Benny Golson, Terminal 1

[David Ayers]

Anyone heard this recent release on Concord? Really fine, and it just grows and grows on you. Valuable supplement to the Mosaic, maybe?

Also dusted off Three Little Words on Jazz House Records, a 1965 Les Tomkins recording from Ronnie Scott's with all the problematic sound and intense musical interest which those tapes have so far had.

[JSngry]

Heard it, and like it well enough.

I do wish the producers had paid more attention to the intonation differential between Golson's tenor and Henderson's Harmon-muted horn, though. Mixed it different, EQ-ed it different, done SOMETHING different. Open horns is one thing, but that Harmon sound REALLY cuts, and if the intonation between and another horn is too different (notice I didn't say "off" or "wrong"), then it's kinda....uh... "hard to ignore". In some types of music, that's part of the trip, but I don't think that Golson's brand of music is THAT kind of music.

Otherwise, though, a perfectly acceptable and enjoyable program by a distinguished elder statesman whose playing continues to evolve in interesting ways.

Edited September 3, 2004 by JSngry

[relyles]

I have also heard it and enjoy it. Not necessarily an exceptional recording, but very good. Golson's compositions and playing are always worth hearing.

[Brad]

Playing and writing is very good. Worth picking up.

[Bluerein]

nothing exceptional imo. Just the same song's again. Played by exceptional players that's true but a real mainstream cd if there was any. Nice and clean.

cheers,

Reinier

[DrJ]

Your comments about the intonation issue are interesting to me Jim because I have found that while I find Golson to be an absolutely brilliant improviser in terms of his harmonic thinking (check out track 2 of the recent WITH MALICE TOWARD NONE CD he plays on - on the IPO label and led by Tom McIntosh) his intonation does sometimes seem off to me. A minor issue given the merits of his playing overall but still...

But from what you're saying, the issue here is more with the contrast rather than playing "off pitch?" Could it be both?

[JSngry]

But from what you're saying, the issue here is more with the contrast rather than playing "off pitch?" Could it be both?

No, it's definitely the "difference" between Golson's and Henderson's Harmon-muted intonation.

W/o going off on a pontificatory plane, I'm not a stickler, or necessarily even a believer, in "in tune" as an absolute. The idea of "correct" intonation is a useful tool, but that's all it is - a tool to reach a specific end. If it serves the ends of the player(s) to vary from "correct" pitch, even in ensemble, so be it. The only thing I listen for is if the results sound sincere, controlled, and, at some level, "intentional".

Now, the difference in pitch between Golson and Henderson would most likely have not bothered me in the least if Henderson was on open horn. But the Harmon really plays games with the overtones, and itself creates intonation challenges for a trumpeter (minor challenges, to be sure, but there is a difference nevertheless). The clash between the two doesn't sound "right" to me, it sounds like nobody really thought too much of it and let it slide, when it could have easily been fixed and things could have gone about naturally afterwards. It doesn't sound like an intentional expressive device, it just sounds like somebody (and the ultimate blame rests w/the producer, I think, especially since it's Concord - the label that has veritably REEKED of "control" of some form or fashion over the years) got lazy. But that's just my opinion. I'm no producer.

On top of that, tenor, perhaps above all instruments, is an instrument that THRIVES on being played a bit eithr above or below "correct" pitch. Show me a tenorist of any note who's always perfectly in tune, and I'll show you somebody who makes up for it some other way.