Customer Reviews

Leapin' & Lopin'

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Cut in 1961, this is Sonny Clark's last session as a leader. The all too familiar story of a promising young jazzman falling to the cycle of addiction claimed Sonny in 1963 at the age of 31. His playing gives no indication of his personal condition, however. Backed by Tommy Turrentine on trumpet, Charlie Rouse on tenor, with Ike Quebec taking Rouse's chair for "Deep In A Dream", Butch Warren on bass, and Billy Higgins on drums, Clark's bop based piano is at full strength and swings throughout. Every musician featured on this date is in top form. It is especially refreshing to hear Rouse on a rare outing from his usual gig with the Thelonious Monk quintet. Rouse sounds inspired and blows hard swinging solos on "Somethin' Special" and "Eric Walks". Another underrated musician, Ike Qubec takes the tenor role for the tender take on "Deep In A Dream", providing a smooth silky solo. Clark is equally at home deep in a groove like "Voodoo", high flying bop like "Melody For C", or a tender slow number like "Deep In A Dream". This cd is one of Clark's greatest achievements, and sadly one of his last. This cd is a must for all jazz collections as well as Sonny Clark fans.

Sonny Clark has been a cult pianist for many years, in part because Blue Note failed to keep his discs consistently in print. He was prized among Japanese hard bop enthusiasts & also was a favourite of the avantgardist John Zorn's circle (there's a nice tribute disc, _Voodoo_, by "The Sonny Clark Memorial Quartet": Zorn, Wayne Horvitz, Ray Drummond & Bobby Previte). But Clark's star's risen a lot in the past decade, as his work's finally gotten properly reissued: I suspect one key moment was Blue Note's putting together all three Clark/Grant Green quartet sessions on an unbeatable low-priced twofer in the mid-1990s. Anyway, _Leapin' and Lopin'_ is one of the few Clark discs to have been around on CD for a while, along with the perennial _Cool Strutting_. _Leapin' and Lopin'_ is also Clark's last date as a leader (from November 1961), though it wasn't his last recording session by any means (he died in 1963, a victim of the jazz life--alcohol & drugs). The rhythm section here--Clark, bassist Butch Warren & drummer Billy Higgins--became something of a house rhythm section at Blue Note at this period: in addition to this album, they formed the rhythm section to a number of albums by Jackie McLean & Dexter Gordon (including the popular _Go_). Despite the brilliance of the Chamber-Philly Joe Jones rhythm section on _Cool Strutting_, I'd actually recommend listening to this disc to hear Clark at his best as an accompanist, simply because these guys have clearly established a very close relation. (One sign of this is that Butch Warren contributes a tune to the album, "Eric Walks"--it's a nice swinger, a close cousin of Gillespie's "Woody'n You".) The band is completed by Warren's pal from the Monk band, Charlie Rouse, & the trumpeter Tommy Turrentine. Rouse is in absolutely terrific form throughout--arguably better than on most of the albums he cut with Monk, in fact (& fans of Rouse should investigate this album for this reason).

Much of the material here is deliberately minimalist, & one suspects that if Clark had lived he would have moved strongly in the direction of modal jazz. "Melody for C" is mentioned in Ira Gitler's liner notes as being Clark's essay in modal jazz, but actually "Voodoo" & "Midnight Mambo" are also in a similar vein, pursuing a stripped-down blues-minimalism which obviously is indebted to _Kind of Blue_ but is already moving off in a different direction from Miles. "Voodoo" is especially remarkable, not least for Clark's comping. For each soloist he devises a distinctive, complementary pattern & works variations on it for the duration of the solo (in tandem with bassist & drummer)--it gives the piece a sense of almost compositional development.

One track on the album stands at something of a distance from the rest. "Deep in a Dream" is a ballad feature for Clark and the tenorist Ike Quebec (who worked for Blue Note as an A&R man & was presumably simply around the studio that day & dropped in to play). Unlike the contemporary blues-drenched feel of the rest of the session, this ballad is deliberately old-fashioned in feel, a little sentimental, stated caressingly by Clark in the intro (over bowed bass) & then given a tough/tender reading by Quebec in the best tradition of Hawkins & Webster. A nice track. Those who wish to pursue this side of Clark's work should check out Quebec's _Blue & Sentimental_ & Grant Green's _Born to Be Blue_, both of which feature Clark on piano.

