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Max Bennett

Max Bennett

  • 1 Johnny Jaguar Niehaus 5:17
  • 2 My Heart Belongs to Daddy Porter 3:37
  • 3 Something to Remember You By Dietz, Schwartz 2:36
  • 4 I Hadn't Anyone 'Till You Noble 3:31
  • 5 Ira of the I.R.A. Bookmeyer 4:52
  • 6 Max Is the Factor Cohn 3:04
  • 7 Strike Up the Band Gershwin 3:33
  • 8 13 Toes McKenna 3:11
  • 9 Polka Dots and Moonbeams Burke, VanHeusen 4:07
  • 10 Nice Work If You Can Get It Gershwin 2:28
  • Max Bennett - double bass
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119.00 PLN

K2HD (miniLP):

Nr kat.: VICJ61496
Label  : JVC Japan

Deluxe Series - Hi Fidelity

>>> THIS IS K2 HD SOUND - 100 kHz and 24-BIT RESOLUTION! Max Bennett became one of the top session bassists in California, but beforehand was in the midst of the West Coast early progressive jazz movement that was informed by bop. His debut recording for the Bethlehem label (recorded in New York City) featured an amalgam of eastern boppers like Bostonians alto saxophonist Charlie Mariano and pianist Dave McKenna, and fellow members of the Stan Kenton bands like trombonist Carl Fontana, baritone saxophonist Jack Nimitz, drummer Mel Lewis, and Woody Herman alumnus trumpeter Nick Travis. This straight reissue of the original 1955 LP features a handful of standards, some hot hard bop originals, and nary a speck of the laid-back sounds the Los Angeles scene was identified with. The tracks with just a quartet have the brilliant Fontana leading out on the melody lines. The trombonist breezes through the ballad "Polka Dots & Moonbeams," a song he would perform as a signature tune for decades onward. No slouch on bop for "My Heart Belongs to Daddy," Fontana rips through the melody supported by McKenna's modal comping chords, and clamps down firmly for the joyous "Strike Up the Band," as close to perfection as can be. McKenna, who is well known for playing early style vintage jazz outside of bop, is outstanding, and could go note for note against even the vaunted Bud Powell on this date. With Bennett and Lewis, they do the delightful original of the pianist's "13 Toes," while McKenna gets ample solo space on Al Cohn's fun and well swung "Max Is the Factor." While an expert at quarter-note walking, Bennett gets to play lead melodies for "Something to Remember You By" and "Nice Work If You Can Get It." The entire septet goes for it on the singing and tuneful then-fashionable bopper written by Lennie Niehaus, "Johnny Jaguar," Travis gets a big piece of the action for Bob Brookmeyer's "Ira of the I.R.A.," while the whole horn section chirps at and strafes over Bennett for "Nice Work." This is clearly a cooperative band no matter the configuration, featuring the common sense approach of the leader, great musicianship from all; it's very well recorded, and made for an auspicious debut recording that perfectly reflects the sound of the time.