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September 09, 2009

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Larry Kart

Yesterday, as fate would have it, at Half Price Books I found the Four Brothers reunion disc. I recalled it (bought the LP when it was first released) as something of a damp squib, but in fact all parties are quite involved and alert. The ensemble playing is impeccable and seemingly heartfelt as well, and this was still a time when Zoot was quite fresh: I wonder if the timing and nature of his relative downturn (IMO) can be identified. This was 2/11/57; my guess was that the later more mechanical Zoot who typically recycled familiar Zoot-like phrases was beginning to emerge by 1958; certainly it was that way pretty consistently (again IMO) about a year-and-a-half later, by the time of the Mulligan Concert Jazz Band. Serge is right there, too, despite his poor health; Herbie is nice though perhaps a bit rusty, and Al is vintage Al. Perhaps surprisingly, Elliot Lawrence's comping is quite relaxed and hip, and Don Lamond, not surprisingly, is an asset. My copy was a 1994 reissue of German RCA origin and must be from the original tapes; the vintage Webster Hall sound leaps out of the speakers.

Ian Carey

Speaking of Four Brothers, I'm a fan of Jimmy Giuffre's overdubbed arrangement where he plays all 4 parts (on "The Four Brothers Sound," a whole album of 4-part overdubs).

John Cooper

I don't understand this sentence :

".......the single was a jazz hit and an early example of how saxes could be harmonized like the Pied Pipers, Modernaires or any other big band vocal group of the period."

neal lavine

HARVEY LAVINE PLAYED THE BARITONE SAX, HE ALWAYS SAID HE WANTED HIS BARI TO SOUND LIKE LESTER YOUNG, AND STAN GETZ, AND GERRY MULLIGAN ALWAYS WANTED TO BUY MY DADS SAX. HE SAID IT HAD A SPECIAL SOUND. OR WAS IT JUST THE WAY HARVEY LAVINE WANTED THAT SOUND, WHEN HE PLAYED IT. THAT BARI STILL LIVES, ITS IN MY LIVING ROOM. AND I GET GOOSE BUMPS EVERYTIME I LOOK OVER AT IT.

Frank Sinclair

A truly wonderful Website.
Thank you!
Frank Sinclair

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  • Marc Myers writes frequently on music and the arts for the Wall Street Journal. He is author of "Why Jazz Happened" (University of California Press). JazzWax has been named the Jazz Journalists Association's "Blog of the Year."
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