PHIL WOODS NEW JAZZ QUINTET & QUARTET - Woodlore
Fresh Sound Records FSR-CD 880
1 - 8
Jon Eardley (tpt) Phil Woods (alto) George Syran (pno) Teddy Kotick (bass) Nick Stabulas (drs)
Recorded 1954 and 1955.
9 - 14
Phil Woods (alto) John Williams (pno) Teddy Kotick (bass) Nick Stabulas (drs)
Recorded 1955
Why does early 50s bop sound so right, vital and convincing? Because it was new and close to the source? Some of the music is from Wood’s debut album and he is bursting with verve and energy. Quite remarkable to sound so assured so early in a career. The recording is good and it captures the bright, almost edgy, oxy acetylene sound of the alto. The group do not make life easy for themselves; some of the themes are complex and twist and turn.
What it also captures is the sound of Jon Eardley who, if you have not heard him before, is a revelation. Eardley replaced Chet Baker in the Gerry Mulligan Quartet. There he resisted the temptation to sound like Chet. He is much livelier rhythmically. Subsequently, he spent much of his playing career in Germany. Also a composer, three of his pieces ‘Pot Pie’, ‘Toos Bloos’ and ‘Horse Shoe Curve’ are on the album.
‘Toos Bloos’, you will not be surprised to learn, is a blues and the group feels very comfortable with the tempo.and Eardley’s solo is thoughtful and well constructed. Intelligent construction is a feature of most of his work.
George Syran did not figure much after this album which is a pity because like Eardley his work is melodic and well thought out. Listen to his subtle accompaniments.
Phil Woods dominates the album. Eardley once described Woods: as ‘ like a whole mountain—full of fire’. Woods was fired by Charlie Parker and never escaped his debt to Parker. To some that was a barrier to a real appreciation of his work. Woods was actually closer to players like Cannonball Adderley and Jackie McLean. He could be fiery as well as lyrical and quite a few of his virtues are shown on the album. His playing was consistent across the years, always one of those players who gives the impression that he relishes improvising.
As usual with Fresh Sound the album notes are comprehensive and reproduce past album notes from Ira Gitler, Robert Altshuler.
Reviewed by Jack Kenny
Fresh Sound Records FSR-CD 880
1 - 8
Jon Eardley (tpt) Phil Woods (alto) George Syran (pno) Teddy Kotick (bass) Nick Stabulas (drs)
Recorded 1954 and 1955.
9 - 14
Phil Woods (alto) John Williams (pno) Teddy Kotick (bass) Nick Stabulas (drs)
Recorded 1955
Why does early 50s bop sound so right, vital and convincing? Because it was new and close to the source? Some of the music is from Wood’s debut album and he is bursting with verve and energy. Quite remarkable to sound so assured so early in a career. The recording is good and it captures the bright, almost edgy, oxy acetylene sound of the alto. The group do not make life easy for themselves; some of the themes are complex and twist and turn.
What it also captures is the sound of Jon Eardley who, if you have not heard him before, is a revelation. Eardley replaced Chet Baker in the Gerry Mulligan Quartet. There he resisted the temptation to sound like Chet. He is much livelier rhythmically. Subsequently, he spent much of his playing career in Germany. Also a composer, three of his pieces ‘Pot Pie’, ‘Toos Bloos’ and ‘Horse Shoe Curve’ are on the album.
‘Toos Bloos’, you will not be surprised to learn, is a blues and the group feels very comfortable with the tempo.and Eardley’s solo is thoughtful and well constructed. Intelligent construction is a feature of most of his work.
George Syran did not figure much after this album which is a pity because like Eardley his work is melodic and well thought out. Listen to his subtle accompaniments.
Phil Woods dominates the album. Eardley once described Woods: as ‘ like a whole mountain—full of fire’. Woods was fired by Charlie Parker and never escaped his debt to Parker. To some that was a barrier to a real appreciation of his work. Woods was actually closer to players like Cannonball Adderley and Jackie McLean. He could be fiery as well as lyrical and quite a few of his virtues are shown on the album. His playing was consistent across the years, always one of those players who gives the impression that he relishes improvising.
As usual with Fresh Sound the album notes are comprehensive and reproduce past album notes from Ira Gitler, Robert Altshuler.
Reviewed by Jack Kenny
