's unique talents are showcased in a relay of free-flowing, relaxed blues solos. Bailey's consistent rhythm and precise support, driving the front line, are not to be missed on any track. Dave Bailey later became an active member of Clark Terry's quintet with Bob Brookmeyer, but in 1969 he retired from drumming to become a small plane instructor. In the music world, he also demonstrated his business acumen, working in the management of New York's Jazzmobile. Given this, it is fair to say that the many albums he left behind as a leader, which could be described as the "essence of funky jazz," are of even greater value to fans.
Okazaki Masamichi
diegodobini2
The Dave Bailey Sextet – Gettin' Into Somethin' (1960)
https://youtu.be/3zWiF9RuYTU
Original Liner Notes:
Jazz, like other forms of art, has a unique language which serves not only as a pattern of speech for the performing musician but also as a working vocabulary for those who discuss and evaluate the music. This language of jazz is noted for the remarkably descriptive set of idioms and phrases which reflect and define the nature of the music itself The phrase "gettin' into somethin'" has great significance for both the musician and the talented listener. It means one is at the point where important musical events are about to take place. There is a sense of arriving at the heart of the matter, of coming to that which is most important In Dave Bailey's first album for Epic, "One Foot in the Gutter" (LA 16008, BA 16008, stereo), there was a great feeling of relaxation and camaraderie; most reviewers noted that everyone concerned was very much at ease. In "Gettin' Into Somethin'" there is a different approach. The audience acted as a great motivating force, as you will hear on the opening of Slop Jah. Dave asked the audience to clap time, and this audience participation affects the mood of the entire performance The first track, Slop Jah, is an original by Clark Terry. It features a "no-nonsense" piano solo by Horace Parlan and an opening phrase on tenor sax by Charlie Rouse which in effect defies description. The tune is based on the blues, and the slow-medium tempo is very much in the current "back-to roots" movement. The second track, Little Old Mongoose, is an up-tempo swinger by Clark and Archie Moore. The things to listen for here are Clark Terry's magnificent control of his horn and perhaps the most integrated rhythm section sound ever behind Curtis Fuller's set of trombone choruses. Evad Smurd is Dave Bailey's solo spot. There are some excellent breaks by Dave and a wonderful trombone chorus by Curtis Fuller On the second side, Blues for J. P. by Horace Parlan is a soulful number dedicated to his wife. Charlie Rouse is the man to listen for here. His tenor solo is one of the most explosive of the year Clark Terry plays both flugel-horn and trumpet within the same chorus, pointing up the fact that Clark's sense of humor adds enormously to the value of his improvising It is obvious from these numbers that Dave Bailey and friends "got into somethin'." We hope that you will feel that "somethin'" too.
MIKE BERNIKER
Japanese 2015 Cd Liner Notes (google translated)
Dave Bailey's albums draw listeners into the fascinating world of modern jazz and leave them feeling truly good. There are no flashy drum solos, which are common in drummer leader albums, and the exchanges of verse between soloist and drummer are almost unheard of. As the leader, Bailey focuses on supporting the soloists, bringing out their individuality and individuality while providing the perfect cushion. It's safe to say that there have been few drummers who could deliver such a precise and lively beat for the soloists. Dave Bailey was born in Portsmouth, Virginia, in February 1926. He aspired to be a pilot as a teenager, and began studying jazz at age 21 after moving to New York. In the 1950s, he played in bands such as Lou Donaldson and Gerry Mulligan. He visited Japan in January 1962 as part of singer Chris Connor's trio, and again in 1964 as a member of the Mulligan Quartet.
"Gettin' Into Something" was recorded in the fall of 1960, under the leadership of Dave Bailey. Between 1960 and 1961, Bailey released five albums as a leader for Epic, Jazz Time, and Jazz Line, all of which exude the funky charm unique to black jazz. This Epic release is his second, following "One Foot in the Gutter." Bailey's drumming is best described as "moderate," but that doesn't mean his playing is limited to simply keeping rhythm. While inspiring his soloists, Bailey also maintains control as a leader, overseeing the band and creating a tight, cohesive sound. What may seem a bit rough at first glance is actually quite satisfying to listen to, demonstrating Dave Bailey's true talent and impressive musicianship.
To record the album, Bailey called on familiar players and invited close colleagues and friends to the studio, creating an atmosphere reminiscent of a club jam session. This creates a more relaxed atmosphere and allows the performance to evoke the joy and passion unique to black jazz. The musicians include drummer Dave Bailey, Clark Terry (trumpet, flugelhorn), Curtis Fuller (trombone), Charlie Rouse (tenor saxophone), Horace Parlan (piano), and Peck Morrison (bass). The relaxed studio atmosphere allows each musician's individuality to emerge even more clearly, adding to the unique enjoyment of this album. All three tracks, "Slop Jar," "Little Old Mongoose," and "Evad Smurd," are originals written by Clark Terry. The composer's own trumpet solos, masterfully manipulating the mute on "Slop Jar," are truly virtuosic. The contrast between Terry's solos and the earthy feel of Rouse and Fuller's is also enjoyable. "Blues for J.P." is by pianist Horace Parlan. J.P. refers to trombonist Julian Priester. The track has a funky theme, and each player's unique talents are showcased in a relay of free-flowing, relaxed blues solos. Bailey's consistent rhythm and precise support, driving the front line, are not to be missed on any track. Dave Bailey later became an active member of Clark Terry's quintet with Bob Brookmeyer, but in 1969 he retired from drumming to become a small plane instructor. In the music world, he also demonstrated his business acumen, working in the management of New York's Jazzmobile. Given this, it is fair to say that the many albums he left behind as a leader, which could be described as the "essence of funky jazz," are of even greater value to fans.
Okazaki Masamichi
1 week ago | [YT] | 42