Instead, we've focused on all the other bebop artists signed by Teddy Reig, most of whom were leading groups for the first time, and all of whom were carving bebop out of unformed rocks and boulders for all of time, as the recording machines rolled. Alongside our Dial Modern Jazz anthology, this is quite literally where the story of this music begins on records. Artists included are a who's who of bebop, including Dexter Gordon, Kai Winding, Allen Eager, J. Johnson (including sideman Cecil Payne's first recordings ever), Stan Getz, Sonny Stitt and Kenny Dorham, Ray Brown, Fats Navarro, Ray Brown, Serge Chaloff, Kenny Hagood, Leo Parker, and Brew Moore and others.
The only thing that keeps Classic Savoy Be-Bop Sessions from being Complete Savoy Be-Bop Sessions is that it excludes Charlie Parkers recordings for the label. That, however, is good news. For one thing, it means that Mosaics latest isnt yet another repackaging of music that every semi-serious jazz fan has anyway. Instead, its 10 CDs of bebop in its ascendant era, featuring more than 20 headliners and demonstrating that even without Bird, Savoy Records was the most innovative label of the day. Of course much of this music has also been widely packaged and repackaged, and early dates by Dexter Gordon, Stan Getz and J.Johnson are no strangers to the canon. But Mosaics curations are so much more than content; they are context. Putting Gordon, Getz and Johnson together, along with Fats Navarro, Howard McGhee, Allen Eager, Tadd Dameron and the great but neglected Leo Parker creates a panoramic view of what the first wave of bebop actually sounded like. And what it sounded like was a sonic rainbow. We understand intellectually that each individual brings his own flavor to the music, but it really takes hearing them en masse for that idea to sink in.
On tenor saxophone, for example, Eagers cocksure but elegant swagger stands in sharp relief to Getz and Brew Moores floating aesthetic (although Getzs first session, the Opus de Bop date from July 1946, is startlingly aggressive compared to the stuff that made his reputation). That, in turn, couldnt be more different from the shrieking R&B-isms of Eddie Davis and his Beboppers: Thats the Davis you know better as Lockjaw, caught here in a 1946 meeting with credentialed boppers Al Haig and Gene Ramey. That band, by the way, also features Denzil Best on drums, whose clanging ride cymbal creates another contrast to Kenny Clarkes clean crispness and Shelly Mannes sibilance. Clarke and Manne are both regulars on this box, the former in one of his first dates as a leader. There are plenty of other insights to be found here too.
The second session included is Kai Windings New Jazz Group, from December 45probably the first recording of bebop trombone, and proof that Winding hadnt yet escaped the conventions of the swing era. Trumpeter Shorty Rogers and saxophonist Getz easily outpace him on Sweet Miss and Grab Your Axe Max, Windings own compositions. Six months later, Johnsons trombonistic innovations in speed and rhythm on the famous Coppin the Bop session are hair-raising by comparison. And when Winding appears again, on a January 1947 date billed as Teddy Reigs All Stars, hes absorbed them completely.
Completists will have a field day with this material. Bud Powell appears several times as a sideman (for Gordon, Johnson and a Sonny Stitt/Kenny Dorham quintet billed as the Be Bop Boys); Sonny Rollins shows up on a 49 session with Johnson; and Dizzy Gillespie does a 1946 date in a Ray Brown octet that also features saxophonist James Moodys first-ever appearance on record (with his own feature, Moody Speaks). All of this is intricately detailed in a fine essay by Neil Tesser, the cherry on top of Savoys (and Mosaics) embarrassment of riches. Not too long ago, record labels had certain identities.
Blue Note was best known for hard bop, Columbia for big named mainstream, etc. After WWII, Be-bop was in the air, and a tiny label named Savoy was one of labels who shouted the new modern sounds from the mountain tops.
The exciting and forward looking music was palpable, as the Mount Rushmore artists Dizzy Gillesie Charlie Parker and Lester Young brought inspired a whole new generation of artists. This 10 cd set, due to date restrictions and repetition, avoids the Parker/Young sessions from the label, and brings to surface material that has been obscured over time that deserves to be given a new opportunity to be heard and appreciated.
During this era, the shadows of certain artists were cast long. Thus, most tenor sax players give allegiance to either the gruff toned and rhapsodic Coleman Hawkins, or the smooth and airy Lester Young.
Some artists combined the two, while on trumpet just about everyone was bitten by the Dizzy Gillespie bug, and every alto player aspired to be an ornithologist. Many of the artists who lead these sessions went on to become household names in the modern era of jazz. Dexter Gordon, Stan Getz, JJ Johnson, Ray Brown, Milt Jackson, Sonny Stitt, Kai Winding and Kenny Dorham are bright lights in the big city of hard bop and beyond, as they later did iconic sessions for Verve and Blue Note. Unfortunately, time and Gods sovereignty make some artists more popular and long lasting than others.Fortunately, we are still able to appreciate their short moments in glory on these albums. Concerning the first tier artists first, youve got Long Tall Dexter Gordon with his big sound along with boppers including Bud Powell/p, Max Roach/dr and Curly Russell/b for some toe tapping pieces like Dexter Digs In and Dexter Rides Again in 1946. A year later hes with Leo Parker/bs, Tadd Dameron/p and Art Blakey/dr for Settin The Pace and Dexters Riff while a session a bit later with Fats Navarro/tp gives a thrilling Dextrose and Dextivity. Dizzy Gillespie is teamed up with bassist Ray Browns All stars and along with James Moody, Milt Jackson, Hank Jones and a handful of others, do delightful things with Boppin the Blues and Smoky Hollow Jump. Trombone icon Jay Jay Johnson teams up with Cecil Payne/as, Bud Powell/p, Leonard Gaskin/b and Max Roach/dr for insightful and fun material like Jay Bird and Jay Jay and in 1947 teams up with Leo Parker/bs, Hank Jones/p, Al Lucas/b and Shadow Wilson/dr for a riveting Yesterdays. Stan Getz is captured in 1946 with Jones, Russell and Roach for a fun Opus De Bop and joyful Dont Worry Bout Me A classic encounter between proto-boppers Sonny Stitt/as and Kenny Dorham/tp with Powell, Al Hall/b and Wallace Bishop/dr in 1946 produces the timeless Bebop In Paste and Rays Idea and Fats Navarro joins in with the horn players for the modern and eternally joyful Boppin A Riff and Fat Boy.
