Red Rodney

[Tom 1960]

I've been listening to his playing with Charlie Parker and enjoying it alot. He also recorded a number of dates with Ira Sullivan during the 1980's and are highly regarded, at least according to All Music Guide. I was just wondering what your thoughts are concerning some of these recordings? Your favorites and possibly any other dates Rodney led you feel are worth considering? Thanks as always.

[fasstrack]

I've been listening to his playing with Charlie Parker and enjoying it alot. He also recorded a number of dates with Ira Sullivan during the 1980's and are highly regarded, at least according to All Music Guide. I was just wondering what your thoughts are concerning some of these recordings? Your favorites and possibly any other dates Rodney led you feel are worth considering? Thanks as always.

Red Arrow, from the 50s. I think Ira was on that one too, with a great rhythm section. Philly Joe, I think. Also there was a really nice retrospective date from the early 90s---I can't remember the name, maybe Looking Back---where he plays the tunes he did with Bird. Chris Potter, very young, is on it and Bob Belden wrote it.

I used to have some of those records with Ira from the 80s and heard them at the Vanguard. I can't remember anything about any of it, except I was excited to see Ira live. I think Rodney was maybe uncomfortable in that group (he said this in interviews) and wanted to play bebop while Sullivan wanted to play tunes he considered fresher.

I've never heard Red Rodney play badly. You really can't go too wrong with anything he did.

[paul secor]

Try Charlie Rouse/Red Rodney: Social Call (Uptown) - very good Rodney on that one.

[AllenLowe]

anything from 1947 - Elevation, etc -

[John L]

I am quite fond of most of the recordings that Red Rodney did for Muse in the 1970s.

[AllenLowe]

there's also a nice lp with Jimmy Ford-

[Niko]

i can recommend the fantasy twofer "the red rodney quintets", it has had the session with jimmy ford and a fifties lp with ira sullivan (with norman simmons iirc, not the one larry meant above but still a nice one, sullivan's tenor playing really stands out...)

[BillF]

I have a Red Rodney's Then and Now (Chesky), recorded in 1992 with a quintet including Chris Potter, in which bop-era tunes are given a contemporary interpretation. Recommended!

[king ubu]

Yes, "Quintets" is fine, but I think this here's my favourite:

It has the Rodney/Sullivan pair backed by Tommy Flanagan, Oscar Pettiford and two Joneses (Elvin and Philly Joe).

Yanow on this one:

Also at various times made available by Savoy (on an album titled Fiery) and Signal, this Onyx LP from the 1970s was one of trumpeter Red Rodney's finest sessions of the 1950s. "Red Arrow" features Rodney and Ira Sullivan trading off on an exciting trumpet battle. The other five selections (which include a lengthy "Star Eyes" and "Stella By Starlight") have Sullivan on tenor, pianist Tommy Flanagan, bassist Oscar Pettiford and either Philly Joe Jones or Elvin Jones on drums joining Rodney. The LP will be difficult to find, but this bebopper's delight is worth the search.

http://www.allmusic.com/cg/amg.dll?p=amg&a...10:3xfoxqtgld0e

Ken Dryde on the same (different package, Prevue reissue this time):

As the CD title implies, these sessions featuring trumpeter Red Rodney were taped in 1957, and listening to them is like discovering a long lost treasure. On the first date, his supporting cast includes tenor saxophonist Ira Sullivan, pianist Tommy Flanagan, bassist Oscar Pettiford, and drummer Philly Joe Jones. Neither Rodney nor Sullivan run out of ideas within their extended solos during "Star Eyes." A soft very effective treatment of the ballad "You Better Go Now" is next, followed by "Stella by Starlight" at a crisp medium tempo. The second session was recorded just two days later, with Elvin Jones taking over the drums. Sullivan switches to trumpet to join the leader (Sullivan played trumpet prior to teaching himself tenor sax) on "Red Arrow," a high energy bop original by Rodney that repeatedly incorporates licks from "Turkey in the Straw." Pettiford's tasty bass is more prominent in Rodney's snappy "Box 2000." The bassist contributed the Latin-flavored "Ubas," which was dedicated to conga player Sabu Martinez (who is not present on this recording); without its Latin rhythm, the piece would sound more like an up-tempo spiritual. This somewhat obscure CD is well worth acquiring.

http://www.allmusic.com/cg/amg.dll?p=amg&a...10:0xftxqyjldte

It's one where you have to be careful not to buy it more than once... (almost happened to me, but I was cautious enough in the end and hence only have the Savoy version now)

[Stonewall15]

Prestige released one of Red Rodney's first sessions on a 10-in LP (PRLP-122) in 1952. The music is absolutely terrific! The other players were Jim Ford (alto), Phil Raphael (piano), Phil Leshin (bass), and Phil Brown (drums). Fortunately, Prestige reissued this session on a CD titled "Prestige First Sessions vol 3" (PCD-24116-2). Rodney's session is on tracks 9 thru 15.

