Customer Reviews

Cool Struttin

5 star:		(15)
4 star:		(7)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

Sonny Clark was, like Kenny Drew, one of the favourite pianists among the hard-boppers, & he put in a lot of sideman appearances in the 1950s & 1960s (though, interestingly enough, he got his start as an accompanist to Buddy DeFranco). His playing draws on the main models of the time--Powell, Monk, Silver--along with one unexpected source, Lennie Tristano (not an obvious influence beyond Clark's fondness for extremely long & cogently argued lines in his solos). But Clark's playing is nonetheless immediately recognizable, both when he solos, & when he comps--he is an especially logical accompanist.

This album contains 6 tracks, of which two ("Lover" & "Royal Flush") were not present on the original vinyl. Though not all the tunes are blues, the blues inform the album's mostly relaxed, minor-key mood and pacing. Jackie McLean is a key voice here, delivering one of his most brilliant performances of the 1950s; his tone is here unusually limpid, without the abrasiveness & deliberately idiosyncratic pitching of other McLean recordings of this period. Art Farmer is an unusual choice for the trumpet chair--if this were recorded a few years later I'm sure Morgan, Byrd or Hubbard would have got the date, all Blue Note favourites--but proves an excellent choice because of his temperamental reserve & poise. The key performance here is the medium-up "Deep Night", a rather little-played standard (I think I've only one other performance of it in my collection, on Betty Carter's _The Audience With..._). Clark's opening statement is comparable to Horace Silver's more pensive moments (e.g. "Melancholy Mood" on _Blowin' the Blues Away_) but unfolds with a gentle but inexorable logic that I find quite breathtaking: the track builds in excitement as Philly Joe Jones switches from brushes to sticks when Farmer comes in, & as the mood intensifies with Jackie McLean's solo. It's truly exciting.

A lovely, lovely disc. One oddity is that "Lover", the second of the previously unreleased tracks, contains no solo by the leader....which explains why it wasn't released, I guess. Anyway, this is an essential disc.

One day (about five years ago) I was cruising along in my car searching for something, ANYTHING, that was semi-pleasing to listen to on my car stereo. However, I was having one hell of a time finding anything decent - for it seems as if even the world of music nowadays is riddled with pollution. Alas, just as I was about to throw in the towel and settle for talk radio on AM (UGH!!! like that is any better!) I hear this jazz tune come on "Cool Struttin" and it was at that moment, because of that particular song, my love affair with jazz truly began. This album, along with about ten others (KIND OF BLUE - Miles Davis, MY FAVORITE THINGS - John Coltrane, SONG FOR MY FATHER - Horace Silver, SOMETHIN' ELSE - Cannonball Adderley etc...) was one of the first jazz albums I went out and purchased. Now of course "Cool Struttin" may not quite fall into the same category as the ones I listed above, but it's definitely, in my humble opinion, one notch right below them and still easily worthy of a five-star rating. It's recordings such as this that make me want to listen to jazz music twenty-four hours a day.

Most jazz fanatics out there probably already own this Blue Note classic. Therefore, this review is aimed more for the novice jazz fan or perhaps someone (such as I five years ago) just learning about jazz after perhaps hearing it on the radio or satellite television. Well, all I can say is you can't go wrong making this purchase! First off, you have an all-star quintet led by the smooth as silk Sonny Clark (piano), joined by Art Farmer (trumpet), Jackie McClean (alto sax), Paul Chambers (bass), and Philly Joe Jones (drums). Despite the fact that most of these cats were blasted on drugs (particularly heroin) and booze at the time, they still turned in tremendous, top-notch performances. McClean does his best Charlie Parker imitation, squawking away his solos with reckless abandon and absolutely no fear. Like Art Farmer was quoted as saying in Nat Hentoff's original liner-notes, "Jackie has a feeling in his playing that you know immediately is him. He doesn't just copy." Yes, there is no doubt McClean has is own unique, original voice and this album is one of the prime examples of that. It is also, one of his best performances ever (see SWING, SWANG, SWINGIN and ONE STEP BEYOND for two more examples).

