For Musicians Only Import
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Well nothing could be further from the truth he said "The count offs were breath taking but once they got thru BeBop everything settled down" his favorite was Wee Allen's Alley. It was virtually a live real Bebop session, nothing worked out, just play by the seat of your pants or get off the bandstand. Like it or not that was the way it was with Bird and those cats, the real thing no pretense.
Second that the John Lewis rhythmn section is almost a neutral ground on which the soloists can be the most clearly visible. The combo did a stellar job in my opinion as a constant coherent base for the soloists and Stan Levey played here as one of the greatest drummers in Jazz. The three soloists are at the top of their game and I can't understand why some people tend to forget that Getz is another unbelievable technician. Maybe these guys have never had the opportunity to listen to "At storyville". Getz was not a "light feather" or a delicate player (not ONLY I mean...). He was a monster musician just as Stitt or Diz himself. Probably Diz here is the greatest, but it's not an easy task chosing who gave his very best among those three here. (.... personally I'm completly in love with Diz sense of drama and irony, he was, UNBELIEVABLE!!). Among the tunes I choose Bebop and Wee as the best here. Maybe Bebop first. It really is a perfect statement of what the new music was about.Read more ›
Admittedly, the music on this recording isn't especially accessible. But like James Joyce's "Ulysses" it's representative of the "language" of jazz at its most sophisticated and complex. What counts on these performances excuted at headspinning speed (this CD must contain the largest quantity of "beats" on record) is the crispness of execution, the boldness of conception, the exhilaration of pyrotechnics.
The recording also clarifies for me the dividing line between the original bebop conception of Diz and Bird and the later "hard bop" reduction of it, or between an "open" approach toward creation vs. the "Blue Note style" that began to define so much jazz in the late '50's and beyond. The John Lewis-led rhythm section, even with the presence of Ray Brown, is no heating plant but an unobtrusive, practically transparent, canvas for the gladiators to do their work on. All three are at the top of their respective games. Stitt sticks to alto, content to reflect Bird's legacy rather than take on Getz (though to my ears neither saxophonist quite matches Diz).
I can't help but notice the integrated racial make-up of the group (4-3) at a time when color lines were still quite conspicuous in the music. All the more reason to regard the session as of historic and musical importance--perhaps not merely a mid-century representation of the potential of the music but a high-water mark as well.
Sonny Stitt for this genuine jazz classic from the 1950’s. Backed with swinging vascular
solos, For Musicians Only, released in 1956, showcase the harmonic, rhythmic concept
by Dizzy and the two tenor titans as they give a unique and timeless sound that is well-
headed by a stellar track list including a 12-minute take on Dark Eyes, Bebop, and Wee
(Allen’s Alley). Showcased with dazzling tempos, intricate melodies, complex rhythmic
breaks and vigorous jamming, which would be main part of the modern jazz movement,
Dizzy is joined on the front line by Getz and Stitt for the blowing session that resulted in
phenomenal results, as this tough swinging rhythm section distinguishes itself on a few
standards and original compositions. Basking with the success of his World Statesman
big band tour and his dazzling ‘Trumpet Royal’ performing with fellow trumpet titan Roy
Eldridge, Dizzy would take some well-deserved time off for several jam sessions during
the rest of the 1950’s, and For Musicians Only is one of those timeless albums that will
always live up to their own title, where it ranks as one of his greatest and most popular
masterpieces that will be greatly enjoyed for countless ages. What you will also get on
this definitive edition are four songs borrowed from the soundtrack of the 1958 French
film Les Tricheurs as they include Clo’s Blues and Phil’s Tone in which Dizzy and Getz
brilliantly had collaborated on.
Most Recent Customer Reviews
The title of this cd is a perfect fit. Bop music at it's best, 5 stars+. This one goes on my deserted island list. Read the review from the drummers son if you get a chance.Published 4 months ago by Woody B
A fine blast from the past. Two really outstanding sax giants and of course Dizzy in their younger years. I do not think Sony Stitt gets the regard he is due. Read morePublished on April 1, 2014 by T. Teater
Pretty exciting playing here from three masters of the Be-Bop language. John Lewis, Herb Ellis, Ray Brown and Stan Levey all play a supporting role here and I'm sure holding those... Read morePublished on May 10, 2013 by Buddy Dearent
Oh man does this swing..few cats of the bebop school could begin to play for more than 8 bars at these tempi ...but when it came to picking them diz was the master... Read morePublished on June 19, 2012 by Alan Satz
Often in the early days of the modern jazz movement, players would come up with the most dazzling tempos, complex chord changes, intricate melodies, and tricky rhythmic breaks... Read morePublished on May 6, 2012 by Jerlaw
This was one of the first jazz records I heard back in the fifties and still one of the best... Fire ,intensity, dexterity, swing, incredibly creative amd musical solos with an... Read morePublished on April 5, 2012 by W. Buchman
Great session but spoiled by Herb Ellis playing rhythm guitar too often.
Uncommon and not very hip for bebop and too restrictive for the soloist.
An incredible album from start to finish. This one shouldn't fall on deaf ears - either you get it or you don't. Not a typical blowing session by any stretch of one's imagination. Read morePublished on March 31, 2008 by James E. Scalise