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  • Cool Struttin' (XRCD24 master)
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Cool Struttin' (XRCD24 master)

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Audio CD, January 19, 2010
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Product Details

  • Audio CD (January 19, 2010)
  • Original Release Date: 2010
  • Number of Discs: 1
  • Label: Audio Wave Music
  • ASIN: B002WY669G
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (33 customer reviews)
  • Amazon Best Sellers Rank: #361,222 in Music (See Top 100 in Music)

1. Cool Struttin' (9:20)
2. Blue Minor (10:18)
3. Sippin' At Bells (8:17)
4. Deep Night (9:32)
5. Royal Flush (9:00)
6. Lover (7:01)

Editorial Reviews

Product Description

1958 classic release on Blue Note by pianist Sonny Clark. Features alto saxophonist Jackie McLean, trumpeter Art Farmer, bassist Paul Chambers and drummer Philly Joe Jones.

The improvement in sound quality of XRCD24 over a conventional CD is not subtle. Obvious gains in clarity, transparency, dynamics and warmth of XRCD24 can be heard by all. XRCD24 allows the listener to hear what the producer and artist intended to hear, the sound of the original master tape. Plays on all standard CD players.


Do we really need more Blue Notes?

The Blue Note reissue explosion continues with these attractively packaged XRCD24s from Audio Wave.

The first four titles are Hank Mobley's Soul Station, Tina Brooks' True Blue, Horace Parlan Quintet's Speakin' My Piece and the Sonny Clark classic Cool Struttin'. If you're new to the Blue Note fetish and want to check one of these out, I'd recommend the 1958 release Cool Struttin'. It's got an all star cast including trumpeter Art Farmer, alto sax great Jackie McLean and the rhythm section of Clark, Paul Chambers and Philly Joe Jones. That would just about wrap it up for any jazz fan. The inclusion of two bonus tracks not found on the original closes the deal on this one musically.

Audio Wave goes the extra mile with the packaging that includes a shiny, laminated hard covered, perfect bound fold-open booklet in which can be found the original liner notes along with Francis Wolff's bonus session photos Music Matters used in its LP reissue. Here they're obviously smaller but still carefully reproduced

When you slip the disc into your player and the title tune's first few bars spill from your speakers, you'll know you've gotten your money's worth. The sound here is about as good as I've heard CD get, especially in a direct comparison to the double 45rpm edition. The clarity and precision of the cymbals the overall depth developed and the bass's drive, definition and texture are exceptional and far superior to the murky yet harsh RVG remaster (I didn't have the Sonny Clark but I did compare a 1998 Japanese Toshiba-EMI RVG edition and it was 'game over' after but a few bars).

But back to the Clark: the slinky title tune sets the stage for a swaggering, bluesy set that epitomizes what Blue Note was all about. If this disc doesn't appeal, you most likely won't like anything the label produced. Farmer and McLean harmonize on the left channel stating the theme, Clark takes a funky solo, Jones and Chambers push it all forward from the right channel and Farmer steps in with a soulful solo followed up by a gritty one from McLean. The term 'in the pocket' was invented for the opening track.Blue Minor, another Clark tune, shows his generosity as he comps quietly but effectively behind McLean and Farmer for much of it and though Rudy has him pushed well back in the mix and he's doing what sound like such simple things, they are placed so correctly in time, your ear is drawn to them even as McLean and Farmer dominate upfront.

Clark's opening solo on Miles Davis' serpentine Sippin' At Bell's is among the album's many highlights and the unusual clarity and harmonic excellence is a fortunate result of both RVG's managing to not overstuff the piano sound or overmodulate the recording as he often did back then and Yoshida and the XRCD process's mastering excellence.

…for those who complain that the Hoffman/Gray 'house sound' is too warm for their tastes (and this is surely system dependent), these Audio Wave CDs will be a refreshing improvement. They manage to sound clean, transparent and well-detailed without becoming cold, icy or etched. For jazz fans not in the vinyl loop these Audio Waves are a great addition to the Blue Note reissue catalog both musically and sonically.

To answer the teaser question, ''yes we do.'' --From the Online Audiophile Magazine, 2010

Customer Reviews

It's recordings such as this that make me want to listen to jazz music twenty-four hours a day.
Sonny Clark is a good soloist and even better comping pianist, and Paul Chambers and Philly Joe Jones are superb as bass and drums respectively.
Matt Bailey
If you were forced to buy only one late-fifties Blue Note album, this would be an excellent choice.
bruce horner

Most Helpful Customer Reviews

35 of 36 people found the following review helpful By N. Dorward on October 1, 2001
Format: Audio CD
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.
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27 of 27 people found the following review helpful By JoeyD on May 20, 2007
Format: Audio CD
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.
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19 of 19 people found the following review helpful By bruce horner on August 3, 1999
Format: Audio CD
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.
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10 of 10 people found the following review helpful By Pharoah S. Wail VINE VOICE on June 19, 2004
Format: Audio CD
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.
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