JETman Posted May 26, 2011 Report Posted May 26, 2011 I think Pearson was more subtle than what Blakey would have been looking for. Just a hunch. Timmons wasn't exactly an 'in yo face' type player either! Quote
mikeweil Posted May 26, 2011 Report Posted May 26, 2011 I think Pearson was more subtle than what Blakey would have been looking for. Just a hunch. A lot more subtle than appropriate for a messenger. I see Pearson in the line of great lyrical pianists in jazz, from Teddy Wilson over John Lewis - beautiful, delicate touch. I think I have all of his leader dates except for the two first Blue Note Trio albums, which are a bit too tentative for my taste - I sold the japanse Copies I had a few years ago, But all the others ... impossible to choose one favourite! Quote
readyrudy30315 Posted May 27, 2011 Report Posted May 27, 2011 If I led a band, we'd definitely have "Rotary" in our book. Great choice Rotary.Its sounds like a complexed song to play .But the more you listen to it,the more you can get into it !Hey can you feel what I feel when you listen to The Right Touch.Its an all start lineup.You cant go wrong. Quote
JSngry Posted May 27, 2011 Author Report Posted May 27, 2011 "Chili Peppers" was a staple of AM jazz radio here for years. Bob Stewart played that thing damn near every day, and I never got tired of hearing it. Quote
chewy-chew-chew-bean-benitez Posted May 27, 2011 Report Posted May 27, 2011 awwwwwweseome!!!!!!!! everything sounds better on AM radio! Quote
Justin V Posted May 27, 2011 Report Posted May 27, 2011 (edited) I think Pearson was more subtle than what Blakey would have been looking for. Just a hunch. I'm sticking to my guns with this one. First, although Pearson is recognized as a lyrical composer, he also could be aggressive. For example, check out much of Johnny Coles's Little Johnny C. Second, Pearson worked well with former Jazz Messengers such as Donald Byrd, Freddie Hubbard, Lee Morgan, Wayne Shorter, Lou Donaldson, etc. Third, Art Blakey's Jazz Messengers had a softer side, as demonstrated on an album like Like Someone in Love. Fourth, Pearson recorded frequently with Lex Humphries, whose Blakey-influenced style meshed well with Pearson's playing. That being said, I'm more familiar with Pearson as a sideman, so my perception of him may be different from those who are lucky enough to have heard many of his dates as a leader. Would he have ultimately found a role with the Jazz Messengers to be satisfying given his gift for lyricism? That's another question. Edited May 27, 2011 by Justin V Quote
readyrudy30315 Posted May 31, 2011 Report Posted May 31, 2011 (edited) It really dont matter what part of the south your from.Pretty much everything is about the same.Coon,Possum,Chittlins,are all part of the southern mistic ! From the south(Georgia) came some of greatist talent in and out of jazz.Of course my favorite (Duke Pearson) Hank Mobley,Ray Charles,,Lena Horn,Elijah Muhammed,Gladys Knight,Little Richard,James Brown etc. Edited May 31, 2011 by readyrudy Quote
readyrudy30315 Posted May 31, 2011 Report Posted May 31, 2011 Duke Pearson: Playing Jazz Mobile NY,City Quote
readyrudy30315 Posted May 31, 2011 Report Posted May 31, 2011 I think Pearson was more subtle than what Blakey would have been looking for. Just a hunch. I'm sticking to my guns with this one. First, although Pearson is recognized as a lyrical composer, he also could be aggressive. For example, check out much of Johnny Coles's Little Johnny C. Second, Pearson worked well with former Jazz Messengers such as Donald Byrd, Freddie Hubbard, Lee Morgan, Wayne Shorter, Lou Donaldson, etc. Third, Art Blakey's Jazz Messengers had a softer side, as demonstrated on an album like Like Someone in Love. Fourth, Pearson recorded frequently with Lex Humphries, whose Blakey-influenced style meshed well with Pearson's playing. That being said, I'm more familiar with Pearson as a sideman, so my perception of him may be different from those who are lucky enough to have heard many of his dates as a leader. Would he have ultimately found a role with the Jazz Messengers to be satisfying given his gift for lyricism? That's another question. Duke Pearson could adapt to any sitting.Hard-bob dates,or more delicate sides such as his How Insensetive album.If most have heard him a a leader his music speaks for itself.Jeannine,My Love Waits,Idle Moments,Cristo Redentor,Little Yellow Street Car,After The Rain, all Pearson compositions.Pearson wrote a lot of tunes some hear but dont even know he wrote them. Quote
Larry Kart Posted May 31, 2011 Report Posted May 31, 2011 Let's keep all the Duke Pearson posts in this thread, which I've just placed in "Artists" because that seems to be the category into which everything posted on Pearson fits best. Quote
readyrudy30315 Posted June 14, 2011 Report Posted June 14, 2011 Well, Duke was really the "house arranger" during that era, so his stamp is on a large majority of the sessions. This is more obvious on some albums than others. Lee Morgan's Charisma is another album where Duke isn't listed specifically as arranger, but it couldn't be anyone else doing those charts. Idle Moments is essentially a Pearson date as well. How true and well said.You are right on it stating Duke Pearson isnt listed on Lee Morgans Carisma.He was all over it and in the mix.Altough he never got the credit for it.I have read original liner notes Pearson had written just fot that date that was never listed.Pearson had wonderful words to say about Morgan.He admired Morgan for his talent as well as the way he could focus when he arrived in the studio.So many more stories about Duke Pearson and Morgan to tell. Quote
