No more tickets needed, you have your own jazz season ticket by now.
Sax sound is so deep and warm, its full density can establish a quiteness atmosphere but it can accompanies nervous moments as well. Don’t know if someone of you watched “Around Midnight” movie (highly recommended), sountrack is full of sax accompaniments, they cross gloomy as well as delight shots. This is the power of sax.
This time my music selection takes its way from a great tenor saxophoninst.
Stanley Turrentine continues to have an ideal blend of blues and jazz sensibilities. Born in Pittsburgh on April 5, 1934, Turrentine grew up in a musical family, his father having played tenor saxophone with the Savoy Sultans during the late 1930s.
Turrentine’s first instrument was actually the cello, his switch to tenor not taking place until he was 11 years old. Early career moves included the more bluesy and r&b end of the spectrum with Lowell Fulson (touring in 1950-’51) and a recording date with Ray Charles. In 1952, Turrentine played with Tadd Dameron, and later with his trumpeter brother Tommy in Earl Bostic’s band from 1953-’54.
The tenorist put in a three-year stint with the Army, followed by more work with his brother, this time in Max Roach’s band of 1959-’60. Turrentine started putting out albums under his own name at this point (featuring artists such as Grant Green and Horace Parlan), recorded with Jimmy Smith and toured with Shirley Scott, his wife until 1971. As his recording career progressed, early on with Blue Note and later with labels such as CTI, Turrentine developed a definite style that mixed blues and jazz elements with pop material. This work carried him into the 1970s and ’80s, when he had a reunion with Smith (1982). Most of his work continues to be in a small-group format, and he can be found playing clubs and festivals worldwide.
Put it on and sit back for an evening of smooth relaxing listening.
This is soul jazz since it combines the relaxed blues feeling and directness with jazz type rhythms; accessiblity but interesting and changing improvisation. This is not the cold, cerebral type of jazz that turns off people unfamiliar to jazz music, but makes people increase their appreciation for improvisatory music.
Some time ago i was digging in my tapes box, looking through titles i bumped onto “Dead Serious“…put it on stereo and that’s it.
Listening to Das EFX many years later, i notice the original style “iggity”, and how everyone jocked it. But Dray and Scoob dropped the style first, and the “iggity” type rhymes could be found all over this album. Ah, this is EPMD production..need anything else folks?!
This is a very up-and-down album. Damn! i wish i was back in middle 90′s when they came to Italy for an exibition at Palladium…militar dressing, smoking joints, nimble rapping! Skoob & Dray can rhyme with such amazing energy, enthusiasm and best of all the ability to compliment each other by exchanging lines back and forth, taking turns in the spotlight, Das EFX possess a style that is second to none.
Whetever it be battle oriented or just party rhymes Das EFX brings the funk.
Check here the previous Das Efx post.
Listen to “The Man With The Sad Face”
Listen to “Dead Serious“