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Lyrics & Music Hank Jones - The Hank Jones Quartet/Quintet (1955)

Posted on 2010-08-03

Name:	Lyrics & Music Hank Jones - The Hank Jones Quartet/Quintet (1955)
ASIN/ISBN:	0546899986
File size:	165 Mb
File Type:	MP3
Other Info:	320kbps; LP Cover + Liner Notes; RS.com; 86mb; 5% File Recovery

Lyrics & Music Hank Jones - The Hank Jones Quartet/Quintet (1955)

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Hank Jones - The Hank Jones Quartet/Quintet (1955) Genre: Jazz

Dustygroove.com:

One of Hank Jones' key mid-50s sides for the Savoy label -- and quite possibly the hippest of the bunch, thanks to the presence of a young Donald Byrd on trumpet! The core trio here is Hank's group with Eddie Jones on bass and Kenny Clarke on drums -- but it's Donald Byrd's trumpet that really makes the album shine -- by adding in a slightly sharper edge than you might normally hear on some of Jones' sweeter trio sets. An additional trumpeter -- Matty Dice -- joins the group on some of the tracks too, blowing alongside Byrd in a relaxed, open -ended way that's totally great. Titles include "An Evening At Papa Joe's, "Summer's Gone", "Don't Blame Me", "And Then Some", and "Almost Like Being In Love".

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June 24, 2001:

Hank Jones: A Quiet Man With Voluble Fingers - By BEN WALTZER [New York Times]

Too often jazz is discussed mainly in terms of its greatest leaders. But much, if not most, of jazz history has been made by artists who sustain long, steady careers, often in supporting roles, influencing the tradition of their instrument and shaping the sound of the music. Henry (Hank) Jones, the 82- year-old pianist, is an example. Mr. Jones, who will perform at Birdland tomorrow with the saxophonist Joe Lovano as part of the JVC Jazz Festival, has brought urbane warmth, soul and swing to every imaginable musical context for more than 60 years. He is a legend.

"I have been lucky enough to work all this time, luckier than I deserved to be," Mr. Jones said recently. "I tried to do justice to any job that I took, whether it was in a studio, a record date, a club or accompanying a singer. If you do that and you do the best you can, I guess good things follow." Mr. Jones, who rarely performs without a jacket and tie and speaks with self- effacing humor, approaches the piano in a similarly modest fashion; he would rather convey music than display knowledge.

Mr. Jones uses his technique for inflection, to shape the torque of a melody and give a chord appropriate weight and duration. His improvisations are lyrical yet unaffected. His harmonic wit gives his music depth and can suggest avenues for a soloist. But his touch — like a fingertip meeting liquid — is his trademark. Supple yet firm, it summons a luminous, uncanny resonance. He makes the piano sound as if it's breathing.

"Hank has a kind of even temperament at the piano," said the pianist Mulgrew Miller. "It's like a blue flame."

While Mr. Jones is known in jazz circles as a bebop pianist — some of his earliest recordings were with Charlie Parker — his art is rooted in the pre-bop piano playing of Teddy Wilson, Fats Waller and Art Tatum, who was his deepest influence. These pianists, though stylistically distinct, played orchestrally, with harmonic sophistication, melodic elegance and a bell-like tone. Mr. Jones took their approach as his foundation and reconfigured it into the language of modern jazz.

"When I came to New York I wasn't playing anything remotely like bebop," he told an interviewer in 1981. "The work that was facing me was to try to assimilate and not lose what I already had. I didn't always succeed, but I had to do it."

The way in which Mr. Jones bridged the eras is a defining factor of his art. Before the advent of bebop, improvisation was based on the extension of a song's melody — lines tended to be arpeggios or other embellishments in and around melodic statements. Bebop improvisation, however, was more closely tied to a tune's underlying harmonic structure — labyrinthine lines were hurled through the chords. While adept in the bebop language, Mr. Jones has always preserved the melodic theme, the essence of a song, a predilection he derived from Tatum. "No matter what he played at whatever tempo, you could always discern what the melody was," Mr. Jones said. "I always tried to maintain a melodic line or some relationship to the melody so that the tune is identified." This gives Mr. Jones's playing a timelessness unbound by idiom. It is also one reason he has worked so much and with so many: his music transcends voguish style.

