Garry Giddins' 5-Star review of CONSTELLATION from down beat, 5-10-73, reviewed in conjunction w/MADE FOR EACH OTHER. a Delmark album w/the Patterson/James duo. CONSTELLATION is a bitch! The year is still young, but for saxophonists, this is the record to get in the ring with. I've never heard Stitt sound more alive, energetic, or inventive. If last years TUNE UP! presented him at his most exciting, this disc has him at his most intellectually stirring. You have to dig it repeatedly to hear how MUCH music Stitt can play.
Undoubtedly, one of the main reasons this session maintained so dazzling a level is that it was profoundly a group effort. Barry Harris, whose music seems to grow more deeply into himself than outwward into the world, solos imaginatively and with verve, but equally important is the perfect accompanist. The ever-dependable Sam Jones is solid; his huge tone seems to make it easier for Stitt. And Roy Brooks is a model of the listening drummer. One never feels that he is only keeping time, and his sensitive, pushing work has rarely been better sampled.
On the title cut, Stitt is a fire-breather. This Charlie Parker riff inspired its composer to a stunning flight, and Stitt's version rivals it. With the exception of one hesitation, he tears through chorus after chorus with undaunted pace and imagination. "Ghost" recieves definitive treatment. The Stitt tenor is as warm and caressing as any you can name. Every line is handled with an alertness that proscribes cliche and repetition. The same can be said for "Casbah", the too rarely heard Tadd Dameron re-working of "Out Of Nowhere".
But each track is notable. At the risk of merely revealing my own limitations in listening capacity, I'd suggest you listen to only a couple of tracks at a time. It would be a shame to miss the fireworks that close each side because your mind is still reeling from the opening ones. No one took an easy ride here; the more you listen, the more surprises there are. This is a priceless example of devoted artists celebrating their music.
...review of the Delmark follows, basically "nice, but eh..."...
In conclusion, Giddins writes: Comparing the albums reveals the difference between a great player displaying the obvious aspects of his talents and the same man going for broke in fast company.
Also in the same issue:
News about Atlantic Records 25th aniversary & Dexter Gordon's 50th birthday bash; a brief profile of Columbia Records Vice-President of Marketing, Bruce Lundvall, in conjunction with the release of CLIFFORD BROWN: THE BEGINNING AND THE END, the JAZZ AT THE PLAZA albums, the Byas/Powell date produced by Cannonball, and a few other things, including a "Stan Getz LP made up of both previously released and unreleased stuff from a Bob Brookmeyer date that also included Herbie Hancock, Gary Burton, Ron Carter, Elvin Jones, and guest vocalist Tony Bennett." When did THAT one ever come out?
Interviews with Gato Barbieri (who had just signed to but not yet recorded anything for Impulse!) and a roundtable discussion with Jimmy smith, Terry Gibbs, Ahmad Jamal, Hampton Hawes, and John Klemmer; "The Function Of An Artist, PArt 2", an articvle written by Chick Corea, a long article by Giddins about a Mingus Philharmonic Hall concert (he mentions being surprised to see Don Pullen who he "hadn't heard since the record with Milford Graves. He tells me he's been musical director for Nina Simone for a year, picked up a variety of gigs, worked with Mingus for about a week and can't seem to get recorded." Giddins also raves about the performance of trumpeter Joe Gardner, and a new Mingus piece, "Portrait Of Dizzy", performed by Gillespie his ownself. (WAS THIS CONCERT RECORDED???).
Record reviews of Von Freeman's DOIN IT RIGHT NOW. a NEW album by The New McKinney Cotton Pickers, Lucky Thompson's I OFFER YOU, Horace Silver's IN PURSUIT OF THE 27th Man, and the first two waves of Roullette 2-fer reissues.
Blindfold Test with Stan Getz, Caught In The Act (performancereviews) of the Herbie Hancock MWANDISHI-era band, the Chuck Mangione Quartet, & Don Cherry with the Jazz Composers Orchestra performing RELATIVITY SUITE, and a transcription of Freddie Hubbard's "Killer Joe" solo from WALKING IN SPACE.
The various city notes include mention of Gene Roland sitting in on tenor with Roy Eldridge; a group lead by drummer Al Drears that included Howard McGhee, Dave Hubbard (Shrugs!), Richard Wyands, Richard Davis, and vocalist Stella Williams; news of Candy Finch taking over Larry Gales' after-hours club in L.A.; a report from San Francisco of Roland Hanna replacing "an ailing Thelonious Monk" for a Giants Of Jazz concert that also saw Max Roach on drums; and finally a report (more of a note, really - fine print at the bottom of page 43 - from Denmark thatt "Jackie McLean recorded his first LP in six years during his stay in Copenhagen last summer. It was done live at cafe Montmarte with pianist Kenny Drew, who also wrote the poetic liner notes, bassist Bo Steif, and drummer Alex Riel."
All this (and more!) for 50 cents. Hell yeah.
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