**Vinylrip by plastinka (nickhome)**
*Пластинка из коллекции пользователя ildarrrr*
Название винила: The Midnight Sun
Исполняет: Brother Jack McDuff
Жанр: Jazz
Выпущено в: 1968
Композиций: 05
Пластинок: 1
Фирма: Prestige (Made in USA)
Номер по каталогу: PR 7529
Формат: lossless wavpack 32/192 kHz (tracks)
Вес: 1,66 Гб (3% на восстановление)
Список композиций:
01. Love Walked In
02. Misconstrued
03. The Midnight Sun
04. Rockabye
05. Stop It
Музыканты:
BROTHER JACK McDUFF, organ (all tracks) RED HOLLOWAY, tenor sax (Al, A2, Bl, B3) GEORGE BENSON, guitar (Al, A2, Bl)
PAT MARTINO, guitar (B3 only)
JOE DUKES, drums (Al, A2, Bl, B3)
Big Band conducted by BENNY GOLSON (B2)
Спасибо, ildarrrr, за новую партию отличных альбомов Джека МакДаффа. Теперь у многих будет повод познакомиться с его творчеством. К тому же, в интернете практически нет оцифровок альбомов МакДаффа. Так же в этой серии все релизы будут без обработки. Поскольку пластинки старые, родом из 60-х годов, сохранность их порой оставляет желать лучшего. Тем более, что в личку поступали просьбы, например, от Sochimoto, что есть желание слушать все как есть, со всеми щелчками. Вот здесь звук "как есть", т.к. обрабатывать его вручную невозможно, а автомат убьет все.
Only mad dogs and Englishmen go out in the Midday sun. But very few men and just Husky dogs ever get to even glimpse The Midnight Sun. For the lands where this extravagant natural spectacle can be observed huddle round the North Pole—and who goes there for vacations? To start with, those regions have no live jazztothawthe packed ice. But if Brother Jack McDuff and his men should one day go on the road to Alaska, Siberia, Greenland and Lapland the picture might change because these guys generate enough musical heat to melt that old ice cap. Organist Brother Jack, a big Prestige swinger and seller these past six or seven years, maybe witnessed The Midnight Sun phenomenon on his 1965 trip to Scandinavia. But, as we well know, he spends most of his Midnights raising the temperature in soul spots from San Francisco to Stockholm. And wherever he goes, Jack sets fingers popping, toes tapping-and dancers grooving with his wild organ sounds.
The existence and popularity of groups like Jack's and Groove Holmes' (not forgetting Jimmy Smith, Shirley Scott and Don Patterson) is encouraging as it shows that many cats still appreciate the blues, the art of improvisation over a given chord sequence and a brand of music that is not ashamed of its roots, Reading some jazz periodicals these days a stranger from Mars would be forgiven for thinking that only one style of playing now exists—the avant garde. Our Martian would be confused on visiting, say, the Newport Jazz Festival to discover the public responding with great enthusiasm to an old-timer Iike Lionel Hampton and then rejecting the moon music of Albert Ayler. At that point the visitor might well have concluded that Duke Ellington was right, “If it sounds good, it is good”, this being the real acid test when the critiques have been digested.
At any rate Jack McDuff sounds good. For proof, simply I owe r the stylus on any of the five tracks in this album and you will find something enjoyable is happening. And that something is usually happy which in turn makes the listener happy too. Brother Jack’s approach shuns pretentiousness. His is basic, fundamental stuff that every unbiased jazz lover should dig to warm his own spirit and bring on a relaxed smile. People are forgetting how to jump for joy but Mr. McDuff is helping them to remember.
Born in Champaign, Illinois, on August 17, 1926, and christened Eugene McDuffy, Jack is a self-taught musician and considering he also plays bass and piano and composes . ... his own tutorship can’t have been bad. He did study seriously in Cincinnati, Ohio, but that was after he had turned pro. In the early 1950s he led his own group through the midwest but by 1957 Jack had moved on to Chicago to gig with the late and legendary Porter Kilbert and Eddie Chamblee, another wailing saxophonist. After a two-year spell with the Willis Jackson group he again went out under his own banner in October, 1959, and has kept it that way ever since.
