Subject: I have found a CD that I think you would enjoy
Genres: Jazz, Pop
A growing number of younger jazzmen in the early 1960s were exploring ways to further expand their range and depth of communication. One of the quieter but most intense searchers was Booker Little, a 23-year-old Memphis bo... more »
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A growing number of younger jazzmen in the early 1960s were exploring ways to further expand their range and depth of communication. One of the quieter but most intense searchers was Booker Little, a 23-year-old Memphis born trumpet player who has become best known for his work with Max Roach. Little's playing is impressive because of his strong-lined lyricism and highly individual, thoughtful conception. His originals and arrangements for Roach were also free of ornamentation and directly emotional. Throughout this album, Roach was a valuable catalyst of ideas, suggesting tympani and other additional percussive effects. Recorded in N.Y.C. in 1961.
Just might be Booker's best
George T. Parsons | Nevada City, CA | 04/24/2003
(5 out of 5 stars)
"The tragically short lived Booker Little (died of kidney failure on October 5, 1961, at the age of 23) on trumpet, Julian Priester on trombone, Eric Dolphy on alto sax, bass clarinet, and flute, Don Friedman on piano, Ron Carter plays bass on four tracks, while Art Davis supplies bass for the remaining three, Max Roach drums, and provides, tympani, and vibes.
Upbeat and sunny pieces alternate with slower and dreamier, even slightly melancholic tracks.
I've listened to this album almost more than any other jazz release I own, and I've yet to tire of it.
I was listening to "Man of Words" when I got the news that one of my oldest and best childhood friends had passed away, I can't imagine a more appropriate piece of music for such an experience.
Buy this today if you like jazz at all."
I finally get it
jive rhapsodist | NYC, NY United States | 01/02/2006
(5 out of 5 stars)
"This CD took its time revealing its charms to me. The use of a kind of omnipresent 3-part triadic harmony felt at the same time too rich and not rich enough. And which side of the Ornette fence does it stand on? Or does it sit on it? Well, these are the dangers of an overly canonical, overly historical approach to Jazz. If Booker would've lived past the age of 23, all would've surely been made clear. This is a very young man's record. And yet, it is the music of one who must have intuited that his time wasn't long. The playing and writing are brilliant, passionate and focused. The dirge - like qualities of Moods In Free Time are what finally woke me up to what's going on in this music. I myself would not have gone back to an ensemble part which resembles the opening at the end - that feels like the easy choice. But that's a minor cavil.
Booker's playing is so assured and lyrical. I love the way he attacks high notes. They don't seem to have the climactic function they have for so many trumpeters - they seem more like an element of design. His solos go very well next to some of composer Stefan Wolpe's music for trumpet. I also feel a link to some of Andrew Hill's music, especially Point of Departure. Not enough has been written about some music of the early - '60's which availed itself of some of the innovations of Free Jazz while continuing to make a music extremely linked to a set harmonic scheme. This is a classic of that music."
Why has there no reissue of Booker Little's masterpiece?
John Handy | Atlanta, GA USA | 04/23/2001
(4 out of 5 stars)
"Out Front is an important CD. But his best work is another recording under Time Records titled 'Booker Little' which is not readily available. I have been amazed and disappointed that there has been no reissue of one of the most important albums of the post-Parker, post-Clifford Brown era. This album which was Booker's first album as a leader was recorded on April 13, 1960, eleven days after his 21st birthday. It is an astoundingly beautiful recording using the highest quality multi-channel technology available at the time. It was part of the Series 2000 recordings issued by Time Records with liner notes by Nat Hentoff. It featured Tommy Flanagan, Scott La Faro, and Roy Haynes (with Wynton Kelly sitting in on one tune). If you are a fan of "Bee Tee" (his nickname since childhood), or if you just want to hear a profound trumpet album, having few equals, then you must somehow get this recording. Again, however, I am not sure this is possible since I know of no readily available reissue. I have owned this album since I was a teenager and I have played it over the years for fellow aficionados of the music. Everyone who has heard the work has confirmed this is a masterpiece; and during the 60s and 70s it attained legendary status among serious collectors. For those interested in the important work of Scott La Faro (Bill Evans bassist), this album is essential -- his work here is a virtual tour de force of acoustic bass. I hope other jazz collectors will join me in encouraging whoever owns and controls the Time tapes and catalog to reissue this great work. The album is exceptionally tight and harmonically interesting. Rarely have four musicians played so much in unison, with so much clarity and clean, inspired musicianship."