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Hadley Caliman - Hadley Caliman Жанр: Post-Bop, Modal Music, Soul-Jazz Носитель: CD Страна-производитель диска (релиза): EU Год издания: 1971 (2014) Издатель (лейбл): Boplicity Records Номер по каталогу: CDBOPM 030 Страна исполнителя (группы): США Аудиокодек: FLAC Тип рипа: tracks+.cue Битрейт аудио: lossless Продолжительность: 37:33 Источник (релизер): jbdfrsn Наличие сканов: да
Hadley Caliman - tenor saxophone, flute
Larry Vuckovich - piano
John White Jr. - guitar
Bill Douglas - bass
Clarence Becton - drums
Hadley Caliman - tenor saxophone, flute
Luis Gasca - trumpet
Todd Cochran - piano
James Leary - bass
Woody Theus - drums
Victor Pantoja - congas
Hungria Garcia - timbales
"Лог создания рипа"
Exact Audio Copy V1.1 from 23. June 2015
EAC extraction logfile from 21. March 2016, 17:06
Hadley Caliman / Hadley Caliman
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Despite making a name for himself as a sideman with Della Reese, and in the orchestras of Bobby Bryant, Gerald Wilson, and Don Ellis, tenor
saxophonist Hadley Caliman didn't cut this, his debut album as a leader, until he was 39 years old. (He cut less than ten in his lifetime.) His
sidemen here include bassist Bill Douglas, drummer Clarence Becton, pianist Larry Vuckovich, and guitarist John White, Jr. Among the highlights is
opener "Cigar Eddie," one of Caliman's four compositions (and one he would revisit throughout his lifetime). A strutting soul-jazz groove put forth by
a four-four snare, hit-hat shuffle, a big woody bassline, and some funky blues comping by White, introduces both the saxophonist's melody and solo,
wrapped into one. Vuckovich covers the progression when White leads his wrangling, Gabor Szabo-esque solo before the melody returns. "Comencio" opens
with gorgeous bass harmonics. When Caliman takes off with the melody in that big fat tone of his, one can hear how deeply he studied Coltrane's
modalism, but his phrasing is his own. Also worthy of note are the two near symbiotic exchanges between the bassist and drummer. "Kicking on the
Inside" is an outlier here due to its more involved melody, and the spacious arrangements layer the interplay between Caliman, Vuckovich (who uses
really imaginative chord voicings even while comping), and Douglas, whose swing and lyricism are especially notable. The only irritating thing on the
record takes place in this track though: Bob Shad's reverb-laden "psychedelic" production on the drum solo at the end. "Longing," the set closer,
written by the pianist, features Caliman's exceptionally lyric voice on the flute -- it was this track that Carlos Santana was so taken with that he
asked him to play on Caravanserai a couple of years later. Despite the fact that this isn't the most fully confident release in Caliman's Mainstream
catalog (that's reserved for Iapetus, released a year later), it is noteworthy for introducing a very solid and creative voice on the tenor horn, as
well as Vuckovich's and especially Douglas' playing. If it has any real faults, it's ultimately that the leader proves too democratic at his own
expense. This serves as an introduction to a fine re-appraisal of one of jazz's more forgotten talents.
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There's a big problem on this 2014 reissue of the first Hadley Caliman album.
Tracks 4, 5 & 6 are not from the original album, but from 1972 Hadley Caliman 2nd album : Iapetus.
It's noticeable hearing Luis Gasca on trumpet in track 4, Todd Cochran on electric piano, etc ... also timings are not the same as the original LP.
Correct information is :
4. Watercress (Written By Todd Cochran) from Iapetus (1972)
5. Ambivalence (Written By Todd Cochran) from Iapetus (1972)
6. Dee's Glee (Written By Hadley Caliman) from Iapetus (1972)
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