Benny Golson - Free
Released 1963
Recording and Session Information
Benny Golson, tenor saxophone; Tommy Flanagan, piano; Ron Carter, bass; Art Taylor, drums
RVG, Englewood, New York, December 26 1962
12081 My romance
12082 Just by myself
12083 Mad about the boy
12084 Just in time
12085 Sock cha cha
12086 Shades of Stein
Track Listing
| Sock Cha Cha | Will Davis | December 26 1962 |
| Mad About The Boy | Noel Coward | December 26 1962 |
| Just By Myself | B. Golson | December 26 1962 |
| Shades Of Stein | B. Golson | December 26 1962 |
| My Romance | R. Rodgers - L. Hart | December 26 1962 |
| Just In Time | Adolph Green, Betty Comden, Jule Styne | December 26 1962 |
Liner Notes
THE title of this album is "FREE." It does not mean "Free" in the sense of abstraction or surrealism, but rather as an opportunity to work within the framework of a quartet which affords me many more possibilities for exploiting my horn. By not having to, or choosing to, play arrangements I feel "Free" even on the melodies.I explained to Esmond Edwards (A & R man with Argo) before I did this album just what I was striving for and how I wanted to record. After I completed it, he came up with the title — "FREE." It had never before occurred to me the significance of this one word in relation to what I was looking for on my horn.
In the past I did many things with perfection being my foremost consideration, especially of arrangements, but now as look back I see that this approach made the musical value quite academic and very near void of any real feeling. In the last year or so I have felt a need to be "Free"; a chance to say what I want at any given time — this way tonight — that way tomorrow night. I feel, now, that without this periphery of horns I can better express what I have to say.
Although I am an arranger — it is only when I have my pen in hand. When my horn is there something else goes through my mind. There is absolutely no marriage between the two.
I know that the basic emotional element in jazz is feeling — not how precise the performance (although it helps), but with how much real feeling. I say real because some composers try to write feeling into their music through notation. Of course, this approach is erroneous and ludicrous; the real feeling comes from the performer.
If one has progress in mind, looking back can only serve one useful purpose, and that is to show what should be done in the future. But looking too far back can be rather dangerous. For example, if, while driving an automobile you should chance to look back to see what is behind you, you lose perspective on what is coming up before you. The same holds true in music. Upon completing one task you must immediately prepare for the next. Of course, there are those people who would decry these attempts, but I feel every person is entitled to his own opinion. The artist must not let these opinions (not even censorious, peremptory critiques) deter or subjugate him. He must be a mirror of his own aspirations. He must be like a bullet that is spent.
It is axiomatic that a small group session have a strong rhythm section and it is exemplified here by Tommy Flanagan, Ron Carter and Art Taylor.
TOMMY FLANAGAN is one of the most sensitive pianists I have ever had the pleasure of working with. When he participates in a group it seems as though he has a direct wire to everyone's thoughts. Seldom does he play an extraneous note or chord, and watching him create his solos is like watching a delicate operation being performed with skill and care.
"Wonderful RON CARTER," as Roy McCurdy calls him, is just that. In a couple of years he has become one of the most sought after bassists in New York. One of the first things I noticed about him was his big sound, and his ability to sustain notes at will. I'm also fond of the inventiveness with which he plays. Instead of the same old monotonous 1-2-3-4, he interjects meaningful, musical, rhythmic gems.
ART TAYLOR is a drummer whose taste is admired by many musicians, and as a result he has worked with most of the important ones. His solo ability is sharp and exciting (listen to our exchange of fours on "Just In Time"). Never does he over or under play because he possesses a keen sense of awareness, and in his style he is a perpetual driving force. He is a strong yet flexible drummer, like a metronome in a sea of music.
I'd like to mention in just a few words how I came to choose my material for this album. "Just In Time" is a tune I used to play a year or so ago, but it seemed then as though I could never really get my teeth into it the way I wanted. I thought I'd like to try again because I like the tune.
Up until I heard Art Farmer play '"My Romance," I sort of took the tune for granted. He seemed to bring out all the beauteous fine points in it, which in turn brought about a deeper appreciation on my part.
"Just By Myself" is one of my older tunes that I played a few years ago when I was with the Jazz Messengers. Although I liked the chord structure I soon got tired of the tune from repetition. It ran through my mind a few months ago, and decided to do it since my approach is now different.
I have always liked "Mad About The Boy," but whenever I'd call it somewhere, nobody would seem to know it. On this session I decided that this was the time to do it — so I went to the session with melody and chords.
The odd title of "Sock Cha-Cha" was written a few years ago by Will Davis, a Detroit pianist, whom I met about three years ago. While at his house one afternoon he played an album of his which included this tune. I "dug" it so much that he gave it to me, and the melody has constantly haunted me. 'l'he structure is rather unusual and looks something like this: 9-9.16.9.
For quite some time I have been an admirer of the works of the late writer Gertrude Stein. I named "Shades of Stein" because of its similarity to her rather unusual style of repetition and in this tune I have used repetition and also variations in the outside melody. The bridge has intervals of major thirds and fourths which outlines major thirds moving up chromatically and is a harmonic repetition.
Most things in life change. Music and its performers are no exception to the rule. During the last year or so I've felt an insurgent need within me to do something else musically — not derniecri (that "freedom" approach) —but rather an extension of what I have been doing. I feel I have finally found a direction, but, of course, I must develop it.
Time is a tattle-tale; it tells everything.
—Benny Golson