Art Farmer may not always be talked about in the same breath as others when one is mentioning the greatest trumpet players of all-time (i.e. Louis, Dizzy, Miles, Brownie, Freddie, Lee Morgan, et al...) but he definitely is worthy of praise. I don't know if I have ever heard Art Farmer not sound great. Sure he may lack the charisma and magnetism of a Miles Davis (his main influence as a musician), but I personally love his clean, controlled, consistent style. Sonny Clark on the keys has always been one of my favorites because in many ways he is the quintessential hard bop pianist (which is my personal favorite style of jazz). By the way, does anyone else think that Clark and Tommy Flanagan are the same person at times? The way they swing, their perfect control of melody, and the way they seem to glide across the keys with a soft, unique touch. Simply sensational!

Finally, there is no amount of hyperbole I can write about Philly Joe Jones and Paul Chambers that would ever do them justice. I have never read about any other drummer in the history of jazz (Rich, Roach, Blakey, Tony Williams, Elvin Jones, etc...) that gets more compliments from his fellow musicians than Philly Joe Jones. My favorite quote was by Miles in his autobiography, "...he (Jones) knew everything I was going to do, everything I was going to play; he anticipated me, felt what I was thinking." And Paul Chambers is simply one of the top three bass players of all-time on just about every one's list, especially when it comes to hard-bop. The two of them are outstanding.

In 1963, at the early age of 31, Sonny Clark left this Earth way too soon like so many other jazz legends - Billie, Bird, Brownie, Coltrane, Jaco, LaFaro, Pettiford, Watkins, Powell, et al... I have to stop now, because I am getting depressed. However, all I have to do to start feeling good is press the play button on my stereo and once again start listening to this sensational, five-star recording.

This is one of the longest reviews I've ever written. But after all, it was that one song from this great album, that truly changed my life forever.

If you were forced to buy only one late-fifties Blue Note album, this would be an excellent choice. Few could swing as LUCIDLY as Sonny Clarke, and with Jackie McClean and Art Farmer making strong contributions throughout, this is a superior "blowing session" album. Clarke was a superb sideman but as a leader he rarely equaled this peak. An essential LP at any price.

The title track here may be the most aptly named tune in all of jazz. That tune starts and you can just see some slick dresser turning a corner, coming at you all flossin'-and-glossin' on his way to pick up his woman. Or someone elses woman! I also love the title track for Sonny's playing, his bluesiest of the album. I'm not the biggest Jackie McClean fan in the world but this track is also his finest playing of the whole album, in my opinion. Just great action from everyone on this song!

Not to slight anyone else here, as this is one great album, but Art Farmer is just The Man here. I still wonder why you don't hear more people singing his praises. I just love that Art's playing is sorta reserved or low key, and he has fantastic tone. Musically, he has plenty of things to say without having to be nearly as boisterous as, say, Freddie Hubbard.

Most of the album is strong, but every time the disc ends I always jump back to listen to track one again. Beyond the fact that there is great stuff all over this disc, the title track makes it essential. It's one of my single favorite tunes and performances in the entire Blue Note world.

Sonny Clark, despite his exceptionally fluid stlye of playing, lead an odd life. It seems that from his playing you would think he was a happy man who was healthy and stayed away from drugs. Not so, he was a big heroin addict who spent long amounts of time away from the recording studio. He died at a mere 32 in a car accident which has become the fate of many other incredible musicians including Clifford brown and Ritchie Powell(Buds Brother) in the same accident, three great bassists including Scott LaFaro, Oscar Pettiford, and Doug Watkins. Aside from Clarks unfortunate life, he produced some very fine recordings with the top musicians of the time. On bass is Paul Chambers along with Philly Joe Jones on drums who were the backbone of Miles Davis' early quintet. Clark on piano, Art Farmer on Trumpet, and Jackie Mclean on Alto Sax. Mclean, who is known for his raw sharp alto playing is in an earlier stage and is much more mellow and fluid. Art farmer has a quieter more subdued sound yet produces some very interesting intervals. Clark is the ultimate treat, his light touch and very fluid and fast style reflects the influence of bud powell as well as earlier masters like Fats Waller and Art Tatum.