Hank Jones, the eldest of seven children including the drummer Elvin and the trumpeter and composer Thad (who died in 1986), was born in Vicksburg, Miss., and grew up in Pontiac, Mich., near Detroit. The Jones family, deeply religious and strict, was also musical. Both parents sang in the church, and the house was filled with gospel music, jazz and the blues. Drawn to the piano, Mr. Jones took formal lessons while absorbing the music — Fats Waller, Duke Ellington, Jimmy Lunceford and Earl Hines — he heard on the radio.

Mr. Jones began his professional career as a teenager, performing for school dances and other functions, and by his mid-20's was a veteran of the Midwest territory bands, having ventured as far east as Buffalo with the tenor saxophonist George Clarke. In 1944 the Detroit saxophonist Eli (Lucky) Thompson recommended him to the trumpeter Oren (Hot Lips) Page, and Mr. Jones headed to New York to join Page's group.

The engagement with Page catapulted Mr. Jones into jazz's upper echelon. "People heard me and said, `Well, this is not just a boy from the country — maybe he knows a few chords,' " Mr. Jones recalled. He soon became a first-call pianist, working with Parker, Billy Eckstine, Coleman Hawkins, Lester Young, Andy Kirk and John Kirby. Starting in 1947 he played several tours with Norman Granz's Jazz at the Philharmonic, which led to a five-year job as Ella Fitzgerald's accompanist. Later, Mr. Jones worked with Benny Goodman, Artie Shaw's Gramercy 5 and Miles Davis, among scores of others.

In addition to work as a freelance pianist, Mr. Jones spent 17 years, from 1959 to 1976, as the staff pianist at CBS radio and television. He played for everyone from Ed Sullivan to Captain Kangaroo. "I also used to have to accompany people who came down to audition for CBS: singers, dancers, dog acts, elephants," Mr. Jones said. In the late 70's one could hear Mr. Jones in the Broadway musical "Ain't Misbehavin' " — he was its musical director and pianist — and afterward across the street at the Ziegfeld Restaurant, where he played solo piano late into the night.

Mr. Jones has made countless recordings as a sideman. As a leader he has produced some jazz piano masterpieces. "Urbanity" (1953), a trio record with Ray Brown on bass and Johnny Smith on guitar, is exquisite in its mature ease. Mr. Jones's playing is harplike, and he uses his touch to gently set the group's rhythmic pulse, which is notably loose for the time. "The Trio" (1955), with Wendell Marshall on bass and Kenny Clarke on drums, is a lesson in arranging for the piano trio. Full of intros and ensemble digressions and odd harmonies, the record reminds us how strangely beautiful the best straight-ahead playing has always been. On "Hank Jones Quartet/Quintet" (1955), the pianist is attached to the soloist like a sidecar to a motorcycle. He balances and grounds the horn players, helping to navigate their improvisation.

Over the last 10 years, Mr. Jones has quietly released a string of exceptional recordings: a solo record of Fats Waller's music; an album of spirituals with the bassist Charlie Haden; intimate duets with the singer Abbey Lincoln; a record with West African musicians; and a program of Thad Jones's music, with Elvin Jones on drums. The series, produced by Jean- Phillipe Allard for Verve, is a model of thoughtful music-making. The records challenge the familiar with new contexts and themes in a way that is always musical, never gimmicky.

Mr. Jones has also influenced other pianists for more than half a century. Tommy Flanagan, the legendary pianist, grew up in the 40's admiring him. "After Tatum, Hank was more modern," Mr. Flanagan said. "He gave hope for younger pianists."

They are still studying Mr. Jones. One is Michael Kanan, the leader of his own trio and accompanist for the singer Jimmy Scott. "What I find remarkable is the high degree of freedom he maintains while improvising within the jazz tradition," Mr. Kanan said. "He's remained his own man through the rise and fall of several styles of jazz piano playing, always challenging himself. It's a great accomplishment and an example to be followed."

Mr. Jones's greatness consists of his use of musical balance as an expressive tool. His quietude is never complacent. His vigor is never bombastic. His taste crystallizes his playing, making it centered and direct in a casual, unassuming way. But if one asks Mr. Jones for advice, he'll just repeat what he told me with a laugh: "Play the left chords at the left time!"

& 8221;

Personnel:

Hank Jones (piano)

Donald Byrd (trumpet)

Matty Dice (trumpet)

Eddie Jones (bass)

Kenny Clarke (drums)

Tracks:

1. Almost Like Being In Love (4:35)

2. An Evening At Papa Joe's (15:05)

3. An' Then Some (7:30)

4. Summer's Gone (7:15)

5. Don't Blame Me (6:30)

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