Benny Golson - Take A Number From 1 To 10
Released 1961
Recording and Session Information
Benny Golson And His Orchestra
New York, December 13, 1960
Benny Golson, tenor saxophone
10575 You're my thrill
Benny Golson, tenor saxophone; Tommy Williams, bass
10576 My heart belongs to daddy
Benny Golson, tenor saxophone; Tommy Williams, bass; Albert "Tootie" Heath, drums
10577 The best thing for you is me
Benny Golson, tenor saxophone; Cedar Walton, piano; Tommy Williams, bass; Albert "Tootie" Heath, drums
10578 Impromptune
Freddie Hubbard, trumpet; Benny Golson, tenor saxophone; Cedar Walton, piano; Tommy Williams, bass; Albert "Tootie" Heath, drums
New York, December 14, 1960
10579 Little Karin
Freddie Hubbard, trumpet; Curtis Fuller, trombone; Benny Golson, tenor saxophone; Cedar Walton, piano; Tommy Williams, bass; Albert "Tootie" Heath, drums
10580 Swing it
Freddie Hubbard, trumpet; Curtis Fuller, trombone; Benny Golson, tenor saxophone; Sahib Shihab, baritone saxophone; Cedar Walton, piano; Tommy Williams, bass; Albert "Tootie" Heath, drums
10581 I fall in love too easily
Nick Travis, trumpet; Bill Elton, trombone; Willie Ruff, french horn; Benny Golson, Hal McKusicktenor saxophone; Sol Schlinger, baritone saxophone; Tommy Williams, bass; Albert "Tootie" Heath, drums
New York, April 11, 1961
10582 Out of this world
Nick Travis, Bernie Glow, trumpet; Bill Elton, trombone; Willie Ruff, french horn; Benny Golson, Hal McKusicktenor saxophone; Sol Schlinger, baritone saxophone; Tommy Williams, bass; Albert "Tootie" Heath, drums
10583 The touch
Art Farmer, Nick Travis, Bernie Glow, trumpet; Bill Elton, trombone; Willie Ruff, french horn; Benny Golson, Hal McKusick, tenor saxophone; Sol Schlinger, baritone saxophone; Tommy Williams, bass; Albert "Tootie" Heath, drums
10584 Time
Track Listing
| You're My Thrill | Lane, Washington | December 13 1960 |
| My Heart Belongs To Daddy | Cole Porter | December 13 1960 |
| The Best Thing For You Is Me | DeSylva, Henderson, Brown | December 13 1960 |
| Impromptune | Benny Golson | December 13 1960 |
| Little Karin | Benny Golson | December 14 1960 |
| Swing It | Benny Golson | December 14 1960 |
| I Fall In Love Too Easily | Styne, Cahn | December 14 1960 |
| Out Of This World | Arlen, Mercer | April 11 1961 |
| The Touch | Benny Golson | April 11 1961 |
| Time | Benny Golson | April 11 1961 |
Liner Notes
BENNY GOLSON is already strongly established as one of the most consistently fresh and personal composer-arrangers in jazz. What this uniquely challenging album accomplishes - in addition to re-emphasizing his writing capabilities — is to focus on Benny's equally individual power and warmth as a player.
It is by far his most impressive achievement on record as a tenor saxophonist as he ranges from an unaccompanied solo to the leadership of a 10-piece band.
When I first became particularly aware of Benny's playing in Dizzy Gillespie's big band five years ago, I was struck by the invigorating fact that he was one of the very few of the younger players with a big, full tone and a surging lyricism. Although modern in conception, he recalled the richness of Don Byas and the sinewy linear imagination of Lucky Thompson. For a time in recent years, Benny's playing style became less distinctive. There were explosive, multi-noted passages and less concern than before with melodic improvisation.
Now, however, Benny has decided on the direction he prefers; and this album heralds not only the return of his basic, warmly lyrical style but also marks its strengthening. He hasn't lost in any degree his adventurousness, but all elements in his work now part of an integrated, thoroughly distinctive whole.
"We all go through stages," Benny explains. "There are, after all, so many roads to take. Now I'm on the right track for myself. I know what I want to do. I've been working hard during the past year, for example, on an even bigger tone with more roundness and warmth — even in the extreme high register. I want to make the horn sound warm, I also want to play melodically, instead of just running over the horn as I was at one time; but I'd still like to have a command of velocity at my fingertips when I need it. I feel very much better about my playing these days. At one time, I didn't know whether I was coming or going, but I guess it was necessary to try different ways to be sure of my own."
The format of the album is unlike any that Benny — or any other player — has attempted before. Beginning with one instrument, Benny's, an instrument is added on each track culminating in the exciting 10-piece arrangement, Time. The idea was conceived by Benny's manager, Kai Norton, as a frame for Benny's talent as an instrumentalist as well as a composer-arranger.
'It's not a gimmick," Benny emphasizes. "I did all of these with a strong conviction and feeling, because wanted to try them. I'd never recorded before all by myself or with a duo or a trio. And on the last three numbers, there were several techniques I wanted to develop for the first time on records."'It's not a gimmick," Benny emphasizes.
I can only think of Coleman Hawkins and Sonny Rollins as having accepted before the most radical challenge for a soloist — the entirely unaccompanied performance. Benny succeeds nobly on You're My Thrill, retaining a firmly implied pulsation, improvising with sweeping imagination, and demonstrating his particular eloquence at rhapsodic romanticism that docs not, however, become saccharine. It's a bold triumph.
