Groovin' with Golson

Artist: Benny Golson
Label: Ojc
Category: Music

Average customer rating:

Media: Audio CD
Number Of Discs: 1

UPC: 025218622622
EAN: 0025218622622
ASIN: B000000YCO

Release Date: 1991-07-01

Related Categories:

Bebop General

| Bebop | Jazz | Styles | Music

General

| Jazz | Styles | Music

General

| Pop | Styles | Music

Hard Bop

| Bebop | Jazz | Styles | Music

Listmania:

Art Blakey Without the Jazz Messengers
The almost complete Tenor Sax Collection
Overlooked Tenor Sax Giants

Tracks:

My Blues House
Drum Boogie
I Didn't Know What Time It Was
The Stroller
Yesterdays

Similar Items:

Gone with Golson
Gettin' With It
Benny Golson's New York Scene
Terminal 1
The Fox

Customer Reviews:

Send help, Curtis is lost in the building!.......2007-02-05

Besides his performances as a renown sideman, Benny Golson has shown here he has every right to act as a virtuosic frontman too. The record is bluesy, straightforward and definitely groovin', just like so many other fine examples of hard bop from the late 50ies. Dissapointing though is the fact that Curtis Fuller's trombone sounds like he's playing from the neighbouring building. This does little good to the overall sound of the album, except if you're into Karaoke of course..

Groovin'.......2005-09-07

This is the second of a string of three Prestige albums Golson recorded in 1959. All three are top notch. On this one Golson is joined by Curtis Fuller (tb) Ray Bryant (p) Paul Chambers (b) and Art Blakey (d). This is hard bop at its finest. Two standards and three originals make up the tunes; all three originals are blues (THE STROLLER is up tempo and really cooks). Ray Bryant, an excellent blues interpretor on piano, is wonderful on these sides. Everyone came to play on this date, and the results are very solid.

Short and Sweetest.......2003-09-21

Clocking in at only 34 minutes, you might think this slight blowing session is not worth the money. But like 'Blues-ette' (under trombonist Curtis Fuller's name) and like his hard-to-find classic, 'Free,' this is a Golson gem. I play tenor, and I am continually blown away by 50's vintage Benny Golson - before he confined himself to tight arrangements that squeezed out his tenor sax improvising, and long before his return to the tenor in the post-bop era, when he drastically and unfortunately changed his tone to a mere shell of its early beauty. In this '59 session, made while he was forming the Jazztet with Art Farmer and Curtis Fuller, he stretches out on some simple blues patterns and one standard ballad. It's all done at a swinging tempo that allows Fuller to shine on trombone with near perfect solos; the under-rated Ray Bryant adds his impeccable piano touch (he's as great as Wynton Kelly or Sonny Clark); Paul Chambers was never better on bass than here, both as accompanist and soloist; and the irrepressible drummer, Art Blakey, makes the whole session sparkle. Backed by this band, Golson is as smooth as butter in tone, and as dazzling in his virtuosity as any tenor player of the times. In my opinion, he was the greatest tenor virtuoso of the 50's - even better than Sonny Rollins or Johnny Griffin: and that's sayin' something! Although this is simply a blowing session on some fairly simple riffs, it is raised to the level of the sublime by consummate musicianship and group chemistry, proving that the most perfect diamonds are the small ones. Add this to your collection of jazz classics. And don't be put off by tepid reviews on other websites that only give this three stars. Sometimes professional critics have a bad day.

YES - now that is more like the Golson I remember.......2003-09-09

I don't know if it is the addition of one of my top five piano players, Ray Bryant, or my top five favorite rhythm sections, Art Blakey and Paul Chambers, but Benny Golson is indeed groovin' this time. It is obvious from the first song. He is right there for the first solo. No flights of off-groove fancy, just great straight ahead, in the pocket playing, the way I am always used to hearing him. "I Didn't Know What Time It Was" finds him playing and saying everything melodically and coherently, even though he is still in Trane-ing. I'm partial to Benny before his Trane influence became so great, but here, it is used to properly propel his playing to new heights, unlike, in my opinion, "Blues-ette", where he simply lost his own voice in favor of his newer mentor. Perhaps having the date in his own name made a difference, I'm not sure, but he's swingin' hard and fast, like on "The Stroller" (written by Golson), and Curtis Fuller is flawless, punctuating a lot like Al Grey...and Ray...what IS there to say?! The man does it all. Chambers states his usual wise musical sermon, then Blakey takes it over the top. "Yesterdays" is truly soulful, and both Golson and Fuller (with Ray, of course) give it what it needs. THIS is my kind of star, straight ahead bop-blowing session. It blows "Blue-ette" away.

Excellent Session.......2002-03-10

I listen to a bunch of tenor players, my favorites, after Lester are Trane and Johnny Griffin. But I also like Gene Ammons, Jimmy Forrest, Wardel Gray, Joe Henderson and Hank Mobley.
I hate to admit it, but this record is my first by Benny Golson, and it really knocks me out. He's someone I've heard about but have not really sat down and listened to. What an ear-opener this has turned out to be!
Groovin' is why so many of the Golson & Fuller records from the late 50s and early 60s are still available.
The rhythm section is really great too. There's nothing negative anyone can say about this collection.

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