_Leapin' and Lopin'_ comes highly recommended: for anyone interested in Clark's work, it's essential listening.

The marvelous rapport between Clark, Warren and Higgins shouldn't be underestimated. From a rhythmic standpoint, the performances here are more than enough to place the late, great pianist in the Jazz pantheon. Unlike many of today's pianists, including the vastly overrated Brad Mehldau, Sonny swings effortlessly, just slightly behind the beat, and is not hung up on overly complex arrangements which are designed to showcase a virtuoso skill level. The music here speaks to a level of intellectual sophistication which is rarely seen in Jazz today. And it is no coincidence that Herbie Hancock employed the same bassist and percussionist in his first Blue Note session, "Takin' Off".

This Brother made the Steinway sing. Grab this CD--especially you aspiring piano players!

I bought this several months ago and have listened to it over and over. A wonderful group under Clark's leadership. Turrentine is a pleasing trumpet player I only know from a Jackie McLean album (A FICKLE SONANCE) with same great rhythm section and he's outstanding here too. Apart from his session with Clifford Brown, this is the only album I have with Charlie Rouse apart from all of his ones with Monk. He's a great player and it's nice to hear him in another setting. It was an inspiration on Clark's part to have Ike Quebec play on the ballad "Deep in a Dream"- a very moving rendition. But the piece de resistance of this album is the wonderful "Melody in C"--especially the master though it's nice to have both takes. On the master, Clark's solo so enthralls me that it reminds me of why I fell in love with jazz in the first place, almost 50 years ago (and Billy Higgins was on that too--it was MONK AT THE BLACKHAWK). People who have heard this know it's a modal piece--a very fresh line and it just seems to inspire everyone but especially Clark. I will buy more Clark albums, but they won't even need to be as good as this to make me care about him and sad about his early death. But his wonderful playing lives on and that's what counts.

I'm sending LEAPIN' AND LOPIN' to a jazz friend today, ordering on Amazon after writing this review. This is my first review here. I've enjoyed many of the reviews I've read and feel a lot of solidarity with the other jazz fans here.

Sonny Clark had something special in regards to his instrument: he had an identity. Like Dexter Gordon or Ike Quebec on the tenor sax, Charlie Parker or Jackie Mclean on the alto, Clifford Brown or Miles Davis on the trumpet, Scott La faro or Paul Chambers on bass, and Thelonious Monk, Herbie Nichols, or Bud Powell on piano, you didn't need a program to tell you that Sonny was on the ivory. Along with "Cool Struttin'" this is the album that captures what Clark could do when some brass was along for the ride. Charlie Rouse, who was so superb with Monk, shows that there was none better on sax when it came to givng his pianist/leaders what they wanted. The older, lesser known Turrentine does honor to the family name, and butch warren and billy higgins are excellent as always, but an added treat is hearing the deep voice of Ike Quebec's tenor on 'deep in a dream', a elegant, languid, tune whose whistful, romantic quality was tailor made for the emotional musings of Quebec. In many ways this song reminds me of the great version of "In a sentimental mood" that was the highlight of the album Coltrane and Ellington created. In anycase this is an album that has the unity of a certain mellow-cool-tone, while at the same time shows enough jagged edges beneath the smooth-liquid-surface to keep things very interesting. Sonny Clark was always appreciated in accompaniment, but personally I appreciate the opprotunity to hear something of his own conception. Sonny Clark was one of the great individualists on ivory, a rare and beautiful breed.
*Note: this is a review of the non-RVG edition of this album.
cheers.

The tenor-trumpet front line gives this recording an incomparable warmth, further intensified by the appearance of tenorman Ike Quebec crooning "Deep in a Dream". Notwithstanding Billy Higgins' brilliant work with Ornette Coleman and, later, Cedar Walton, it sounds as though as Clark was the bandleader closest to Billy's "own" music. In any case the rhythm section with Butch Warren is extraordinarily responsive and swinging. They gradually build as the soloist develops his solo. The key accents are the all the more moving coming on top of their fairly spare support in the initial choruses. Charlie Rouse is remarkably lyrical and funky, obviously in a more relaxed environment than Monk's quartet, and rich-toned Tommy Turrentine is probably at his best as well. This is a rhythm section and compositional context in which everybody is at their best. In any case, Clark was surely "onto something", but could not pursue further. Put his magnificent quintet on a powerful sound system and go for a swim in NYC-early 60s heat. Such sounds will never be heard again.