Eddie Lockjaw Davis teams up with with some boppers for a searing Fracture and Hollerin and Screamin. Sonny Stitt was cursed blessed?With sounding exactly like Charlie Parker, and his session with Kenny Dorham, Bud Powell, Al Hall and Wallace Bishop do little to dispel that claim, with some vintage 52nd Street sounds on Bebop in Pastels and Rays Idea. Fats Navarro was once the poster boy of Be-bop after Dizzy Gillespie, and hes in many of the important sessions here, including the one with Eddie Lockjaw Davis on Just a Mystery, Calling Dr. Likewise, trombonist Kai Winding sounds revelatory with Getz, future West Coast Cooler Shorty Rogers, Shelly Manne/dr and others on rich and thoughtful pieces Sweet Miss and Loaded. Likewise, legendary bassist Ray Brown brings in a team including Dizzy Gillespie, James Moody, Milt Jackson, Ray Brown and arranger Gil Fuller for some sophisticated charts on Boppin The Blues and Smoky Hollow Jump. Now, for the lesser-known artists, all you can ask yourself is why didnt they get better known? As the charts here are just as exciting and optimistic as the others. First up is Lester Young-inspired Allen Eager, who blow away the blues on Symphony Sids Idea and Rampage with a quartet including Max Roach. He does another session with Roach, Russell, Terry Gibbs/vib and Duke Jordan/p that is a thrill ride on All Night, All Frantic, and bit later swings hard with Doug Mettome/tp, George Wallington/p and others on Janes Bounce and Nightmare Allen. Warm toned tenor saxist Brew Moore is on the same level, oozing delight on Brew Blue.
Vocalist Kenny Hagood gets his moment in the sunshine as he sings with John Lewis Orchestra with Payne, Lewis, Clark and others on a hip The Way You Look Tonight. In the same vein, baritone saxist Serge Chaloff, once one of Woody Hermans Four Brothers becomes the voice of the bebop bari with Red Rodney/p on Serges Urge. Another bari player of the genre was Leo Parker, who before drifting into obscurity recorded some hot sessions with Gordon, Johnson, Russell, Wilson, Jones and Joe Newman/tp on a smoking Wee Dot and The Lions Roar. At one time trumpeter Howard McGhee was a major challenger to Gillespies thrown, demonstrated here with a 1947 session along with Jackson, Percy & Jimmy Heath and Joe Harris/dr for some clever charts Bass C Jam and Fiesta.
Other remaining obscurities include Terry Reigs All Stars with Eager, Winding, Manne and Eddie Safranski/b , and another session lead by another Prez disciple in tenor saxist Brew Moore, who teams up with a hep collection of Winding, Russell, Wallington/ Roy Haynes/dr, Jerry Lloyd/tp and Gerry Mulligan/bs for a stylish Lestorian Mode and Gold Rush. The major take-aways from absorbing all of this music is most of all how excited everyone sounds, as everyone feels that they are on to something important. The Rhythm changes and borrowing of famous melodies is well mixed with brand new ideas that shoot up into space like a Nike missile, some hitting the moon, and others crashing in the atmosphere, but that is the beauty and thrill of any new thing that comes around.The fact remains that the music from this era, and these sessions, remains the foundation of everything that we are presently listening to, and its most noticeable when some Millennial tries to return to bebop sounds on a current recording. In the hands of a 3rd generation, it comes off as more clinical; here, the sounds are from the people that initially saw the light. The sound restoration by Steve Marlowe and Jonathan Horwich is revelatory, and the booklet which includes Bob Porters incisive essay and vintage Francis Wolff pictures keep the sounds in proper perspective, and the story of producer Terry Reid and his association with the Savoy label provides for interesting background information As with all Mosaic products, it is a limited edition, so get one of the 5,000 quickly, as its a history, sonic and musical journey worth taking.
The item "MOSAIC CLASSIC SAVOY BE-BOP SESSIONS 1945-49 10-CD BOX SET" is in sale since Friday, June 14, 2019. This item is in the category "Music\CDs". The seller is "tompaine7" and is located in Philadelphia, Pennsylvania. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Bahamas, Israel, Mexico, New Zealand, Philippines, Singapore, Switzerland, Norway, Saudi arabia, Ukraine, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Antigua and barbuda, Aruba, Belize, Dominica, Grenada, Saint kitts and nevis, Saint lucia, Montserrat, Turks and caicos islands, Barbados, Bangladesh, Bermuda, Brunei darussalam, Bolivia, Egypt, French guiana, Guernsey, Gibraltar, Guadeloupe, Iceland, Jersey, Jordan, Cambodia, Cayman islands, Liechtenstein, Sri lanka, Luxembourg, Monaco, Macao, Martinique, Maldives, Nicaragua, Oman, Pakistan, Paraguay, Reunion, Uruguay, Russian federation.