Charlie Rouse / Paul Quinichette – The Chase Is On (1957) https://youtu.be/fhCsKd1sqxE Original Liner Notes: The protagonist of THE CHASE IS ON is the tenor saxophone. One of a large family of instruments that owes its existence to Adolph Sax, the saxophone was born about the middle of the 19th century in Paris. Therefore, the tenor sax was a relatively new addition to the musical instrumentclan when jazz came into the world.
The young music struck up a fast friendship with the horn, and as in all healthy relationships, there ensued the exploration and examination of each other so necessary to mutual understanding and appreciation. There was a total and honest commitment on the part of jazz to the tenor, and vice versa, and because the rewards of any experience are in direct ratio to the amount and kind of investment made, this relationship of jazz to the saxophone and the saxophone to jazz was bound to prosper.
In the hands of such as Coleman Hawkins, Bud Freeman, Lester Young, Illinois Jacquet, and Stan Getz, the tenor saxophone achieved a stature of leading character, and this pre-eminence seems destined to be perpetuated by newcomers who are heirs of outstanding ability and who appear on the scene from time to time. Two such tenor talents to have emerged in recent years are Paul Quinichette and Charles Rouse.
Paul Quinichette is in his late thirties. His apprenticeship was served with Louis Jordan, Lucky Millinder, Benny Carter, Sid Catlett, Jimmy Lunceford, etc. In 1950 he joined Basie and remained with the Count for two years. Since 1953 he has been freelancing and working with his own groups. Through the years, Quinichette's playing has matured into a most distinctive style, a style marked at once by fine musicianship, warmth, and humor.
Charlie Rouse was born in 1924. His background includes time with Billy Eckstine, Dizzy Gillespie, and Duke Ellington. Since 1950 he has been club-dating and recording around New York. In 1955, he and Julius Watkins of the French horn formed "Les Modes," a quintet that has been awarded much critical acclaim since its inception. Rouse's tenor work has a great deal of definition. He articulates with tremendous clarity and drive and manages sharpness of expression without sacrificing gentleness of tone.
Here then we have two personalities, leaders in their field, each with his point of view. view. It is of historical interest to have recorded a conversation between them.
Although it is frequently said that the art of conversation has been lost, andjudging by most of the talk one hears around, one can hardly dispute this contention. I, it may also be said that in jazz, the art of conversation has been found, and what's more, is flourishing.
A good jazz man is articulate. A master at expressing himself in the language of his chosen instrument, he can convey his views and state his feelings with security, ease, and sometimes even with great inspiration. Moreover, the instinctive wisdom of his talent has provided him with the felicitous ability to listen. He is able to absorb the other man's point of view, and grasping the other man's ideas, he can then make answer to them, counterpoint them, satirize them, affirm or deny them, and all this with spontaneity and wit.
Listen to "The Chase Is On"! After the intro and declarationof the twelve-bar pattern by both men, Rouse takes the first solo. His monologue is facile and explicit. Forty-eight bars later, Quinichette takes over, making his statements with broad infectious humor, Winton Kelly at the keyboard, and Edmund Thigpen on drums contributing painted remarks. Wendell Marshall on bass goes along with everybody, saving any extended comments for "Knittin." On this Rouse original, he and Thigpen introduce the subject with a twelve-bar intro, and then the piano joins in for twelve. Next, the horns come in to establish the twenty-four-bar theme, or twelve-bar phrase, repeated Rouse three times through ditto Quinichette, ditto Kelly, and ditto Marshall. Finally, the twelve-bar theme is played once through to a tag-type ending.
The same personnel briskly discourses on "This Can't Be Love." (On the first two solo choruses we hear Rouse, then it's two for Quinichette. After the piano solo, Rouse initiates a duologue with four bars. Quinichette then takes four, etc.). There is a more casual exchange over "The Tender Trap," a light discussion about "The Things I
Love," and a sedate debate is held on Carmen McRae's topic, "It's The Last Time For Love."
