I have now added solo information to my Frank Strozier discography. This includes many live sessions where he really stretches out. In the process of doing this, I was forced to analyze some of the original compositions recorded in the 1960s and 1970s and discovered that they often have very unusual structures. In certain instances, I have described these briefly in the session notes.
You can also find a table in which I have compiled all of Strozier’s solos by recording date and performance title between 1959 and 1984. This information, which includes solo duration, was extracted from the discography.
If you are not familiar with Strozier’s work, I would highly recommend that you check it out. He was also a gifted composer and saxophonist Chris Byars has recorded several of his pieces for a Steeplechase CD to be issued in 2017.
I have added a table (pdf) that lists solos of Lucky Thompson by recording date and performance title between 1944 and 1973. The information, which includes solo duration, is also found in the discography, from which the data was extracted. Needless to say, this was an enormous amount of work, involving listening to every performance and using a lap counter in order to accurately determine solo duration in bars. And there were some interesting revelations along the way. For example, on the iconic Miles Davis All Star Sextet session of April 29, 1954 for Prestige Records, Lucky Thompson takes the longest solo on both “Walkin'” and “Blue ‘N’ Boogie,” 10 choruses on the former and 12 choruses on the latter, despite the presence of not only Davis but also bebop innovator trombonist J.J. Johnson and up-and-coming piano star Horace Silver. These solos exemplify the saxophonist at his very best on tenor, demonstrating his unique and artful construction along with elegance and passion. I doubt that there was any controversy over Thompson’s stretching out on Davis’ date after the musicians and producers listened to the playbacks.
The table can be found here.
Now having the ability to enter solo information using the BRIAN software, I have been going through sessions gathering information on soloists’ identities, solo order and duration. The first subject that I’m tackling in this regard is Lucky Thompson, which, of course, is a monumental undertaking.
Continue reading “Lucky Thompson with Boyd Raeburn: A Revision”