Reference: FSRCD 481
Bar code: 8427328604819
Baritone saxophonist Cecil Payne developed a recording and on-stage collaboration with pianist Duke Jordan that started in the mid Fifties and would last until the late 1980s.
This CD contains some of the most successful encounters recorded in the early years of their relationship. Made first as a quartet with Tommy Potter and Art Taylors inspiring support, and later with the addition of the exceptional Kenny Dorham, these 1956 sides are full of life. On the 1962 session, the muted work and warm sound of another trumpeter, Johnny Coles, is in evidence. In the rhythm section, Wendell Marshall and Walter Bolden tie the time down with taste and complete assurance. The Payne on these sides was in his most spirited form, and Jordan, a too-often underestimated pianist, plays with creativity and intelligence. On a cooking set his spare, highly melodic style is a constant delight.
01. This Time The Dreams On Me (Arlen-Mercer) 3:50
02. How Deep Is The Ocean (Berlin) 7:49
03. Chessman's Delight (Weston) 5:28
04. Arnetta (Payne) 3:39
05. Saucer Eyes (Weston) 6:39
06. Man Of Moods (Payne-Jordan) 5:33
07. Bringing Up Father (Payne) 6:20
08. Groovin' High (Gillespie) 4:23
09. Yes, He's Gone (Moskatel) 3:49
10. Dexterity (Parker) 3:58
11. I'm Gonna Learn Your Style (Jordan-Moskatel) 4:45
12. Like Church (Payne) 4:58
13. Tall Grass (Jordan) 3:20
Total time: 64:45 min.
Tracks #1-8, first issued on the 12" album "Cecil Payne" (Signal S 1203), and on the 12" album "Patterns of Jazz" (Savoy MG 12147)
Tracks #9-13, from the 12" album "East and West of Jazz" (Charlie Parker PLP-805)
Tracks #1-4: Cecil Payne (baritone sax); Duke Jordan (piano); Tommy Potter (bass); Art Taylor (drums).
Recorded at Rudy Van Gelder's Studio in Hackensack, NJ, May 19, 1956
Tracks #5-8: Kenny Dorham (trumpet); Cecil Payne (baritone sax); Duke Jordan (piano); Tommy Potter (bass); Art Taylor (drums).
Recorded at Rudy Van Gelder's Studio in Hackensack, NJ, May 22, 1956
Tracks #9-13: Johnny Coles (trumpet); Cecil Payne (baritone sax); Duke Jordan (piano); Wendell Marshall (bass); Walter Bolden (drums).
Recorded at RCA Victor Studios, New York City, on February 13, 1962
Signal/Savoy sessions engineered by Rudy Van Gelder
Charlie Parker session engineered by Bob Simpson
Liner notes: Ira Gitler / Hal Sussman
Original recordings produced by Jules Colomby (1-8) and Aubrey Mayhew (9-13)
Produced for CD release by Jordi Pujol
"In his early days as a great jazz baritone saxophonist, quintessential sideman Cecil Payne played much more sweet and refined music than the rough and tumble bopper Pepper Adams or the more sophisticated Gerry Mulligan. These sessions as a leader, in tandem with the underrated pianist Duke Jordan, show a more sweet and innocent player on a horn known for brusque and burly tones. It might be misleading in modern times to call Payne a smooth player, but all potential coarse edges in his sound were filed away, and he displayed fluency and an even-keeled discipline one has to admire. The bulk of these recordings are from 1956, originally on the Signal label LP Cecil Payne and the Savoy release Patterns of Jazz, in a quartet or quintet setting, the latter complemented by trumpeter Kenny Dorham. A lilting -- yes lilting -- baritone sax sound for "This Time the Dream's on Me" sets the tone from the outset, but Payne goes right to the heart with the ballad "How Deep Is the Ocean?" A member of fellow Brooklynite Randy Weston's band, Payne pays homage with the lyrical midtempo swinger "Chessman's Delight," and with the perfectly paired Dorham on classic dotted eighth-note phrasings during "Saucer Eyes." At heart a bopper, Payne and Jordan, with the trumpeter, hit up their original "Man of Moods," Payne's fleet Charlie Parker-ish "Bringing Up Father," and the Dizzy Gillespie classic "Groovin' High." Five tracks from 1962, which include trumpeter Johnny Coles, sound different, and display the developing irregular fringes of Payne's baritone. Coles uses a muted trumpet on the ballad "Yes, He's Gone" playing the second chorus of the melody after Payne's deeper inflections, and Payne lays out for the muffled horn of Coles to take center stage on Jordan's slow, wispy "Tall Grass." The quintet again adopts Parker's fervor on the perfectly played "Dexterity," while the leader's composition "Like Church" echoes the era's signature sound à la Art Blakey's Jazz Messengers, the Miles Davis group with John Coltrane, or Coles/Dorham peer Donald Byrd. Too few Cecil Payne recordings are available in this world, and though this is a transitional period for him, it is essential listening if you are a student of the big-bad horn."
Michael G. Nastos -All Music Guide