Phill Woods und Gene Quill, beide am TenorSax nahmen 1957 in NJ dieses Album für Prestigerecords auf. Soweit - so gut,- Betonung auf gut. Die Stücke, gesamt von Woods geschrieben, sind von keiner schlechten Qualität, jedoch der Sound des gesamten musikalischen Klangbildes kommt etwas zu glatt poliert. Für sonst eine CD in Ordnung, jedoch für eine JazzCD hätte es etwas uriger sein können. (Man/n oder Frau mache sich bitte selbst 1 Bild). 8 Titel, 2 davon Bonus, eine Spiellänge von 49 Minuten und eine Begleitung von Schlagzeug, Bass und Piano runden es noch etwas ab. Also, wie gesagt keine schlechte CD, aber ...
5つ星のうち5.0Trésor bien mal connu à découvrir absolumenet
2015年4月7日にフランスでレビュー済み
Amazonで購入
Fantastique album, malheureusement si peu connu. Be bop dans la lignée du cool naissant de la fin des années 50. uper prise de son qui en fait un régal a écouter. le succès de cet album rendrait un hommage à Gene Quill qui est resté dans l'ombre de ses pairs (Woods, Mulligan, ...)
5つ星のうち5.0An overlooked album from altoists Phil Woods & Gene Quill in 1957.
2014年5月3日に英国でレビュー済み
Amazonで購入
This excellent, but neglected quintet album by alto saxophonists Phil Woods(1931-2015) & Gene Quill(1927-1989) was recorded in Hackensack, New Jersey on March 29, 1957 with George Syran(piano); Teddy Kotick(bass) & Nick Stabulas(drums). The well-matched altoists are in fine form with a buoyant rhythm section and the eight memorable tracks include six originals by Phil Woods plus Sonny Rollins' 'Airegin' & Miles Davis's 'Solar'. 'Phil & Quill With Prestige' is an enjoyable, swinging bop session which deserves to be more widely known.
In my opinion Phill Woods and Gene Quill were the finest alto sax duo in the history of jazz. So now that my bias is out of the way, on with the review: Each number on this album is snappy and exuberant. There are no ballads or slow tempo songs. All of it is straight-forward bebop with a smile. Since the alto sax has a ÒbrightÓ sound, it makes for a perfect instrument for bebop and this duo creates improv lines that are clean and imaginative on a recording that is crystal clear. This duo met in New York circa 1954 and recorded this album for Prestige in January of 1957. When I hear albums like this, I am beginning to think that recording on tape may be better than digital for this record has an extraordinarily clean sound. What also stands out on this album is the rhythm section. George Syran did an outstanding job on the piano while Teddy Kotick and Al Cohn; both refugees form the Zoot Sims quartet, do an amazing job on bass and drums. The liner notes are anemic but that is because they were written in 1957 before the gravity of this duo became appreciated. This is very accessible bebop and I think it is a must have album for any of those jazz fans that appreciate the saxophone.