Tommy Flanagan - Trio and Sextet (1973)

Описание: Tracklisting

00:00 - 1. An Oscar For Oscar
07:38 - 2. Just Friends
11:20 - 3. Grand Street
17:23 - 4. Soul Support
22:38 - 5. Osmosis
33:11 - 6. Like Someone in Love
37:10 - 7. BMT Express

Album Info

Recorded October 1, 1961, at 223 E 2nd St, New York, NY

Notes are written by Mark Gardner.

A couple of years ago, pianist Tommy Flanagan remarked a little wryly that the only available album under his own name had been made way back in 1957. In fact, though he has been prominently featured on hundreds of records, Tommy has cut fewer than a handful of sides as a leader during his 27 years in music. A sad state of affairs when you consider his qualifications. For some strange reason, Flanagan is never on the list when recording contracts are being handed out. It seems that a special talent and incredibly consistency are not enough for some producers.
Anyway, bearing this in mind, it is perhaps just that the enclosed session should bear Tommy Flanagan’s name. Flanagan solos on every track but one and both “Like Someone in Love” and “Just Friends” are trio showcases for the Pianist. All seven items comprise some of Tommy’s most satisfying work from the early 1960s.
The date, conceived by Englishman Fred Norsworthy, was for a short-lived company called Jazzline Records. When first issued the programme did not include “BMT Express”. Later, the music was released in Britain under the title Modern Mainstream. This time “BMT Express” was in, but the two trio selections were out. The kind of logic that governs such arbitrary decisions, I have never understood, especially when all the music is obviously good and the overall playing time is just about right.
Well now you can listen to the session in its entirety, eleven years after it was recorded. It takes a Don Schlitten to clear up the goofs and omissions perpetrated in the past, and here’s an excellent example of his literally “setting the record straight”.

… English Bassist, teacher and philosopher Peter Ind recalls this session with special affection and for good reasons. It was held at his loft studio (223 East 2nd Street was the address) in the East Village of Manhattan, Ind engineered the proceedings and it was the last recording date to take place in that comfortable pad.
“We did the entire date in one afternoon and as I remember it, practically every performance was realized in one take”, says Peter who now lives in a remote country cottage near the Welsh border of England. “Fred Norsworthy, another English guy, then living in Canada, set the thing up and Dave Bailey got the musicians together.

“An Oscar for Oscar”, dedicated to the owner of the late lamented Birdland club and not Oscar Pettiford, is taken at much the same tempo as the 1954 original. After the theme, Dorham is fittingly, the first soloist and he puts together eight beautiful blues choruses (against the three of his 1954 solo).
“Just Friends” is a favourite tune of many pianists. Ever hear Dodo Marmarosa’s version? Its wild by so is Flanagan’s in a different way. Tommy scores with his gentle simplicity and directness. There’s real economy here. Tucker and Bailey supply perfect backing, and the ending is masterfully resolved.
The horns return for a groovy walking down Sonny Rollin’s “Grand Street”. Haynes outlines the theme first time around and is then joined by Dorham and Fuller, playing nice harmonies. Haynes then proceeds to execute one of the finest solos. Fuller next and then another lovely sample of Flanagan’s elegance, followed by cosmic Dorham who gives another demonstration in the art of understatement.
Norris Turney’s “Soul Support” has a slightly dated ring to it but the piece serves as an excellent springboard for both Dorham and Haynes. Fuller makes nice furry sounds and Flanagan gets into some interesting ‘comping’ behind him. Tommy does not solo on this all-horn feature.
The cryptic “Osmosis” is wholly successful. This is one for KD freaks for Kenny is really into it and wailing as he gets a long stretch. He improves greatly on his 1954 solo which was restricted by the time factor.
“Like Someone In Love” has pretty changes which Flanagan clearly appreciates in this tasteful outing. Having disposed of the original melody, Tommy sits back and swings, inserting some beautiful double time runs.
“BMT Express” signifies, I assume the initials of Benjamin Mayer Tucker, since it is the bassist who marches the piece in and he also solos. This Rudy Stevenson composition was the last tune of the afternoon and the other soloists are Flanagan, Fuller and Haynes.

This session typifies the good things that were happening in Jazz during the early and hopeful years of the 1960s- before assassinations, terrorism and violence were everyday occurrences. Somehow this music reflects a happier time.

Personnel

Tommy Flanagan - Piano
Kenny Dorham - Trumpet
Curtis Fuller - Trombone
Frank Haynes - Tenor Saxophone
Ben Tucker – Bass
Dave Bailey – Drums