Thanks to the remastering we really get inside the tenor tones of Charlie Rouse and the singing quality of Tommy Turrentine's much neglected trumpet. With Butch Warren on bass, Sonny Clark on piano and our man Higgins on drums, this was the in house rhythm section for Blue Note that provided so much outstanding back up to so many other legendary sessions as well as this one.

Sonny Clark's style of piano playing is audacious in the most unlikely way. For much of the time he hovers over the middle section of the keyboard as if inviting criticisms of blandness but his weaving, alternating line soon becomes irresistible. A first rate composer, he had a direct and lyrical simplicity that reminds me of Tina Brooks. 'Voodoo', a Clark original, I could quiet easily let run all night long. What a perfect composition to show off the singing, sky writing quality of Turrentine. During the fade out, as the horns maintain the head, Clark lets himself off the leash and starts meandering with those magical alternations that unwind like a ribbon. It's at that point, caught in the melodic web, you wish there was no end!

There's a certain inherent contradiction to his playing; a disinterested involvement. It all sounds deceptively easy but when Clark passed away and the in house rhythm section took on the wonderful Barry Harris, inevitably the placement of notes weren't quite the same and the unconscious flow became self conscious.

Ike Quebec's tenor sax guest appearance on `Deep in a Dream' adds to the lustre of this disk that finds Sonny Clark off loading a carnival of dance patterns for anybody with a foot tapping itch.

This is a seriously great record. Charlie Rouse and Tommy Turentine are both great. This record has really snappy, clever songs that have wonderful rhythm. The songs are just fun--the best of late 1950's hard bop. Tommy Turentine is kind of a forgotten player. He plays some great slurs on trumpet. There is one ballad where Ike Quebec does a guest shot on tenor. Billy Higgins may be one of the most fun drummers of the late bebop period. This record was out of print for a while. Don't let it get away. You will not regret it.

I think that this may be the best Sonny Clark record in print.

Sonny Clark had something special in regards to his instrument: he had an identity. Like Dexter Gordon or Ike Quebec on the tenor sax, Charlie Parker or Jackie Mclean on the alto, Clifford Brown or Miles Davis on the trumpet, Scott La faro or Paul Chambers on bass, and Thelonious Monk, Herbie Nichols, or Bud Powell on piano, you didn't need a program to tell you that Sonny was on the ivory. Along with "Cool Struttin'" this is the album that captures what Clark could do when some brass was along for the ride. Charlie Rouse, who was so superb with Monk, shows that there was none better on sax when it came to givng his pianist/leaders what they wanted. The older, lesser known Turrentine does honor to the family name, and butch warren and billy higgins are excellent as always, but an added treat is hearing the deep voice of Ike Quebec's tenor on 'deep in a dream', a elegant, languid, tune whose whistful, romantic quality was tailor made for the emotional musings of Quebec. In many ways this song reminds me of the great version of "In a sentimental mood" that was the highlight of the album Coltrane and Ellington created. In anycase this is an album that has the unity of a certain mellow-cool-tone, while at the same time shows enough jagged edges beneath the smooth-liquid-surface to keep things very interesting. Sonny Clark was always appreciated in accompaniment, but personally I appreciate the opprotunity to hear something of his own conception. Sonny Clark was one of the great individualists on ivory, a rare and beautiful breed.

This is one of the two or three best albums that Sonny Clark did as a leader. In fact, Clark pulled off the near impossible in turning out an album just as good, in it's own way, as the classic Cool Struttin'. Of course, it helped having the incomparable Billy Higgins on hand, as well as gruff-toned Charlie Rouse, who is in fine form. Rouse was so associated with Monk that his talent as a sax player was underappreciated, even discounted. This album helps to demonstrate how good he was. "Somethin' Special" is just that, and "Melody for C" is a great groove. In short, if you don't have this album, get it. You won't be disappointed.

Come to think of it, this would be a fine addition to the RVG Remaster series.