Shawn Posted June 15, 2011 Report Posted June 15, 2011 Well, Duke was really the "house arranger" during that era, so his stamp is on a large majority of the sessions. This is more obvious on some albums than others. Lee Morgan's Charisma is another album where Duke isn't listed specifically as arranger, but it couldn't be anyone else doing those charts. Idle Moments is essentially a Pearson date as well. How true and well said.You are right on it stating Duke Pearson isnt listed on Lee Morgans Carisma.He was all over it and in the mix.Altough he never got the credit for it.I have read original liner notes Pearson had written just fot that date that was never listed.Pearson had wonderful words to say about Morgan.He admired Morgan for his talent as well as the way he could focus when he arrived in the studio.So many more stories about Duke Pearson and Morgan to tell. It's pretty nice to know that my ears were good enough to pick that up! Suspecting something is the case is great, finding out it WAS the case is even better, Man, I would love to read those original liner notes. WOW. Thanks again for sharing! Quote
chewy-chew-chew-bean-benitez Posted June 15, 2011 Report Posted June 15, 2011 hi would you be so kind to tell us more about that, re: charisma + duke pearson? do you still have those notes you can copy for us here? sweet honey bee is on that album, i always thought he might of had a hand in its arrangement.... Quote
AndrewHill Posted June 15, 2011 Report Posted June 15, 2011 I really like Sweet Honey Bee. There is not a weak track on the album, and the cast of sidemen is top-notch. Count me in as a big fan of SHB. Great grooving album! Quote
Shawn Posted June 15, 2011 Report Posted June 15, 2011 hi would you be so kind to tell us more about that, re: charisma + duke pearson? do you still have those notes you can copy for us here? sweet honey bee is on that album, i always thought he might of had a hand in its arrangement.... It sounded from his response like Duke did the charts for the entire record. I also think it's interesting that Duke re-recorded this song for the Sweet Honey Bee album 4 months later. Was Charisma released before or after Sweet Honey Bee? Based on the cover art, I would assume later? Quote
brownie Posted June 15, 2011 Report Posted June 15, 2011 The Duke Pearson 'Sweet Honey Bee' came outfirst. It was one of the last BN albums to be released in mono (along with the stereo version). Quote
Shawn Posted June 15, 2011 Report Posted June 15, 2011 The Duke Pearson 'Sweet Honey Bee' came outfirst. It was one of the last BN albums to be released in mono (along with the stereo version). Thanks for the info. I searched around for awhile online and couldn't find an actual release date for Charisma, just a recording session date. Quote
chewy-chew-chew-bean-benitez Posted June 16, 2011 Report Posted June 16, 2011 what was, THE last bn liberty to have a mono edition? Quote
brownie Posted June 16, 2011 Report Posted June 16, 2011 Looks like it was The Three Sounds 'Live at the lighthouse' (BN LP4265)! Quote
chewy-chew-chew-bean-benitez Posted June 17, 2011 Report Posted June 17, 2011 hmm brownie. even though i try now to get a stereo if its a stereo session, its really a case-by-case basis, isnt it? Quote
clifford_thornton Posted June 17, 2011 Report Posted June 17, 2011 Nice job, brownie. The last NYC mono was Sweet Honey Bee. I've seen monos of The Real McCoy and Conquistador exactly once each. Quote
JSngry Posted June 17, 2011 Author Report Posted June 17, 2011 (edited) I searched around for awhile online and couldn't find an actual release date for Charisma, just a recording session date. The front LP cover says 1969 in Roman numerals. Edited June 17, 2011 by JSngry Quote
ejp626 Posted July 20, 2011 Report Posted July 20, 2011 So I am listening to Prairie Dog and it jumps into "The Fakir." It is basically "Take Five" with a few minor twists. In fact, for a short minute I thought I had loaded in a Brubeck CD instead. Does anyone recall if he indeed got any flak from Brubeck/Desmond or their publishing company? Aside from that, it's certainly an impressive line-up -- Harold Vick, James Spaulding, George Coleman, Johnny Coles and Mickey Roker (dr). Quote
mikeweil Posted July 20, 2011 Report Posted July 20, 2011 Take Five is in 5/4, where The Fakir starts in 5/4, the theme has 3 bars of 3/4, then 5/4 again, and ends in 6/4 - much more intricate than simply staying in five for the whole tune. Quote
ejp626 Posted July 20, 2011 Report Posted July 20, 2011 Take Five is in 5/4, where The Fakir starts in 5/4, the theme has 3 bars of 3/4, then 5/4 again, and ends in 6/4 - much more intricate than simply staying in five for the whole tune. Perhaps so, but it still sounds like the piano and drum lines were lifted wholesale from Take Five. Quote
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