Time: 59:46
Size: 136.8 MB
Styles: Clarinet jazz
Year: 2011
Art: Front
[3:18] 1. Vendome
[2:39] 2. Blue Room
[2:33] 3. Riding High
[2:47] 4. Late Show
[3:13] 5. Lullaby Of Birdland
[2:28] 6. Squaw With No Reservation
[3:00] 7. Body And Soul
[2:23] 8. My Melancholy Baby
[3:04] 9. Friday The 13th
[3:07] 10. Fingerpoppin'
[3:04] 11. But Not For Me
[2:53] 12. Forty-Second Street
[1:55] 13. Abstraction, No.1
[2:53] 14. Lucky To Be Me
[4:07] 15. Requiem For Lips
[3:08] 16. Autumn Nocturne
[2:04] 17. Our Love Is Here To Stay
[2:52] 18. Sunday Scene
[2:38] 19. Three Short Dances For Solo Clarinet
[2:30] 20. Glad To Be Unhappy
[2:58] 21. Let My Fingers Go!
Jimmy Nottingham (tp), Kai Winding, Billy Byers (tb), Tony Scott (cl), Eddie Wasserman (ts), Danny Bank (bs), Milt Hinton (b), Osie Johnson (d). Recorded in New York City, September 28, 1954, December 18, 1954, January 7 & 12, 1955.
During the early Fifties a good deal was written about the “new sounds” of modern jazz. The seven piece band assembled for these recordings —two saxes, trumpet, trombone, bass and drums— contributed a solid, haunting backdrop which bids fair to keep the aural arguments permanently in the forefront of the cool music league. The absence of guitar and piano helped configure the very special sound we hear —a solid groundwork over which Tony blows at his impressive best. There are no other soloists, for Tony is —and rightly so— the whole show; it is not often that jazz can offer such a brilliant, lucid and logical individual exposé. He is, by any standards, a great clarinetist and, on the strength of these performances alone, very possibly one of the most brilliant spokesmen regardless of instrument.
During the early Fifties a good deal was written about the “new sounds” of modern jazz. The seven piece band assembled for these recordings —two saxes, trumpet, trombone, bass and drums— contributed a solid, haunting backdrop which bids fair to keep the aural arguments permanently in the forefront of the cool music league. The absence of guitar and piano helped configure the very special sound we hear —a solid groundwork over which Tony blows at his impressive best. There are no other soloists, for Tony is —and rightly so— the whole show; it is not often that jazz can offer such a brilliant, lucid and logical individual exposé. He is, by any standards, a great clarinetist and, on the strength of these performances alone, very possibly one of the most brilliant spokesmen regardless of instrument.
Fingerpoppin': Complete Sessions 1954-1955
