Suchergebnisse
Suchergebnisse:
Soloists are abundant on the original recording of the Cuban Fire! suite; the most interesting of them being the tenor saxophonist Lucky Thompson. The Thompson tenor solos on the second half of "Fuego Cubano" and the up tempo "Quien Sabe" are a new addition and contrast to the normal style and harmonic/melodic practices of known ...
He showed these capabilities as sideman on many albums recorded during the mid-1950s, such as Stan Kenton's Cuban Fire!, and those under his own name. He recorded with Parker (on two Los Angeles Dial Records sessions) and on Miles Davis's hard bop Walkin' session.
6. Sept. 2017 · Thompson recorded with Charlie Parker in 1946 and '49, Johnnie Ray in 1951, Thelonious Monk in 1952, King Pleasure in 1954 and Oscar Pettiford in 1956 before leaving for Paris. During a return visit to the States that year, he recorded again with Pettiford and on Stan Kenton's Cuban Fire.
Fungi Cubano (Cuban Fire), the title song, and a neat way to begin the album, is an introduction and bolero, the introduction a slow burn and trombonist Kent Larson a prime arsonist, playing an expressive, wide-sound solo. A second highlight, moving out of the percussion section, is Lucky Thompson’s tenor solo, at a high, moody level, moving ...
Piano, Conductor – Stan Kenton. Saxophone – Bill Perkins, Bill Root *, Lennie Niehaus, Lucky Thompson. Timbales – George Laguna. Timpani – George Gaber ( tracks: B2, B3), Saul Gubin * ( tracks: A1, A2, A3, B1) Trombone – Bob Fitzpatrick, Carl Fontana, Don Kelly, Kent Larson *.
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Cuban Fire!, an Album by Stan Kenton. Released in 1956 on Capitol (catalog no. T 731; Vinyl LP). Genres: Big Band, Afro-Cuban Jazz. Rated #53 in the best albums of 1956. Featured peformers: Stan Kenton (piano, conductor), Lennie Niehaus (alto saxophone), Lucky Thompson (tenor saxophone), Bill Perkins (tenor saxophone), Billy Root (baritone ...
25. Aug. 2016 · When the Kenton orchestra returned to the States, Thompson recorded with the band on Cuban Fire starting in May. Overall, the tour was a rather awkward fit for Thompson, since by the 1950s, his instrumental poetry was better suited to smaller ensembles. The blessing for Thompson is that he fell hard for European life. He returned to ...