Jack’s group have twice piayed the Nice Jazz Festival besides appearing in Sweden. His favorite organist is Jimmy Smith and it is not hard to discern the Smith influence in his work. He has a special fondness for the compositions of the late Tadd Dameron and Horace Silver. Aside from his numerous Prestige albums, Jack has recorded in the company of Roland Kirk, Willis Jackson, Sonny Stitt, Gene Ammons and Betty Roche. On his own dates he has used the likes of Lem Winchester, Grant Green, Jimmy Forrest and Harold Vick.
The quartet’s other leading voice is James Red Holloway, a year younger than Jack and a native of Helena, Arkansas. Red comes from a musical background, his mother being a pianist and his father a violinist. Red studied at Chicago Conservatory and got his first gigs with bassist Gene Wright in the Windy City between 1943 and '46.
Following Army service he played with Roosevelt Sykes, Nat Towles, Lionel Hampton, Ben Webster, Lloyd Price and Bill Doggett. A disciple of Gene Ammons and Ben Webster, Red has been brother Jack’s soul brother for close on five years. He has recorded with many rhythm and blues bands.
Guitarist George Benson, heard on the first side and The Midnight Sun, learned the rudiments of music from his father and was playing in the street for money at the age of eight. A Pittsburgher, he is only twenty-four yet is already waxing tip-top records under his own name. He actually made his recording debut at the age of fifteen—as a singer!
Pat Martino, another excellent guitarist, replaces Benson on the final track, Stop it. Though barely twenty-three, Pat, from Philadelphia, has packed a lot of experience into the past seven years. He has worked with Willis Jackson, Sonny Stitt, all the important organists and more recently John Handy.
I am convinced he has a big future and listeners are advised to watch for his appearance on future Prestige albums.
Joe Dukes, the drummer on these sides, is an ideal choice. He never gets in the way and he plays with a light, breezy lift that seems to suit everybody.
The George Gershwin classic Loved Walked In, Jack's Misconstrued and The Midnight Sun stem from a rewarding live session at the Front Room Club of Newark, New Jersey in 1963; Rockabye, a George Benson tune arranged by Benny Golson to showcase McDuff in a big band context, follows and Stop It from a later studio session is the appropriately titled closer.
There are many gratifying moments on this record—the bold and assertive tenor of Holloway on Love Walked In catches these ears, for instance. Then dig Benson's quick action, Christian-like lines on the fast Misconstrued or the “dirty" groove Martino strikes on Stop It.
McDuff himself is in fine form whether bounding in front of the band on Rockabye or producing an unusual piano-type effect on The Midnight Sun. The latter is a rhapsodic performance of a splendid song credited to Sonny Burke, Lionel Hampton and Johnny Mercer— what a team! The stud who yells, “Yeah, baby!" at the end of this performance registers the approval most listeners will share. Brother Jack and Co., succeed in transporting our imaginations to a scene where that midnight sun is burnishing the sky in an orgy of orange, scarlet, white and blue.
Could William Shakespeare have had this album in mind when he put these words into Macbeth’s mouth, “Lay On, Macduff; And damned be him that first cries ‘Hold, enough!’ " I like to think so — despite the slight difference in name-spelling. After all, Shakespeare himself rarely spelt his own name the same way twice. Anyway I don’t think you will be crying “Hold, enough!" even when you've got to Stop It!
Notes: Mark Gardner (Oct. 1967)
A Concert House Production Produced by Lew Futterman
- Источник оцифровки: автор новости (plastinka aka nickhome)
- Тип сохранности винила: G
- Проигрыватель: Victor QL-Y44F
- Картридж (звукосниматель): Goldring Elite
- Предварительный усилитель (фонокорректор): Musical Fidelity MX-VYNL
- АЦП: Tascam UH-7000 (ASIO 2.0)
- Обработка: без обработки
- Формат записи (Bit/kHz): 32 float/192
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