Further Definitions

Occupation

Further Definitions is a jazz album by Benny Carter, recorded on 13 and 15 November 1961 in New York and in March 1962 released on Impulse! Records. The CD Further Definitions - The Complete Further Definitions Sessions includes the original album (AS -12 ) together with the resulting 1966 Impulse album! Additions to Further Definitions (AS- 9116 ).

The album

When Bob Thiele end of 1961, took over the management of the Impulse label by Creed Taylor, he produced immediately a series of albums that were among the most popular of the young jazz label; were recorded Coltrane "Live" at the Village Vanguard, Quincy Jones ' The Quintessence and Further Definitions of the swing veterans Benny Carter, which was published in 1962 as the twelfth Impulse album. Thiele had absolutely Coleman Hawkins want to produce at Impulse, but who was at that time still under contract with Prestige; So the session was in November 1961, Benny Carter's name. [ Kahn 1]

It was planned Further Definitions as a reunion album, which referred to the legendary Parisian Session of the two saxophonists; This session is designed with the same titles, " Honeysuckle Rose" and " Crazy Rhythm ". Charles Delaunay and Hugues Panassie had organized a recording session with staying in Paris for Americans, the new label Swing on April 28, 1937 Benny Carter was, Coleman Hawkins brought together with a French alto saxophonist, André Ekyan with the tenor Alix Combelle, the rhythm section formed Stephane Grappelli, among other things on the piano and the guitarist Django Reinhardt; were played at that time also the title " Out of Nowhere " and " Sweet Georgia Brown". But it was above all " Honeysuckle Rose" and " Crazy Rhythm ," which provided at the European jazz community for attention. [ Kahn 2] The two numbers were the first publications of the Swing label, the first record company devoted exclusively to jazz.

24 years after his stay in Europe Benny Carter worked primarily as an arranger in Los Angeles; a short visit to New York, where he worked with Peggy Lee, Bob Thiele drew attention to him. The new Impulse producer brought him for the 1961 session, which was again planned with four saxophones, piano, guitar, bass and drums, along with Swing veterans and young musicians like Coltrane bassist Jimmy Garrison, the Basie drummer Jo Jones, the Monk saxophonist Charlie Rouse and saxophonist Phil Woods, who was then working in the hard bop environment and as a studio musician: Woods later recalled:

"I learned later that each Benny Carter session expires totally quiet. He was perfectly prepared and claimed control, without being a control freak, and Bob ( Thiele ) was experienced enough, Benny and to let the musicians alone. I remember that it was material for " old friends ", well-known titles such as " Honeysuckle Rose " and a few originals by Benny. Nothing was inappropriate, especially the beauty of the ballads. With the mix of music, the chemistry; the ingredients that chose Benny were perfect, I think, but at the time I judged or otherwise. "This is a strange potpourri of musicians ," I thought at the time. I had overcome my reservations, especially as Coleman Hawkins was concerned. Coleman's Introduction to " Honeysuckle Rose " after my solo was daunting; for me it sounded like: " Get out of my way, little one, let's play once a real man! " ".

Carter's tasteful arrangements were trying to revive the spirit of the old sessions, which mostly succeeded him, wrote the biographer of Teddy Hawkins Doering:

" " Crazy Rhythm " is based closely on the original, with the four saxophones in the subjects imagination; but this time, Hawk is listed first, followed by Woods, Rouse and Carter. The two old master frame the younger colleagues, all four play excellent solos. Hawk surely feel the challenge of the other saxophonists, and something always spurred him on. In "Midnight Sun" and " Cotton Tail " he risks some daring phrases to make clear to everyone that he is still the greatest. "

Quincy Jones ' "The Midnight Sun Will Never Set" is the first slow piece of the session; Hawkins, pianist Dick Katz and Carter contribute solos. In Duke Ellington's " Cotton Tail " Carter takes over the almost classical arrangement of the saxophones from the " Ellington / Webster Band " version. Hawkins ' solo breaks off at the Bridge of the first chorus; it will then have Carter, Rouse, and Woods turn Hawkins their solos. The opening of Body and Soul refers to Hawkins ' classic interpretation of the piece from 1939; followed Woods, Rouse, Carter and Hawkins. With Benny Carter composition " Doozy " ends the session; Katz introduces the topic, followed by Woods with bluesy game, followed by Hawkins, Carter, Rouse and again Dick Katz.

With the Impulse album Additions to Further Definitions, which was recorded in March 1966, was intended to repeat the ensemble sound and also the immense success of the first album from 1962 with a different line; alto saxophonist Bud Shank took here the role of Phil Woods, tenor saxophonist Bill Perkins came to Coleman Hawkins. With the occupation of Mundell Lowe and Barney Kessel guitar part was prominent occupied than in the first session in 1961, when guitarist John Collins could not come close to the legendary Django Reinhardt. [ Cook / Morton 1] Benny Carter this time carries six of the eight titles at, including a remake of " Doozy ". Coleman Hawkins then continued with the 1963 released album Desafinado continued his collaboration with Bob Thiele.

Album Review

Richard Cook and Brian Morton, reviewed the album with the highest grade in their Penguin Guide to Jazz, call Furter definition Carter's best-known album. Carter's "Blue Star" was fascinating, " a complex, deceptive subject with effective saxophone interplay. " [ Cook / Morton 2]

Scott Yanow wrote in the All Music Guide, which awarded the album the highest rating of 5 stars, "Body and Soul" would be everyone in the band a chance to shine; and " Honeysuckle Rose" and " Crazy Rhythm " hold fully with the versions of 1937: "Blue Star" and " Doozy " were among Carter's outstanding originals. Although the addition Session 1966 not quite reach the level of the first session, but was still edible.

The title

  • Recording dates of Additions to Further Definitions Sessions: Title 9,10,12 & 13 March 2, 1966; Title 11, 14-16: March 4, 1966
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