When Ronnie Scott scooped first place in the tenor sax category of the Melody Maker readers poll in early 1951 the victory his third such award prompted an especially concentrated patch of recorded activity for the Esquire label. Sharp-as-a-tack, sports car driving, ineffably glamorous and bursting with musical swagger, Scott had it all and it was little surprise that producers Carlo Krahmer and Peter Newbrook clearly wanted to make the most of their star signing. Over the ensuing year they recorded... Celý popis

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When Ronnie Scott scooped first place in the tenor sax category of the Melody Maker readers poll in early 1951 the victory his third such award prompted an especially concentrated patch of recorded activity for the Esquire label. Sharp-as-a-tack, sports car driving, ineffably glamorous and bursting with musical swagger, Scott had it all and it was little surprise that producers Carlo Krahmer and Peter Newbrook clearly wanted to make the most of their star signing. Over the ensuing year they recorded him not only leading his own quartet and all-star Boptet but also in partnership with pianist Ronnie Balls trio and with fellow tenor star Kenny Graham. The range of the music on these sessions covering everything from Grahams prototypical Afro-Cuban fusions to the cool, Getz-like ambience of the recordings featuring Scott in a quartet format fully illustrated the young tenorist's gifts, as w
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