Bassist Tomnmy Williams, a regular member of the Farmer-Golson Jazztet, was added for "My Heart Belongs To Daddy. "Tommy," says Golson, "is one of the very few bassists I'd attempt this with. He has a more melodic approach to his instrument than any bassist I've known except for Oscar Pettiford antl Ray Brown. In fact, he can put some horn players to shame. With Tommy behind you, you really have to be alert in matching melodic imagination." Note, too, Williams' big, round tone and remarkably steady time. Golson plays with a soft but insistent urgency and the two generate an infectious beat while maintaining an overall tenderness of mood.
Drummer "Tootie" Heath, who enters next, is also an associate of Benny in the Jazztet. "He has," Golson emphasizes, "the best cymbal-beat feeling since Art Blakey and Kenny Clarke. He's so sympathetic a drummer, moreover, that the soloists can lay back and rely completely on him." In The Best Thing For You Is Me, Golson plays with resilient lyricism. He communicates a breathy intimacy at the same time as a great feeling of latent power and thrust. The track is also worth replaying just to concentrate on Tommy Williams" solo.
Pianist Cedar Walton completes the Jazztet's regular rhythm section. "He does so much," says Golson, "in the way of getting in and out of those chords. He has the chordal resourcefulness I've always been aiming at in my playing." The instrumentation is now four, and Benny plays one of his originals, Impromptune, which succeeds in connoting spontaneity and a spiraling intensity by all four players through a series of crackling climaxes. The Golson melodic line is characteristically strong and supple.
Trumpeter Freddie Hubbard makes the band a quintet for Little Karin. The darting, insatiably curious Karin of the title is three-year-old Karin Sylvester, daughter of Kay Norton. "Karin," explains Benny, "symbolized childhood to me, and I wanted this tune to reflect those qualities in her that make me want to hug and kiss her."
With Swing It, the first side ends as the band has grown to a sextet. Trombonist Curtis Fuller and Freddie Hubbard were certain, Benny felt, "to bring the spark and drive I wanted for this tune. Freddie is impressive for his feeling and sound. among other qualities. Listen to what he does at the end of phrases. His long, sustained notes end with that slight, vibrato-like shake (somewhat like Howard McGhee's) that makes you feel he's putting his all into it. And Curtis Fuller has grown enormously. He's one of the best out there now." The performance is bristlingly heated with incisive solo contributions by all.
Sahib Shihab, currently with the Quincy Jones band, comes aboard on baritone saxophone in I Fall In Love Too Easily. "The tune," says Benny, "had been going through my mind for a while. It hasn't been overdone, and also, I couldn't recall having heard it used as a vehicle for a jazz tenor. I really enjoyed working with it." Golson's interpretation is soft yet passionate, and flows with unerring logic and swing.
On Out Of This World. the horns are Benny, baritone saxophonist Sol Schlinger, tenor Hal McKusick, trombonist Bill Elton, trumpeter Nick Travis, and Willie Ruff on French horn in addition to Al Heath and Tommy Williams.
Benny had recorded the tune with Jimmy Cleveland and Art Farmer on a Cleveland album. "I like it, but didn't get a chance to really get into it then. Also, it was done in 6/8 on that date, and I heard other possibilities. I wanted an 'out of this world' feeling on the opening: hence the voicings and the changing meters — 5/4 and 2/4 — in the opening rubato section. Also, I used a series of tension chords — half-steps followed by whole steps followed by half steps. It's a close, clashing chordal series with dissonance moving into dissonance rather than resolving into consonance."
Golson meanwhile plays a forcefully assertive solo, followed by Willie Ruff. "At the the verv end," Benny concludes, band plays rhythmic patterns over which I play superimpositions that resolve in and out of the chords."
The Touch has the same personnel as Out Of This World, except for the addition of Bernie Glow on trumpet. "The feeling I tried for," says Benny, "was nostalgic, but lightly so. Structurally it's in 32 bars but harmonically, it moves around in a very unorthodox manner. The chords are likely to go anywhere." As is characteristic of Benny the melody line sounds inevitable, so natural as to be easily remembered and so as to be quickly identified as Golson's.
Art Farmer makes the tenth man On Benny's Time, the first time Art has recorded as a sideman in a year and a half. It's Art who has the trumpet solo. The title has several connotations. "In its broadest sense," Benny points out, "I mean the time that is now, living time, day-by-day time. It's meant to be a real experience of the present. I also meant the flexibility of time within the piece.
"It's in 32 bars. In the first eight bars of each half, I try for mood. There's a rhythmic figure in the bass; the drums ad-lib, fluttering around on the cymbals. The same thing happens in the first eight of the second half. On the second eight each time, we go into strict rhythm — a real swinging-time feeling. The first eight leads up to and accentuates the more directly swinging sections.
"In several places in the album, incidentally, my own playing is concerned with the almost limitless possibilities of superimposition. I mean going out of the key temporarily and resolving back smoothly. Almost anything you play, I've come to find out, can be resolved. Recently, I discovered Dizzy Gillespie has also been working along the same line."
In this program, Benny Golson has subjected himself to one of the most severe tests any jazz player and/or composer has undergone in a single album. In terms of his playing, he gives himself no place to hide in the opening Uou're My Thrill, and then continues to pyramid rhythmic and harmonnic challenges in succeeding tracks.
As a writer, in the last three numbers, he has taken the opportunitv to express himself harmonically in searching ways that have not previously been possible for him with small combos. The album strikingly prove how many parts there are to Benny Golson. It should also illumunate more clearly than ever the singular entity these parts make when finally, as here they're all put together.
Nat Hentoff
