mfs@mhuxr.UUCP (SIMON) (09/08/85)
Paul Gonsalves has been consistently underrated in critical evaluations from scholarly tomes to argument between fans. I have acquired an increasing admiration for his playing in the last couple of years, and now that three new albums showcasing him are (again) available, I'd like to explain why. Gonsalves had the bad luck to join the Ellington band when the Duke was going thru tough times. Economics made it dificult to run a big band, and a number of key sidemen were leaving (Johnny Hodges, Tricky Sam Nanton...) In addition, Gonsalves was asked to do the impossible task of filling Ben Webster's tenor sax chair. To compound things, he had a retiring personality and slight build that made him all the easier to ignore. But "Mex" gained confidence. It took an odd event for him to serve public notice of it, however. Ellington punished sidemen who showed up late, drunk, or comitted other infractions by opening up arrangements, forcing them, with no notice, to create (there is nothing worse for an improvising musician to stand there with all eyes on you, and have nothing to say) for chorus after chorus. So it was at Newport that day when the Duke called for an old tune, "Diminuendo and Crescendo in Blue." After solos by Hodges (who had returned earlier that year), Carney and Duke himself, Gonsalves began. And found himself alone, with only the rhythm section backing him. He respnded magnificently, digging in for 27 choruses that burst with ideas, exploring the blues of the tune with the abandon of R'n'B screamers and the inventiveness of beboppers. Not a note was wasted. The punishment had turned into a triumph. The concert and resultant album (ELLINGTON AT NEWPORT, Columbia 1956) did much to restore Duke's band as the force it still is today. By the early sixties, Gonsalves had gotten his alcohol consumption under control (a serious and recurring problem that contributed to his untimely death in the late sixties) and was ready to venture on his own a bit. While he never left Ellington, he led a couple of recording sessions that are thankfully available once again. The first, in 1960 (GETTIN' TOGETHER, on the Jazzland label, re-issued by Fantasy in the Original Jazz Classics series), was atypical in that it featured none of his fellow Ellingtonians, nor any Ellington tunes. A blowing session pure and simple, with the able backing of Nat Adderley, Wynton Kelly, Sam Jones and Jimmy Cobb. Gonsalves sounds terrific everywhere on the well-balanced program, from such cookers as "Hard Groove" and "Yesterdays" to slow blues like "Low Gravy" to ballads like "I Surrender Dear" or "I cover the Waterfront" The LP ends with a masterful rendition of the Miles Davis tune, "Walkin'" with Adderley laying out, and Mex taking chorus after inspired chorus. Another recently re-issued Gonsalves gem is TELL IT THE WAY IT IS! (Impulse 1963, available on the British Jasmine label.) This is a relaxed date with Hodges and Ray Nance among others. Dexter Gordon has said that "Every tenor player must prove himself by playing 'Body and Soul' and people' evaluation of him will depend on well he does on that one tune." Mex acquits himself honorably, ably demonstrating his tender, gruff tone, so out of keeping with his small physique. Hodges contributes a couple of tunes, including the superb blues "Rabscallion in Rab's Canyon." Everybody blows for one chorus here. There are also two Ellington tunes; "Duke's Place" gets a humorous vocal-and-bass solo treatment from Ernie Shepard, along with some nice blowing by Nance (on violin) and Hodges. Mex takes two lilting choruses that are funny and affectionate all at once. "Things ain't what they used to be," ordinarily a feature for Hodges, starts with Rabbit leading the way, followed by Nance and second trumpet Rolf Ericson. Mex takes four at bright tempo, his tone clear and strong. This would be my favorite, but for the recent issue by Fantasy of an Ellington session that features Gonsalves exclusively. Recorded in 1962, when Duke came to a date with no new material and noticed that Mex was in great form, having for once showed up early and practicing with abandon. Duke decided on the spot to structure the session around Paul, but not in punishment this time. The program is familiar but varied. The clarinets take the theme of "Caravan," then the tempo shifts to 4/4 for some rousing Gonsalves work. "Just a Settin' and a Rockin'" is resigned but determined, while "Happy-Go-Lucky Local" (named for the rickety No 1 Broadway Local subway train) is just superb, with the band squeaking and creaking like an old subway car under Gonsalves' ecstatic tenor. If you have read my rambling this far, you are at least somewhat interested. Let me then recomment in the strongest terms that you check out the tenorman from Boston. He did not say much, but he "told it the way it is!!" Marcel Simon PS: If anyone is aware of other records by Gonsalves, please let me know! I want to know everything the man recorded. PPS: On STAN THE MAN, an recent Verve overview of Stan Getz sessions from 1949 to 1959, there is a *great* three tenor battle between Getz, Coleman Hawkins and Gonsalves, with Dizzy Gillespie acting as moderator.
keesan@bbncc5.UUCP (Morris M. Keesan) (09/10/85)
In article <425@mhuxr.UUCP> mfs@mhuxr.UUCP (SIMON) writes, at the end of a long article about Paul Gonsalves: >PPS: On STAN THE MAN, an recent Verve overview of Stan Getz sessions from >1949 to 1959, there is a *great* three tenor battle between Getz, Coleman >Hawkins and Gonsalves, with Dizzy Gillespie acting as moderator. And speaking of tenor battles, there is a wonderful album under the leadership of John Coltrane, called TENOR CONCLAVE, with Coltrane, Zoot Sims, Al Cohn, and I'm ashamed to say I can't remember the fourth. The album was recorded in the 50's, and reissued a few years ago as one half of a twofer called ON A MISTY NIGHT. There is some great blowing on this album, both hard-driving tunes and slow ballads. Those who don't like Coltrane in his later, farther-out, years should listen to this album to hear some straight-ahead playing that might surprise you. -- Morris M. Keesan keesan@bbn-unix.ARPA {decvax,ihnp4,etc.}!bbncca!keesan
ryan@fremen.DEC (Mike Ryan DTN 264-8280 MKO1-2/E25) (09/12/85)
---------------------Reply to mail dated 8-SEP-1985 16:14---------------------
I agree absolutely just on the basis of the Newport album! I remember
digging through the attic, finding my father's old albums including that
one - what a performance by Gonsalves! I'll have to dig it out again the
next time I visit my parents...
Mike Ryan
ARPA: ryan%fremen.DEC@DECWRL.ARPA
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