４テナー（ロックジョー／コブ／ホーキンス／バディー・テイト）＆オルガンのバトルロイヤルが当作品の趣旨です。執拗な攻撃のホーキンス、フォークで反則攻撃をしかけるコブ、見掛け倒しのテイト、毒霧殺法で目晦ましするロックジョー。そしてトドメはシャーリー・スコットお姉さまのジャイアント・スイング。この勝負、シャーリー・スコットが美味しいところをかっさらって勝負ありとみました。聴き所はSweet Georgia Brownのコード進行をベースにしたVery Saxy。ホント、痺れました。

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Wayne Dawson

A MASTERPIECE REMASTERED!

2008年4月11日にアメリカ合衆国でレビュー済み

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The expectations from such a musical line up are very high; happily, the results were more than we could wish for.

Firstly, for this kind of occasion, a little retrospective is necessary. Eddie `Lockjaw' Davis and Buddy Tate were both, at various times, part of the Count Basie orchestra and were showcased as soloists. Arnett Cobb helped keep the excitement generated by Illinois Jacquet in the Lionel Hampton big band of the 1940's a happening thing after Illinois' departure, and Coleman Hawkins was a mainstay in the Fletcher Henderson big band of the 1920's. By the time of this recording in 1959, these cats had been around some.

In those earlier halcyon decades of jazz, competition was rife and merciless. Musical reputations were for toppling, much like a fast gun always had to watch his back. Informal after hour sessions were often referred to as `cutting contests'. As Coleman Hawkins had the first highly regarded reputation for big toned virtuosity, his was a scalp well sought after; in his own words . . . `they always wanted to try and cut me.'

The Hawkins influence on tenor players has been extraordinary, from Ben Webster through to Sonny Rollins and Stanley Turrentine; some, like Billie Holiday, felt Lester Young was the President, but to many others, the Hawk was greatest.

So, as you'd expect with a recording like this, the Hawk came out with that added touch. The Greybeard edge given to his tone makes him sound like some kind of biblical Moses laying down the law; but this is no cutting contest, this is a collaborative effort where everyone is on fire (Cobb and Tate are especially glorious while Jaws is his usual formulaic self), relishing the occasion to blow together that has led to an undisputed masterpiece we are very fortunate to have.

Unlike some of the Jazz at the Philharmonic recordings where the playing was a bit loose and at times exhibitionist, Very Saxy is tightly clad without loosing any of the immediacy and spontaneity of a live performance. The music will bowl you over from the gorgeous opening ensemble playing of the title track right through to the affirmative conclusion of Light and Lovely.

With the remastering all the hearty richness of the ensemble playing is even more sumptuous than before, while more juice and expressive nuance has been solicited from the individual solos.

On Lester Leaps In, once the individual solos have been delivered, the pace quickens into a spliced and segmented set of bar exchanges where quick thinking and split second timing will leave any listener reeling in amazement. At times the interplay of exchanges is like a relay race, where the baton (in this case, flaming torch) is passed from one player to the other; or like a volley ball team, setting each other up for a climatic spike. Incredibly, regardless of foghorn blasts, sobs, wailing or just straight out cragged utterances, the melody continues to unwind like a ribbon.

I could go on, I haven't even touched on the rhythm section, but that can be a surprise too, suffice to say organist Shirley Scott funks it up nicely for the boys without swamping the proceedings and bassist George Duvivier and drummer Arthur Edgehill are rock solid.

So there you have it, four great tenors remastered and what a resplendent shakedown!

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Frankie J.

Attack of the Saxes!

2013年9月18日にアメリカ合衆国でレビュー済み

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For those of you who would like to have a primer on what top notch tenor sax players can sound like when they play some down home jazz and blues, go no further than this album.

All of the players are top notch and at the top of their games when this was recorded.

This is the kind of album that you can allow to play from start to finish and it will leave you hungering for more. Other reviews name the players and their take on the recording quality. Believe me, a cursory listening of this album will validate the recording quality is more than fine and acceptable.

Because of it utter listen-ability, you should and must pick up this album and turn your volume up to 11. Dig this!!

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Michael Palermo

Four of the best.

2013年2月16日にアメリカ合衆国でレビュー済み

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This is a good blowing session . Nothing earth shaking,but if you,like the four priciples, you will have fun. Good service and excellent price. Thanks Amazon

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Nathan Ross

Hard driving

2017年4月10日にアメリカ合衆国でレビュー済み

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This is not relaxing, easy going. It does not have a lot of structure or space. It is very energetic, hard driving jazz. WIth four tenor saxs, it feels kind of frenetic, one solo quickly following the other. Lockjaw seems the most energetic, overpowering of all. This is not the CD I put on when I want finely thought out solos or gradual development of ideas, but for sheer energy it is great.

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Patricia Mccarty

Sax at it's Best

2011年2月24日にアメリカ合衆国でレビュー済み

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This is a fabulous CD all the great old sax players live up to the title. Any jazz fan should enjoy this and it is a must for sax lovers.

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Very Saxy

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