This Is How I Feel About Jazz

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This Is How I Feel About Jazz
Quincy Jones' studio album

Publication
(s)

1956

Label (s) ABC paramount

Format (s)

LP / CD

Genre (s)

jazz

Title (number)

6/12

running time

36:33 (LP) / 66:50 (CD)

occupation

production

Creed Taylor

Studio (s)

Beltone Recording Studios, New York City

chronology
- This Is How I Feel About Jazz Go West, Man
(1957)
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This Is How I Feel About Jazz is a jazz album by Quincy Jones . It was recorded in three sessions between September 14 and 29, 1956 in New York City with changing line-ups, produced by Creed Taylor and published by ABC-Paramount .

The album

As the recordings for this first album of the 23-year-old bandleader and arranger Quincy Jones emerged was this as musical director and trumpeter in the big band of Dizzy Gillespie worked. With colleagues from the Gillespie band such as Frank Rehak , Ernie Royal , Jimmy Cleveland , Charli Persip , Lucky Thompson and Phil Woods , Jones formed his own big band; he also brought in other musicians, u. a. Paul Chambers , Art Farmer , Milt Jackson , Hank Jones , Herbie Mann , Joe Wilder and last but not least Charles Mingus , who had one of his last sideman appearances here before he worked with regular bands himself. According to Quincy Jones himself, the title of the album referred to his statement during a discussion at the previous Newport Jazz Festival about the "future of jazz", where he advocated its "natural growth" (versus "forced development").

At the first session on September 14, 1956, Quincy Jones, who did not play an instrument himself, had the tracks “Evening in Paris” and “Sermonets” recorded in tentettos. For the Jones number "Evening in Paris", which he had composed in Paris in 1953, Zoot Sims was added. "I wanted the first part (of the piece) with a mixture of the French Impressionist school and a free jazz feeling, " wrote Jones about the title. Art Farmer and vibraphonist Milt Jackson followed Zoot Sims' solo .

The following "Sermonette" is a Cannonball-Adderley composition; instead of Zoot Sims, Lucky Thompson was used here as tenor; on the alto saxophone you can hear Gene Quill , who has the last solo.

Quincy Jones (2008)

The next session, which took place on September 19, 1956, was arranged by Quincy Jones in a nonet line-up; recorded Harold Arlen's "A Sleepin 'Bee" and "Boo's Blues", a piece that was named after "Boo" Frazier, a cousin of Gillespie. Jones' composition had been part of the repertoire of the Gillespie Big Band on their last tour abroad for the State Department as part of the Jazz Ambassadors program. The ballad “A Sleeping Bee” is - after a brief introduction by Billy Taylor and Mingus - a feature for the flautist Herbie Mann; other soloists are Art Farmer, Phil Woods and Charles Mingus.

During the last session on September 29, 1956, the longest piece, the almost eleven-minute “Walkin '”, was created. The Richard Carpenter number, which Miles Davis made a jazz standard through his recording two years earlier , had Quincy Jones recorded with a total of 15 musicians; However, in order to avoid the typically vigorous big band manner, he repeatedly formed smaller groups in his arrangement.

Kind farmer

“We tried to create the impression of an informal session, using the orchestral backgrounds more like head arrangements instead of complex lines. I think we took advantage of it and created an impression of total freedom and relaxation, ”wrote Quincy Jones. After introducing the "Walkin '" theme through the brass section , Paul Chambers has a solo that Art Farmer enters with a stuffed trumpet, followed by Lucky Thompson (who also worked on the Davis version in 1954) and trombonist Urbie Green , Frank Rehak and Jimmy Cleveland who each have a chorus . Phil Woods and Hank Jones then conclude the series of solos.
Quincy Jones originally wrote the composition “Stockholm Sweetnin”, also recorded on September 29, for Art Farmer and Clifford Brown when they were recording with the Swedish all-stars Åke Persson , Arne Domnérus , Lars Gullin and Bengt Hallberg in 1953 in Stockholm.

Reception of the album

The critic Scott Yanow gave Quincy Jones' debut album in Allmusic the highest rating and wrote: “Six numbers of the highest quality show coherent, swinging and often individual arrangements with an abundance of solos from an all-star line- up such as Lucky Thompson on tenor, alto saxophonist Phil Woods and the Trumpeter Art Farmer; The highlights are 'Stockholm Sweetnin', 'Walkin' 'and' Sermonets'. "

Phil Woods

For Brian Priestley , the album is "a masterpiece"; In the Rough Guide Jazz, the author particularly emphasizes the airy and dynamic arrangements of “Walkin '” and “Sermonets”; Art Farmer and Lucky Thompson are the key soloists in the sessions.
Richard Cook and Brian Morton , who gave the “very beautiful” album the highest rating, emphasized that of the arranger's few jazz albums, it was this work above all others that deserved a place in a comprehensive jazz record collection. It demonstrates that "at the age of 23, Jones was a true master at gathering musicians and getting the best out of them." Compositions like "Evening in Paris" "showed the strength of his compositional ability". The authors also highlight the excellent re-mastering of the new CD edition by Michael Cuscuna .

The titles

Charles Mingus 1976
  • Quincy Jones - This Is How I Feel About Jazz (ABC-Paramount 149; GRP / MCA 11152; ABC 9569)
  1. Walkin (Richard Carpenter) - 10:44
  2. Stockholm Sweetnin '(Jones) - 5:38
  3. Evening in Paris (Jones) 4:06
  4. Sermonets (Julian Adderley) 5:55
  5. A Sleepin 'Bee (Harold Arlen / Truman Capote ) - 4:38
  6. Boo's Blues (Jones) 5:12

Tracks 3 and 4 were recorded on September 14th, tracks 5 and 6 on September 19, and tracks 1 and 2 on September 29, 1956 in New York.

Editorial note

The re-release in CD form in 1992 on the label GRP Records / MCA Records also contained six tracks that Quincy Jones recorded with two sextets on February 25, 1957 in Los Angeles for ABC Paramount; they were originally included on the album Go West, Man . This session was directed and produced by Jones, but not arranged; the LP Go West, one should rather highlight the talents of West Coast arrangers Jimmy Giuffre , Lennie Niehaus and Charlie Mariano , wrote Scotty Yanow. With three titles of Alto Summit are Benny Carter , Art Pepper , Herb Geller and Charlie Mariano heard ( "Dancin 'Pants", "Be My Guest" and "Kings Road Blues"); another three numbers have been recorded with a saxophone group with tenorists Buddy Collette , Bill Perkins and Walter Benton as well as baritone saxophonist Pepper Adams (“Bright Moon”, “The Oom Is Blues” and a “Ballad Medley” from “ What's New? "," We'll Together Again "," Time on My Hands "," You Go to My Head "and" Laura "). Three titles with a trumpet section have been omitted here.

Zoot Sims 1976

The album cover of the CD edition of GRP / MCA was with the logo of Impulse! Records that was owned by GRP at the time; but the album from 1957 is never with Impulse! been published.

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Web links

Remarks

  1. ↑ See Cook / Morton, 2nd edition, p. 715.
  2. ^ B. Priestley, Article "Quincy Jones", in: Jazz Rough Guide.
  3. ↑ Quoted from Cook & Morton, 2nd edition, p. 715.