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The "Twisted" Genius of Bop in a Frenzic Cutting Session

Eddie Landsberg | Tokyo, Japan | 06/04/2000

(5 out of 5 stars)

"When people think of the legacy of the tenor, often it goes like this... Hawkins, Young, Parker... *bap* - - that's it. Of course, there were many greats and innovators in the interim, but they were often overshadowed by the legends. Take Lester Young's struggle for recognition when Coleman Hawkins reigned supreme of the tenor and you either sounded like him or couldn't play. And years later there would be Sonny Stitt, a brilliant player who would be written off for the critics for years as a mere imitator of Charlie Parker, but who's genius is just coming to fruition. ...And so we come to Wardell Grey, best remembered via Lambert Hendrix and Ross's rendition of his billiant heavy swinging bop solo "Twisted" and often heralded as "the missing link" between swing and bop. - - This heavy blowing session (featuring an all star predominantly West Coast ensemble with the likes of Art Farmer, Hampton Hawes and Shelly Manne) proves that Wardell Gray was no mere missing link but a foothold in itself. - - Though often not as "fluid" as the Bird, their is a rich conceptualism, sense of melody (in a bebop context) and a constant creative consistancy that in some ways rivals the Bird. The selection of tunes are pretty impressive. Further, while any serious musician will agree that Rhythm Changes and The Blues are the backbone of any solid session, the variety of tunes and themes that serve as improvsational backbones for this power quintet alone make it a fascinating listen. Grey, Haws, Joe Mondragon, Shelly Mann and on a few tracks Amos Trice and Howard Roberts handle them with equal fury. A final note, considering the year and context, the sound quality is actually pretty good. - - Wardell Gray may be gone, but his music is here to stay !"