The opening title track is a funky and heavy swingin blues with a strong unison sound produced by Mclean and Farmer. Clark, Farmer, Mclean, and Chambers all solo like a log on the fire, slow burning. "Blue Minor" is obviously a minor keyed tune with extended solos that are simple but meaningful.
"Sippin" at the bell is a be-bop tune with a very melodically and Harmonically interesting tune. Jackie somewhat takes the role of Bird playing up and downscales with speed and accuracy.

"Deep Night" starts off with Clark, Chambers, and Jones in a Piano Trio-istic fashion with the horns taking their solos. The two bonus tracks include "Royal Flush" a Clark original and the standard "Lover".

The session is just heavy handed yet straight ahead jazz. Clark threw out all the fancy tricks and twists and turns and threw in simple yet unique tunes.

"Cool Struttin" is a classic.

Sonny Clark must have been a happy man. This album is permeated thru and thru with a thread of jovial, joyful, life-embracing music. Cool Struttin' is one of any number of great Clark recordings for Blue Note. Most jazz CD guides will direct the reader to purchase either this cd or perhaps "Leapin & Lopin" or "Dial S For Sonny" for starters. All of these, but especially "Cool Struttin'" have become part of the mid-50's to mid-60's hard-bop canon. What I love about this disc is the lilting playing and timbre of Art Farmer's trumpet, and the sensitivity of Sonny's comping underneath. His use of space and fewer notes is refreshing. Even Jackie McClean-known more for his abrasiveness-is smooth and liquid. Paul Chambers and Philly Joe are outstanding as always. These two guys might just be the most recorded instrumentalists in Jazz-certainly during this period. "Blue Minor" is a nice swinging tune as is "Royal Flush", which was not included on the original vinyl release. "Lover", also not on the original, belies its' title and really swings, carried by Philly Joe's fantastic drumming. Thte title track saunters, moseys, and struts along with a memorable melody and ample soloing. Reminds me of a hot summer day. The prevailing feeling of the album is captured in the title: "Cool"

Recommended.

Sonny is very cool and plays tasty straight ahead jazz throughout this date. He is brilliantly supported by the rythym section of Paul Chambers and Philly Joe Jones. The chemistry and tonal quality of the horns is something special. The title track is a well recognised classic but "Blue Minor" is equally up there.

This is a bebop gem! Thanks to RVG for including the awesome bonus tracks.

'Deep Night', the fourth track on this album, is playing as I write this, so I can hear Sonny Clark's perfect rhytmic sense and Jackie McLean's heartandmind-stopping inventiveness and emotion while I do my best to persuade you, oh innocent audience, to give 'Cool Struttin'' a listen. This album swings along coolly and infectiously. Sonny stars with his easy development of attractive heads, and Jackie, for mine, is the most listenable of all the great saxophonists. I suppose if you're bothering to read these reviews, then you have doubts about buying this recording: hey, don't doubt, this album will make you a believer.

Rightly cited as an icon of late-50s hard bop, pianist Sonny Clark's January '58 session in the leader's seat is a swinging tour de force. Ironically, alto saxophonist Jackie McLean and trumpeter Art Farmer dominate the foreground with their cool, tuneful blowing. Clark takes his turns, notably on the superb blues of the title track, but its his influence on the horns, notably McLean's unusually smooth tone, that really marks him as the session's leader. Paul Chambers digs a deep, soulful, finger-snapping groove with his bass playing, and drummer "Philly" Joe Jones intertwines with the vamping of Clark to propel the session with a gently swinging nudge here, and a perfectly placed accent there.

The CD's stereo reproduction (from the original two-track, no overdub master) is crisp, clear, and (like most of the Bluenote recordings of this era) sits you studio center with the players. This reissue adds two tracks from the session that didn't make the original vinyl: Clark's "Royal Flush" and a cover of Rodgers and Hart's "Lover." Together with the four original tracks, this adds up to a keynote late-50s jazz recording.

this is a great effort.i play this disc over and over.it is a fine representation of the style of that time,hell it is a fine work period.if you like this style of music you will not be disappointed.while i am late to the sonny clark party,i am happy that i have finally arrived.