Styles: Saxophone Jazz
Year: 1954
File: MP3@320K/s
Time: 58:00
Size: 132,9 MB
Art: Front
( 6:25) 1. Tune For Tex
( 6:24) 2. Where Or When
( 8:05) 3. Mr. E-Z
(13:13) 4. Kamman's A'Comin'
( 7:33) 5. Ever So Easy
( 3:20) 6. Salute To Charlie Parker
( 4:18) 7. Mood Indigo
( 5:02) 8. Easy To Love
( 3:35) 9. Prelude To A Mood
Year: 1954
File: MP3@320K/s
Time: 58:00
Size: 132,9 MB
Art: Front
( 6:25) 1. Tune For Tex
( 6:24) 2. Where Or When
( 8:05) 3. Mr. E-Z
(13:13) 4. Kamman's A'Comin'
( 7:33) 5. Ever So Easy
( 3:20) 6. Salute To Charlie Parker
( 4:18) 7. Mood Indigo
( 5:02) 8. Easy To Love
( 3:35) 9. Prelude To A Mood
Born in Columbia, SC, on June 16, 1924, tenor saxophonist Lucky Thompson bridged the gap between the physical dynamism of swing and the cerebral intricacies of bebop, emerging as one of his instrument's foremost practitioners and a stylist par excellence. Eli Thompson's lifelong nickname the byproduct of a jersey, given him by his father, with the word "lucky" stitched across the chest -- would prove bitterly inappropriate: when he was five, his mother died, and the remainder of his childhood, spent largely in Detroit, was devoted to helping raise his younger siblings. Thompson loved music, but without hope of acquiring an instrument of his own, he ran errands to earn enough money to purchase an instructional book on the saxophone, complete with fingering chart. He then carved imitation lines and keys into a broom handle, teaching himself to read music years before he ever played an actual sax. According to legend, Thompson finally received his own saxophone by accident a delivery company mistakenly dropped one off at his home along with some furniture, and after graduating high school and working briefly as a barber, he signed on with Erskine Hawkins' 'Bama State Collegians, touring with the group until 1943, when he joined Lionel Hampton and settled in New York City. Soon after his arrival in the Big Apple, Thompson was tapped to replace Ben Webster during his regular gig at the 52nd Street club the Three Deuces Webster, Coleman Hawkins, Lester Young, and Art Tatum were all in attendance at Thompson's debut gig, and while he deemed the performance a disaster (a notorious perfectionist, he was rarely if ever pleased with his work), he nevertheless quickly earned the respect of his peers and became a club fixture.
After a stint with bassist Slam Stewart, Thompson again toured with Hampton before joining singer Billy Eckstine's short-lived big band that included Charlie Parker, Dizzy Gillespie, and Art Blakey in other words, the crucible of bebop. But although he played on some of the earliest and most influential bop dates, Thompson never fit squarely within the movement's paradigm his playing boasted an elegance and formal power all his own, with an emotional depth rare among the tenor greats of his generation. He joined the Count Basie Orchestra in late 1944, exiting the following year while in Los Angeles and remaining there until 1946, in the interim playing on and arranging a series of dates for the Exclusive label. Thompson returned to the road when Gillespie hired him to replace Parker in their epochal combo he also played on Parker's landmark March 28, 1946, session for Dial, and that same year was a member of the Charles Mingus and Buddy Collette-led Stars of Swing which, sadly, never recorded. More...Jason Ankeny https://www.allmusic.com/artist/lucky-thompson-mn0000302799/biography
Personnel: Lucky Thompson (tenor sax), Jimmy Hamilton (clarinet), Billy Taylor (piano), Sidney Gross (guitar on #1-3), Oscar Pettiford (bass), Osie Johnson (drums).
Personnel: Lucky Thompson (tenor sax), Jimmy Hamilton (clarinet), Billy Taylor (piano), Sidney Gross (guitar on #1-3), Oscar Pettiford (bass), Osie Johnson (drums).
Accent on Tenor Sax
