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The title of pianist James Williams 1992 recording with tenor saxophonists George Coleman, Joe Henderson and Billy Pierce is James Williams Meets The Saxophone Masters (DIW/Columbia). This millenium, the designation “master” certainly belongs to Williams. The Memphis born musician was raised on Gospel and R&B, but soon turned to the music of the hometown pianists Harold Mabern and Phineas Newborn for jazz inspiration. He did an extended stint as Art Blakey’s pianist (1977-81). After leaving the Messengers he began the Magic Trio, recording with Ray Brown and Art Blakey. Elvin Jones replace Blakey for number two, the he tried two young(er) cats in Charnett Moffett and Tain Watts, for three. He has also created two ambitious projects: The Contemporary Piano Ensemble, which recorded four pianists, Harold Mabern, Mulgrew Miller, Geoff Keezer, and Williams in tribute to Phineas Newborn and his I.C.U., a jazz Gospel band that blends the sacred with the secular for some moving music.
This reunion of The Magic Trio finds Williams reunited with bassist Ray Brown and drummer Elvin Jones. Recorded ten years after the trio’s initial session, the ten tracks elicit a wow factor reserved usually for the likes of Tommy Flanagan and Hank Jones. James Williams, like the aforementioned peers, speaks the language of the modern mainstream piano. Working with the hall-of-fame Brown and Jones, Williams chose classic composers, Cole Porter, George Gershwin, Sonny Rollins, and Thad Jones, as the common ground for the band’s interplay. As there is no competition between musicians, the session acts as a loving reunion of three master musicians.
Track List:It’s Alright With Me; Quietude; Time After Time; Lonely Moments; Somebody Loves Me; Give Me The Simple Life; Sophisticated Lady; Go Tell It To The Mountain; Sweet And Lovely; Sonnymoon For Two.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...