FOUR ALTOS (Prestige, 1957)

[Joe]

I recall first picking this one up back in the days (ah, the mid 90's) when I could afford to be something of an OJC completist. Despite the patchy reputation -- only somewhat well-earned, IMO -- of such Prestige jam sessions, I decided to give this release an audience due to the presence of Mal Waldron, acting here too as musical director, which I suppose means supplying charts, and perhaps more (?).

In any event, contrary to what Scott Yanow has to say in his AMG write-up, the four altos here are farily easy to distinguish from each other: Woods, thanks to his tone, accents and fluency; Stein for his tone as well, almost tenor-like, and rhythmic conception, sounding too like a translation of an approach to a larger horn; Quill, who, when he drops into the lower registers, introduces a kind of breathy, maybe even sotto voce quality to his playing; and Shihab, because -- IMO -- he's the most consistently inventive and least conventionally Bird-inspired of the soloists here.

Take his solo on "Kokochee" (you can guess its derivation): after some expertly constructed bop choruses from Woods and Quill, Shihab crafts a solo that has an almost palpable shape to it, building from fractured phrases to some convoluted melodies that land on the beat laid down by Louis Hayes, then commandeer it. All with this almost rip-sawing tone... or maybe its both sweet and hot, like that tamarind/chili candy... and he's not afraid to thrown some honks in there, either. Or his double-time phases on the bridge on the opening "Pedal Eyes." Or the way he bustles sideways through the rhythmic suspensions on his choruses on the closing "Staggers." Waldron must have been impressed, too, as Sahib participated -- on alto exclusively -- on his MAL/2 sessions later in the year. But this is the record that made we wonder: "Why aren't there more recordings of Shihab on alto sax?"

Two other virtues of this recording: 1) Given the number of soloists to accommodate, the performances are rather lougueur-free. The horn players get three to four choruses apiece, at most, and have to make the best of them. Not all the chases escape sounding obligatory (getting the right blend is a matter of some delicacy), but the best are exciting, and feel like natural extensions of the dialogue begun in the solos themselves. 2) Tommy Potter.

Saxophone-fu, Charlie Parker-fu, Bob Weinstock-fu, Four Little Brothers-fu. No decapitations, zero breasts, alarming absence of exploding cars and / or trucks. Still, four stars. Joe Bob says check it out.

Edited January 21, 2011 by Joe

[Stereojack]

I recall first picking this one up back in the days (ah, the mid 90's) when I could afford to be something of an OJC completist. Despite the patchy reputation -- only somewhat well-earned, IMO -- of such Prestige jam sessions, I decided to give this release an audience due to the presence of Mal Waldron, acting here too as musical director, which I suppose means supplying charts, and perhaps more (?).

In any event, contrary to what Scott Yanow has to say in his AMG write-up, the four altos here are farily easy to distinguish from each other: Woods, thanks to his tone, accents and fluency; Stein for his tone as well, almost tenor-like, and rhythmic conception, sounding too like a translation of an approach to a larger horn; Quill, who, when he drops into the lower registers, introduces a kind of breathy, maybe even sotto voce quality to his playing; and Shihab, because -- IMO -- he's the most consistently inventive and least conventionally Bird-inspired of the soloists here.

Take his solo on "Kokochee" (you can guess its derivation): after some expertly constructed bop choruses from Woods and Quill, Shihab crafts a solo that has an almost palpable shape to it, building from fractured phrases to some convoluted melodies that land on the beat laid down by Louis Hayes, then commandeer it. All with this almost rip-sawing tone... or maybe its both sweet and hot, like that tamarind/chili candy... and he's not afraid to thrown some honks in there, either. Or his double-time phases on the bridge on the opening "Pedal Eyes." Or the way he bustles sideways through the rhythmic suspensions on his choruses on the closing "Staggers." Waldron must have been impressed, too, as Sahib participated -- on alto exclusively -- on his MAL/2 sessions later in the year. But this is the record that made we wonder: "Why aren't there more recordings of Shihab on alto sax?"

Two other virtues of this recording: 1) Given the number of soloists to accommodate, the performances are rather lougueur-free. The horn players get three to four choruses apiece, at most, and have to make the best of them. Not all the chases escape sounding obligatory (getting the right blend is a matter of some delicacy), but the best are exciting, and feel like natural extensions of the dialogue begun in the solos themselves. 2) Tommy Potter.

Saxophone-fu, Charlie Parker-fu, Bob Weinstock-fu, Four Little Brothers-fu. No decapitations, zero breasts, alarming absence of exploding cars and / or trucks. Still, four stars. Joe Bob says check it out.

A nice review. Thanks for posting.

I agree that in general Prestige blowing sessions tend to get a bad rap. I was weaned on the Gene Ammons sessions, and I guess I'm going to have to pull this gem out once more and give it a listen.

[JSngry]

Joe Bob!

I consistantly find Sahib Shihab to be one of the more original phrasers in this music, irregardless of instrument.

How's Wanda?

[Joe]

Joe Bob!

I consistantly find Sahib Shihab to be one of the more original phrasers in this music, irregardless of instrument.

How's Wanda?

Wanda's battling a bout of pediculosis, but, other than taking a blow to her vanity, is doing just fine. As ornery as ever.

And, yea, Shihab was a carver par excellance.

I agree about the rap on the Prestige jams. Waldron is often a common factor / the glue (see several of the aforementioned Ammons dates for additional e.g.) Ditto Teddy Charles, who oversaw some of the label's more interesting conglomerations (COOLIN' with Idrees Sulieman and John Jenkins; OLIO with Thad Jones; Trane's DAKAR.)

[colinmce]

I frankly haven't heard a Prestige Jam I didn't like. Some, like Olio are truly brilliant.

[JohnS]

I frankly haven't heard a Prestige Jam I didn't like. Some, like Olio are truly brilliant.

Yes, I love them too. My kind of music.

[AllenLowe]

well these are guys who were in their prime and in a key transitional phase in jazz;I mean, they were all using enclosures to ornament the chords.

[jlhoots]

well these are guys who were in their prime and in a key transitional phase in jazz;I mean, they were all using enclosures to ornament the chords.

What are enclosures? :blush2:

[AllenLowe]

I actually have no idea; someone referred to them on another thread.

wait, just looked it up - basically it looks like it refers to tones that surround the main tone - like b and d in relation to C. I think.....

Edited January 22, 2011 by AllenLowe

[jlhoots]

Is that like out of tune?

Just kidding (I guess).

[AllenLowe]

all of jazz is out of tune

[JSngry]

Per Bud Powell, enclosures are glass.