Hank Jones and Freddie Green replace Winton Kelly on "When The Blues Come On, and "You're Cheatin' Yourself." In a breakdown on "Cheatin," Rouse plays the first sixteenbars of the tune and bridge, and Rouse takes the last eight. Then Quinichette tunes in, and Quinichette plays the eight-bar solos for one entire chorus, and Rouse does the same. After Hank Jones "says his piece," it is Rouse who begins the four-bar-each exchange. A three-way conversation begins when we have Thigpen for four, Rouse for four, Thigpen for four, Quinichette for four, Thigpen for four, Rouse for four, and Thigpen for eight. The entire group plays the last chorus through. The change in personalities makes for a somewhat different note in the conversation, but the level remains high.
Some brief notes about the company Rouse and Quini-chette keep on this LP:
Winton Kelly is from Jamaica, B.W.I., is in his middle twenties, and lists, along with other musical background, three years as an accompanist to Dinah Washington and time with Lester Young and Dizzy Gillespie.
Hank Jones hails from Michigan and has on his "resumé" Hot Lips Page, Andy Kirk, Billy Eckstine, John Kirby, Coleman Hawkins, Ella Fitzgerald, etc.
Wendell Marshall is from Missouri, spent a very long time with Duke Ellington, and has been freelancing since 1955.
Ed Thigpen is from Chicago, has toured with Dinah Washington, and has played with Bud Powell, Johnny Hodges, Lennie Tristano, etc.
Freddie Green was born Green was born in March 1911 in South Carolina. He has been with Count Basie almost continuously since 1937 and has recorded with Benny Goodman, Benny Carter, Lester Young, Billie Holiday, etc.
This is a "quality company. It is in a company like this that the still young art of jazz will continue to progress. It is in the hands of such as Quinichette and Rouse that the tenor saxophone will maintain its leading role in any musically progressive conversations.
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diegodobini2
Charlie Rouse / Paul Quinichette – The Chase Is On (1957)
https://youtu.be/fhCsKd1sqxE
Original Liner Notes:
The protagonist of THE CHASE IS ON is the tenor saxophone. One of a large family of instruments that owes its existence to Adolph Sax, the saxophone was born about the middle of the 19th century in Paris. Therefore, the tenor sax was a relatively new addition to the musical instrumentclan when jazz came into the world.
The young music struck up a fast friendship with the horn, and as in all healthy relationships, there ensued the exploration and examination of each other so necessary to mutual understanding and appreciation. There was a total and honest commitment on the part of jazz to the tenor, and vice versa, and because the rewards of any experience are in direct ratio to the amount and kind of investment made, this relationship of jazz to the saxophone and the saxophone to jazz was bound to prosper.
In the hands of such as Coleman Hawkins, Bud Freeman, Lester Young, Illinois Jacquet, and Stan Getz, the tenor saxophone achieved a stature of leading character, and this pre-eminence seems destined to be perpetuated by newcomers who are heirs of outstanding ability and who appear on the scene from time to time. Two such tenor talents to have emerged in recent years are Paul Quinichette and Charles Rouse.
Paul Quinichette is in his late thirties. His apprenticeship was served with Louis Jordan, Lucky Millinder, Benny Carter, Sid Catlett, Jimmy Lunceford, etc. In 1950 he joined Basie and remained with the Count for two years. Since 1953 he has been freelancing and working with his own groups. Through the years, Quinichette's playing has matured into a most distinctive style, a style marked at once by fine musicianship, warmth, and humor.
Charlie Rouse was born in 1924. His background includes time with Billy Eckstine, Dizzy Gillespie, and Duke Ellington. Since 1950 he has been club-dating and recording around New York. In 1955, he and Julius Watkins of the French horn formed "Les Modes," a quintet that has been awarded much critical acclaim since its inception. Rouse's tenor work has a great deal of definition. He articulates with tremendous clarity and drive and manages sharpness of expression without sacrificing gentleness of tone.
