SONNY CRISS - Saturday Morning
Xanadu Master Edition 906086
Sonny Criss ( alto ) Barry ( pno ) Leroy Vinnegar ( bass ) Lenny McBrowne ( drs )
Recorded California, 1 March 1975
Sonny Criss began his recording career in 1946 as a member of the Howard McGhee Orchestra and continued to record until 1977 and although he made a good number of recordings many under his own name it is not as expansive as other alto players who were is contemporaries such as Art Pepper and Bud Shank.
Like most alto players of his era he was influenced by Charlie Parker but he managed to plough his own furrow. In his early days he had a fondness for fast tempos and playing in the high register but as his career progressed he controlled his natural impulses and became a much better player. This recording was made just two years before his last recording and is as good as anything he recorded previously and backed up by a stellar rhythm section what could go wrong?
The album opens with a nicely paced “Angel Eyes” with Sonny Criss exploring the finer points of the melody, Leroy Vinnegar’s walking bass line keeps the whole thing grounded and Barry Harris provides the listener with some interesting ideas.
The alto players own composition “Jeannie’s Knees” is a wonderful laid back performance with interesting solos by all concerned and in particular Barry Harris’s piano solo.
After an out of tempo piano entry Leroy Vinnegar’s walking bass line ushers in the melody of “My Heart Stood Still” which is pianist Barry Harris’s solo spot which is a beauty.
Charlie Parker’s guiding hand is much in evidence on satisfying interpretation of “Until The Real Thing Comes Along” but this does not impair the performance in any way and it turns out to be one of the best tracks on the album.
If you don’t have any examples of Sonny Criss in your collection this is a fine example of his work, and is a really worthwhile release.
Reviewed by Roy Booth
Xanadu Master Edition 906086
Sonny Criss ( alto ) Barry ( pno ) Leroy Vinnegar ( bass ) Lenny McBrowne ( drs )
Recorded California, 1 March 1975
Sonny Criss began his recording career in 1946 as a member of the Howard McGhee Orchestra and continued to record until 1977 and although he made a good number of recordings many under his own name it is not as expansive as other alto players who were is contemporaries such as Art Pepper and Bud Shank.
Like most alto players of his era he was influenced by Charlie Parker but he managed to plough his own furrow. In his early days he had a fondness for fast tempos and playing in the high register but as his career progressed he controlled his natural impulses and became a much better player. This recording was made just two years before his last recording and is as good as anything he recorded previously and backed up by a stellar rhythm section what could go wrong?
The album opens with a nicely paced “Angel Eyes” with Sonny Criss exploring the finer points of the melody, Leroy Vinnegar’s walking bass line keeps the whole thing grounded and Barry Harris provides the listener with some interesting ideas.
The alto players own composition “Jeannie’s Knees” is a wonderful laid back performance with interesting solos by all concerned and in particular Barry Harris’s piano solo.
After an out of tempo piano entry Leroy Vinnegar’s walking bass line ushers in the melody of “My Heart Stood Still” which is pianist Barry Harris’s solo spot which is a beauty.
Charlie Parker’s guiding hand is much in evidence on satisfying interpretation of “Until The Real Thing Comes Along” but this does not impair the performance in any way and it turns out to be one of the best tracks on the album.
If you don’t have any examples of Sonny Criss in your collection this is a fine example of his work, and is a really worthwhile release.
Reviewed by Roy Booth