[mtodde]

I am quite fond of most of the recordings that Red Rodney did for Muse in the 1970s.

I haven't heard these on CD but the LPs are quite good.

I have a Red Rodney's Then and Now (Chesky), recorded in 1992 with a quintet including Chris Potter, in which bop-era tunes are given a contemporary interpretation. Recommended!

This is a good one and is very well recorded.

1957 is my favorite title from his work as a leader.

[bigtiny]

The 50s and 60s are good, as are the 70s muses. The 80s records always tended to sound flat and lifeless to me, though the playing is great.

bigtiny

[Tom 1960]

I finally got around to picking up some Red Rodney taking advantage of the recent Oldies.com sale. This one(above) is a real winner. I will definitely consider your recommendations. I've got to get more of this guy!

[Mark Stryker]

I used to have some of those records with Ira from the 80s and heard them at the Vanguard. I can't remember anything about any of it, except I was excited to see Ira live. I think Rodney was maybe uncomfortable in that group (he said this in interviews) and wanted to play bebop while Sullivan wanted to play tunes he considered fresher.

My understanding is actually the opposite -- that it was Rodney more than Ira who specifically wanted that band to push into contemporary material (modal forms, '60s harmony). Of course, intuitively it makes sense the other way around and that was always my supposition; but in the one interview I did with Rodney (for the South Bend Tribune in the early '90s), he was adament that it was he more than Ira who was the catalyst who set the parameters of the group. (Which is not to say that he was always comfortable in the idiom -- if you can recall the specific interviews mentioned in your post, I'd like to see the way he talks about this.)

When I saw a matinee in Chicago at the Jazz Showcase the afternoon of my interview, he was playing with Chris Potter, Gary Dial and the Chicagoans Kelly Sill and Joel Spencer. They played no more than one standard bebop tune per set, plus perhaps one standard ballad. Otherwise, the tunes were almost all Dial originals. Rodney was in great form and sounded very natural to my ears that day in the more modern idiom. He also paced himself beautifully -- he was 63-- keeping his solos short, except for one longer ride each set.

Anyway, here are some relevant quotes from Rodney and Dial from that story:

Rodney: "I firmly believe that we should continue growing. If you notice, I've got youngsters in my band and have had for the last 12 years. They brought a lot to me; they brought today's music, and I took what was specifically suited for my way of playing. Of course, I learned a great deal from them. I gave them the roots and the tradition and the discipline, and they gave me all of the newness and changes."

Dial (who Rodney said was like a son to him) talked about how the trumpeter would come over to his apartment and he would lead him through the material in what were basically informal lessons: "I'd present some material and he would say, 'I like this. I like this. I don't like this.' Then we'd work over it: I'd play the chords on the piano for him and show him, and if there was a specific chord change that was still messing him up, I would maybe write out a little line or a lick or the scale and play it for him until he got it in his ear."

Edited September 28, 2009 by Mark Stryker

[sidewinder]

Saw him in Toronto with a local group in 1990 (Top O' The Senator) and he was excellent. Fiery and swinging - a real privilege to catch him in performance.

Edited September 27, 2009 by sidewinder

[marcello]

I'm not sure if Red Rodney - With the Bebop Preservation Society is available, but it's nice.

Red Rodney, who at 48 was in the midst of a successful comeback, visited England during 1974-75. This Spotlite LP finds him teamed with some of the best bop-oriented jazzmen from the United Kingdom: altoist Pete King, trumpeter Hank Shaw, pianist Bill Le Sage, bassist Spike Heatley and drummer Martin Drew. With their American guest, they perform three group originals and five bop classics, including a couple of numbers ("Merry Go Round" and "Sid's Delight") that are rarely performed. "Tenderly" is a showcase for Rodney; the two trumpeters have a heated tradeoff on "Blue 'N' Boogie"; and King stars among the sidemen. Fun straight-ahead music. ~ Scott Yanow, All Music Guide

[Peter Friedman]

This is also a nice one that I have on CD:

Red Rodney - Yard's Pad - Sonet 698

This was recorded in Stockholm, Sweden in March 1976 with Arne Domnerus, Bengt Hallberg, Red Mitchell,

and Ed Thigpen.

Red's early Quintet date on Argo has the added plus of some fine tenor sax by Billy Root.

Red has 2 CDs on Steeplechase "One For Bird' and "Red Snapper". They have Dick Oattts on saxophone, Garry Dial, Jay Anderson and John Riley.

Finally I can mention a 1975 session on the Blue Jack label titled "Red Rodney/Herman Schoonderwalt Quintet.

It was recorded in Holland with all Dutch musicians including Nico Bunink on piano.