Here then we have two personalities, leaders in their field, each with his point of view. view. It is of historical interest to have recorded a conversation between them.
Although it is frequently said that the art of conversation has been lost, andjudging by most of the talk one hears around, one can hardly dispute this contention. I, it may also be said that in jazz, the art of conversation has been found, and what's more, is flourishing.
A good jazz man is articulate. A master at expressing himself in the language of his chosen instrument, he can convey his views and state his feelings with security, ease, and sometimes even with great inspiration. Moreover, the instinctive wisdom of his talent has provided him with the felicitous ability to listen. He is able to absorb the other man's point of view, and grasping the other man's ideas, he can then make answer to them, counterpoint them, satirize them, affirm or deny them, and all this with spontaneity and wit.
Listen to "The Chase Is On"! After the intro and declarationof the twelve-bar pattern by both men, Rouse takes the first solo. His monologue is facile and explicit. Forty-eight bars later, Quinichette takes over, making his statements with broad infectious humor, Winton Kelly at the keyboard, and Edmund Thigpen on drums contributing painted remarks. Wendell Marshall on bass goes along with everybody, saving any extended comments for "Knittin." On this Rouse original, he and Thigpen introduce the subject with a twelve-bar intro, and then the piano joins in for twelve. Next, the horns come in to establish the twenty-four-bar theme, or twelve-bar phrase, repeated Rouse three times through ditto Quinichette, ditto Kelly, and ditto Marshall. Finally, the twelve-bar theme is played once through to a tag-type ending.
The same personnel briskly discourses on "This Can't Be Love." (On the first two solo choruses we hear Rouse, then it's two for Quinichette. After the piano solo, Rouse initiates a duologue with four bars. Quinichette then takes four, etc.). There is a more casual exchange over "The Tender Trap," a light discussion about "The Things I
Love," and a sedate debate is held on Carmen McRae's topic, "It's The Last Time For Love."
Hank Jones and Freddie Green replace Winton Kelly on "When The Blues Come On, and "You're Cheatin' Yourself." In a breakdown on "Cheatin," Rouse plays the first sixteenbars of the tune and bridge, and Rouse takes the last eight. Then Quinichette tunes in, and Quinichette plays the eight-bar solos for one entire chorus, and Rouse does the same. After Hank Jones "says his piece," it is Rouse who begins the four-bar-each exchange. A three-way conversation begins when we have Thigpen for four, Rouse for four, Thigpen for four, Quinichette for four, Thigpen for four, Rouse for four, and Thigpen for eight. The entire group plays the last chorus through. The change in personalities makes for a somewhat different note in the conversation, but the level remains high.
Some brief notes about the company Rouse and Quini-chette keep on this LP:
Winton Kelly is from Jamaica, B.W.I., is in his middle twenties, and lists, along with other musical background, three years as an accompanist to Dinah Washington and time with Lester Young and Dizzy Gillespie.
Hank Jones hails from Michigan and has on his "resumé" Hot Lips Page, Andy Kirk, Billy Eckstine, John Kirby, Coleman Hawkins, Ella Fitzgerald, etc.
Wendell Marshall is from Missouri, spent a very long time with Duke Ellington, and has been freelancing since 1955.
Ed Thigpen is from Chicago, has toured with Dinah Washington, and has played with Bud Powell, Johnny Hodges, Lennie Tristano, etc.
Freddie Green was born Green was born in March 1911 in South Carolina. He has been with Count Basie almost continuously since 1937 and has recorded with Benny Goodman, Benny Carter, Lester Young, Billie Holiday, etc.
This is a "quality company. It is in a company like this that the still young art of jazz will continue to progress. It is in the hands of such as Quinichette and Rouse that the tenor saxophone will maintain its leading role in any musically progressive conversations.
-
PAULETTE GIRARD
4 days ago | [YT] | 39