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The Unheard Recordings Part Two Cd

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The Unheard Recordings Part Two Cd

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The Unheard Recordings Part Two Cd

This compilation features the second half of Duke Ellington's set at the 1960 Monterey Jazz Festival, along with a separate set by the Cannonball Adderley Quintet from the same year. Ellington's selections come from a later set following his band's performance, with the emphasis on Jimmy...
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The Unheard Recordings Part Two Cd
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This compilation features the second half of Duke Ellington&#39;s set<br /> at the 1960 Monterey Jazz Festival, along with a separate set by<br /> the Cannonball Adderley Quintet from the same year. Ellington&#39;s<br /> selections come from a later set following his band&#39;s performance,<br /> with the emphasis on Jimmy Rushing&#39;s bluesy but always swinging<br /> vocals. Instead of singing Ellington&#39;s songs, Rushing draws three<br /> songs from his years with Count Basie, along with the standard On<br /> the Sunny Side of the Street. The singer sounds a bit hoarser than<br /> normal, but he wins over the crowd easily. A final instrumental<br /> track, Red Carpet, from Ellington&#39;s Toot Suite, completes the<br /> band&#39;s performance. The fidelity makes it sound as if the recording<br /> was made with a microphone placed near the rhythm section, as it is<br /> overly prominent compared to the horns and reeds. Although the<br /> drums are prominent on Adderley&#39;s tracks as well, the overall sound<br /> is far more balanced. The alto saxophonist charges straight through<br /> Jimmy Heath&#39;s hard bop Big P, while Frank Rosolino&#39;s Blue<br /> Daniel is a loping jazz waltz. Sam Jones&#39; The Chant has a<br /> definite gospel flavor and prominently features the composer on<br /> bass. Nat Adderley adapted an Israeli folk tune into The Old<br /> Country, with its composer&#39;s muted cornet swinging it along. The<br /> exciting gospel-flavored favorite Dis Here, by Adderley&#39;s former<br /> pianist Bobby Timmons, closes their exciting set. ~ Ken Dryden

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This compilation features the second half of Duke Ellington's set
at the 1960 Monterey Jazz Festival, along with a separate set by
the Cannonball Adderley Quintet from the same year. Ellington's
selections come from a later set following his band's performance,
with the emphasis on Jimmy Rushing's bluesy but always swinging
vocals. Instead of singing Ellington's songs, Rushing draws three
songs from his years with Count Basie, along with the standard On
the Sunny Side of the Street. The singer sounds a bit hoarser than
normal, but he wins over the crowd easily. A final instrumental
track, Red Carpet, from Ellington's Toot Suite, completes the
band's performance. The fidelity makes it sound as if the recording
was made with a microphone placed near the rhythm section, as it is
overly prominent compared to the horns and reeds. Although the
drums are prominent on Adderley's tracks as well, the overall sound
is far more balanced. The alto saxophonist charges straight through
Jimmy Heath's hard bop Big P, while Frank Rosolino's Blue
Daniel is a loping jazz waltz. Sam Jones' The Chant has a
definite gospel flavor and prominently features the composer on
bass. Nat Adderley adapted an Israeli folk tune into The Old
Country, with its composer's muted cornet swinging it along. The
exciting gospel-flavored favorite Dis Here, by Adderley's former
pianist Bobby Timmons, closes their exciting set. ~ Ken Dryden
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This compilation features the second half of Duke Ellington's set
at the 1960 Monterey Jazz Festival, along with a separate set by
the Cannonball Adderley Quintet from the same year. Ellington's
selections come from a later set following his band's performance,
with the emphasis on Jimmy Rushing's bluesy but always swinging
vocals. Instead of singing Ellington's songs, Rushing draws three
songs from his years with Count Basie, along with the standard On
the Sunny Side of the Street. The singer sounds a bit hoarser than
normal, but he wins over the crowd easily. A final instrumental
track, Red Carpet, from Ellington's Toot Suite, completes the
band's performance. The fidelity makes it sound as if the recording
was made with a microphone placed near the rhythm section, as it is
overly prominent compared to the horns and reeds. Although the
drums are prominent on Adderley's tracks as well, the overall sound
is far more balanced. The alto saxophonist charges straight through
Jimmy Heath's hard bop Big P, while Frank Rosolino's Blue
Daniel is a loping jazz waltz. Sam Jones' The Chant has a
definite gospel flavor and prominently features the composer on
bass. Nat Adderley adapted an Israeli folk tune into The Old
Country, with its composer's muted cornet swinging it along. The
exciting gospel-flavored favorite Dis Here, by Adderley's former
pianist Bobby Timmons, closes their exciting set. ~ Ken Dryden

Write a review

0 User Reviews


Do you have any questions about this product?

0 Questions & Answers