| Share page | Visit Us On FB |
|
102 THE INSTRUMENTS, THE SOUNDS, THE PERFORMERS
Getz whose work won international prominence and made him a symbol of the cool era, several of the other Herman tenor soloists have since proven themselves no less considerable in an assessment of this branch of the family. Their dates of service in the Herman band are included parenthetically; Al Cohn (1948), Jimmy Giuffre (1949), Richie Kamuca (1954-5), Arno Marsh (1951-3; '57), Bill Perkins (1951-4), Zoot Sims (1947-9), Herbie Steward (1947).
The West Coast has spawned a flock of tenor men modeled in the same Young-Getz image, the best of whom are Buddy Col-lette, Bob Cooper, Bill Holman, Jack Montrose and Dave Pell. Even Europe has provided several youngsters in the same category, among whom Belgium's Bobby Jaspar (now in this country), Austria's Hans Koller and England's Don Rendell stand out.
The list of tenor men in this category could be extended indefinitely. Several deserve individual mention: Warne Marsh, a pensive and cerebral stylist who reflects the influence of his association with Lennie Tristano; the peripatetic Brew Moore, a Mississippian last heard of in San Francisco; the swinging Seldon Powell, perhaps the most promising New York newcomer in the past couple of years; and the erratic Phil Urso, heard with the Chet Baker combo. Of all the cool and quasi-cool tenors, only one has emulated the Lester Young original so carefully that it has been said of him that he sounds more like Lester than Lester himself. He is Paul ("Vice-Pres") Quinichette, heard with lesser name bands through the 1940s and prominent only from 1951-3 with the Basie band. Quinichette achieves the exact sound and style of the early Young records and manages to give the impression that he is originating rather than merely copying.
Symbolizing a partial reaction against the ultra-cool sounds of the late 1940s is the work of another school of tenor men, whose style has been labeled, perhaps a little arbitrarily, "hard bop," but might better be described as "extrovert modern". These men, often showing the influence both of Young's tenor and of Charlie Parker's alto, express themselves forcibly, with a bolder tone and more volatile ideas than the Getzians. There is |
||