A request that this article title be changed to Blowing In from Chicago is under discussion . Please do not move this article until the discussion is closed. |
Blowing In from Chicago | ||||
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Studio album by | ||||
Released | July 1957 [1] [2] | |||
Recorded | March 3, 1957 | |||
Studio | Van Gelder Studio Hackensack, New Jersey | |||
Genre | Hard bop | |||
Length | 46:15 | |||
Label | Blue Note BLP 1549 | |||
Producer | Alfred Lion | |||
Clifford Jordan chronology | ||||
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Blowing in from Chicago is a studio album by the American jazz saxophonists Clifford Jordan and John Gilmore. It was released through Blue Note Records in July 1957. [1] [2] The recording was made on March 3, 1957 and the quintet assembled for the session features rhythm section Horace Silver, Curly Russell and Art Blakey.
The CD reissue added a bonus track from the same session.
Review scores | |
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Source | Rating |
All About Jazz | [3] |
AllMusic | [4] |
MusicHound Jazz | [5] |
The Penguin Guide to Jazz Recordings | [6] |
The Rolling Stone Jazz Record Guide | [7] |
The AllMusic review by Scott Yanow states, "Clifford Jordan's first date as a leader actually found him sharing a heated jam session with fellow tenor John Gilmore. ... This was one of Gilmore's few sessions outside of Sun Ra. This session finds both young tenor men in fine form. Recommended." [4]
The Penguin Jazz Guide suggests that the album may be “the neglected masterpiece of Blue Note hard bop”, noting that Gilmore plays in a style distinct from the freer approach he used with Sun Ra, and that Jordan solos powerfully but with “real thought and logic”. [8]
The editors of MusicHound Jazz awarded the album a full five stars, calling it "a stunner" and "a fine hard-bop date for all involved," and noting that Gilmore "locks horns brilliantly with Jordan's beefy style, without turning it into an out-and-out blowing session brawl." [5]
A reviewer for Billboard stated that Jordan and Gilmore "play with 'hard' sound and sharply rhythmic attack to good results," and commented: "Valuable solo content and general vitality of this blowing session should please jazz buyers." [2]
Marc Davis of All About Jazz described the album as "a lively, wonderful record firmly in the Blue Note bop tradition," and remarked: "for this one moment, Jordan and Gilmore are every bit the equal of any past or future Jazz Messengers. It's an enjoyable record, well worth picking up." [3]
No. | Title | Writer(s) | Length |
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1. | "Status Quo" | John Neely | 5:36 |
2. | "Bo-Till" | Cliff Jordan | 5:56 |
3. | "Blue Lights" | Gigi Gryce | 6:38 |
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Billie's Bounce" | Charlie Parker | 9:34 |
2. | "Evil Eye" | Jordan | 5:14 |
3. | "Everywhere" | Horace Silver | 5:45 |
No. | Title | Writer(s) | Length |
---|---|---|---|
7. | "Let It Stand" |
| 7:44 |
Hard bop is a subgenre of jazz that is an extension of bebop music. Journalists and record companies began using the term in the mid-1950s to describe a new current within jazz that incorporated influences from rhythm and blues, gospel music, and blues, especially in saxophone and piano playing.
Horace Ward Martin Tavares Silver was an American jazz pianist, composer, and arranger, particularly in the hard bop style that he helped pioneer in the 1950s.
Douglas Watkins was an American jazz double bassist. He was best known for being an accompanist to various hard bop artists in the Detroit area, including Donald Byrd and Jackie McLean.
John Gilmore was an American jazz saxophonist, clarinetist, and percussionist. He was known for his tenure with the avant-garde keyboardist/bandleader Sun Ra from the 1950s to the 1990s, and led The Sun Ra Arkestra from Sun Ra's death in 1993 until his own death in 1995.
Dillon "Curley" Russell was an American jazz musician, who played bass on many bebop recordings.
Song for My Father is a 1965 album by the Horace Silver Quintet, released on the Blue Note label in 1965. The album was inspired by a trip that Silver had made to Brazil. The cover artwork features a photograph of Silver's father, John Tavares Silver, to whom the title composition was dedicated. "My mother was of Irish and Negro descent, my father of Portuguese origin," Silver recalls in the liner notes: "He was born on the island of Maio, one of the Cape Verde Islands."
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