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Customer reviews

5.0 out of 5 stars
10
Jazz Giant
Format: MP3 Music|Change
Price:$6.99

on March 14, 2015
There's both an old-fashioned charm and a timelessness to these performances.Ten years ago, I might well have dismissed this as "corny" . Not now; I find it it delightful and utterly musical. Some master communicators at work, here.
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on April 26, 2010
I bought this album for two reasons. It was available in SACD format and I liked the samples. When it showed up on Amazon marked down I snapped it up. It went into heavy rotation in my player and my only complaint is that I wish it was longer. Great playing and a wonderful recording. Take a listen to the 30 second bits Amazon provides. If you like what you hear you will enjoy the album.
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on September 5, 2016
Simply put: Great jazz!
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on November 10, 2013
This C.D. contains a fine session with Ben Webster,Frank Rosolino,Shelly Manne,and others. Everything swings,and the sound is good . I wanto to check out the album just for comparison. The price was great. Thanks Amazon.
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on February 10, 2002
Everything here is great, but the first track took a couple listens to grown on me, while most of the other tracks had me going "wow!" the very first time I heard them.
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HALL OF FAMEon September 2, 2000
"Jazz Giant" is an appropriately titled album. Benny Carter is definitely one, having been in the jazz limelight at the time of this recording (1957-58) for more than twenty years. But what makes "Jazz Giant" special is that Carter's bandmates are giants in their own right -- Ben Webster, Shelly Manne, Barney Kessel, Leroy Vinnegar and Andre Previn (in the days before he became a giant of classical music). There is also trombonist Frank Rosolino, a giant talent with a tragic story, who was sadly underrepresented on album but holds his own easily with these other greats. (Those curious about Rosolino would be well served to check out his OJC CD "Free For All.") In terms of the album's songs, there are two Carter originals, "A Walkin' Thing" and "How Can You Lose," and five standards. A final note, Benny Carter trades in his alto sax for trumpet on two tracks, and Andre Previn is replaced by Jimmy Rowles on a couple of numbers. Simply put "Jazz Giant" is one of the best straight ahead albums in all mainstream jazz.
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on January 2, 2011
This has to be some of the greatest recorded Jazz ever. Pity many Jazz fans know not who he is. "Jazz Giant," says it all. Today's Jazz rarely comes close, and for those of us who came up listening to the music of our parents, and grand parents, this is refreshing to hear again. To possess, and enjoy this music as you like is a privilege in itself, and right up there with there with ice cream, and apple pie. This is the American original at it's very best.

If you are a music student, Jazz lover, or just a plain music lover, give Mr. Benny Carter a listen. This is raw and toasty Jazz, the way it was meant to be. And you modern Jazz musicians, please listen and learn, not Just Mr. Carter, but some of the other Jazz greats of his era, and incorporate this original sound in your music.
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on September 2, 2007
Pelo fato de ter sido uma pessoa absolutamente normal durante toda sua longa carreira, Carter não costuma ser muito festejado nos meios jazzísticos. Sem a ira dionisíaca de um Charles Mingus, sem a excentricidade esquizofrênica de um Thelonious Monk e sem o sorriso perigoso de Duke Ellington, Carter dificilmente é citado como um dos maiores músicos do jazz. É grande o engano ou flagrante a injustiça colocá-lo no segundo escalão.

Carter é, entre outras coisas, o melhor arranjador da transição entre as décadas de 1920 e 1930, época em que Heisenberg proclamava o princípio da incerteza na Física. Tendo aprendido o ofício da orquestração por conta própria, chegou a rivalizar e até mesmo superar alguns mestres da época, como Don Redman. Fugindo ao modelo de sucesso fácil oferecido pelo swing, estilo que assolava o EUA nesses tempos, Carter construiu uma obra genial com humildade, independência e sensibilidade. Sua obra somente pode ser comparada à montanhesca criação da dupla Ellington & Strayhorn. Ao contrário do trabalho de Ellington, essencialmente instrumental, as composições de Carter são extremamente `cantáveis', característica que comprova sua veia de grande solista.

Além do trabalho como arranjador e compositor, Carter era um exímio instrumentista, capaz de cantar, tocar piano, trombone, trompete e os saxofones soprano, alto e tenor. Embora excelente trompetista, foi com o sax alto que Carter se destaca como um dos mais importantes improvisadores do jazz: suave, doce e tranqüilo, nem mesmo a velocidade assustadora imposta por Charlie Parker foi capaz de ofuscar a beleza de seus solos. Sua sonoridade única influenciou vários mestres do saxofone, entre eles Sonny Rollins. Carter era o tipo de pessoa que, assim como o inigualável Lester Young, apesar de negro, nunca teve vergonha ou malícia em negar a profunda influência recebida de Frank Trumbauer, um excepcional saxofonista branco renegado no jazz por sua cor. Para Carter a beleza da música estava acima do racismo irracional.

Carter provou com seu trabalho que nem toda música doce e agradável é necessariamente música de elevador ou de consultório dentário. Sua obra comprova que a música pode ser inteligente e complexa sem ser necessariamente chata e inaudível. Ele sabia, mais e melhor que todos nós, que o sucesso obedece cegamente ao princípio da incerteza, principalmente When Lights Are Low. Mas o mestre, é claro, não se importava com isso.
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on September 15, 2004
This album was released at the end of the 50's and blends a little of the new jazz from that era (bop), with a hint of big band sound (incorporates more than a half dozen musicians on some tracks), but mostly a lot of the traditional roots. Benny Carter is probably one of the most talented Jazz musicians of all time because he was highly capable in several areas: able to play a variety of instruments, and highly successful at promoting, managing, and composing. This album is just one notch in Benny's many contributions to Jazz music and a very noteworthy notch.
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on November 8, 2004
I bought this because I like Benny Carter and I love the sound that Roy DuNann got at the Contemporary studios in LA. I had no idea that Ben Webster was on this session. I thought I had all the great Ben Webster, so this is a major find. In addition Jimmy Rowles, one of the great jazz piano guys of all time, Barney Kessel and Shelly Manne join Mr Carter. This is a must have for all 50s jazz fans. Simply an amazing CD.
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