Time: 71:23
Size: 163.4 MB
Styles: Hard bop, Soul jazz, Piano jazz
Year: 2012
Art: Front
[5:36] 1. For Carl Perkins
[3:35] 2. Jubilation
[4:23] 3. A Little ¾ For God & Co
[3:16] 4. This Can't Be Love
[6:22] 5. But Not For Me
[7:13] 6. C-Jam Blues
[7:35] 7. I'll Remember April
[6:00] 8. Night In Tunisia
[7:45] 9. A Foggy Day
[7:32] 10. Tellin' 'em About It
[3:19] 11. The Shout
[6:01] 12. How High The Moon
[2:40] 13. Cute
Recorded June 1960. The Carl Perkins referred to here is the bop-oriented pianist from Indianapolis and not the Carl Perkins of "Blue Suede Shoes" fame.
Born in Lexington, KY, in 1935, pianist Leslie Coleman McCann settled in Los Angeles in 1956. He emerged from obscurity after cutting “The Truth”, his first trio record, in February 1960, in which the walking bass of Leroy Vinnegar and direct swing of drummer Ron Jefferson were the perfect esthetic compliment to McCann’s music.
During the next few years he was the focus of widespread controversy as an exponent of a brand of piano jazz variously called Gospel, funk, soul, blues, back-to-the-roots, etc. While McCann acknowledged that almost all his relatives had sung in the church choir in Lexington, he said his music was a product of his early environment and no gimmick. “The way we play just fitted together as soon as Leroy and Ron and I first got together. We just started playing together, and it all made sense.”
Born in Lexington, KY, in 1935, pianist Leslie Coleman McCann settled in Los Angeles in 1956. He emerged from obscurity after cutting “The Truth”, his first trio record, in February 1960, in which the walking bass of Leroy Vinnegar and direct swing of drummer Ron Jefferson were the perfect esthetic compliment to McCann’s music.
During the next few years he was the focus of widespread controversy as an exponent of a brand of piano jazz variously called Gospel, funk, soul, blues, back-to-the-roots, etc. While McCann acknowledged that almost all his relatives had sung in the church choir in Lexington, he said his music was a product of his early environment and no gimmick. “The way we play just fitted together as soon as Leroy and Ron and I first got together. We just started playing together, and it all made sense.”
For Carl Perkins
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