Benny Golson Quartet
New York, NY
October 21, 2016
By now it's well established that you don't go to see the octogenarian Benny Golson
expecting to be blown away by a titan of the tenor saxa fact he's only too happy to confess to his audience at a packed Jazz Standard
in October. Sure, Golson can still handle his sax just fine but his real mastery isand has always beenmaking musical magic by conjuring a catchy tune and a toe-tapping arrangement that can enable a jazz ensemble to appear far greater than the sum of its individual parts. His original compositions have become standards, his arrangements of other composer's standards are brilliant, and he possesses and is only too happy to share his deep well of jazz lore gathered six decades in the business. When you catch this musical raconteur, you are in the presence of one the true jazz masters.
And what wonderful associates the maestro was working with this night: the top-of-the-line rhythm section included the "wild beast" Mike LeDonne
on piano, the "remarkable" Buster Williams
on bass, and the "effusive" Carl Allen
on the drums, each of whom was in fine form in the early set.
The set kicked off with the bluesy "Domingo," a tune from the group's most recent album, Horizon Ahead
, jump starting the evening with a rhythmic push from Williams and Allen's tight swing. "Along Came Betty" followed, the classic tune Golson wrote and recorded in 1958 while with one of the great editions of Art Blakey
and the Jazz Messengers; he introduced the tune with a hilarious tale of it how it was originally being inspired by a woman named Betty, and how, now that he has been married for many decades to his wife, whose name is Bobbie, it's too late now to change the title. The standard itself is built on familiar hard-bop componentsopening theme, individual explorations, restated theme to closeand on this night was strengthened polished and with the fresh ideas of a stellar rhythm section.
Another major Golson-penned standard followed. Golson related the heartbreaking story of how he composed "I Remember Clifford" upon learning of the death in a car accident of his friend, the great young trumpeter, Clifford Brown
, at the age of twenty-five. Based on one of the great tragedies of modern music, the tune has transcended the jazz world and, according to Golson, been recorded more than five hundred times since Donald Byrd
first did it in 1957; Golson himself recorded a memorable version in 1960 with the Art Farmer
-Benny Golson Jazztet. On this night, Golson's quartet delivered a passionate rendition, giving each player ample space for heartfelt statements.
Golson turned the spotlight over his rhythm section for the next tune, a Cedar Walton
composition, "Holy Land," on which pianist Mike LeDonne's spectacular talents were wonderfully anchored by bass master Buster Williams and Carl Allen's highly musical drumming. "Stablemates," another gem from the Golson songbook, closed the set; the tune made its debut in 1956 with the Miles Davis
quintet that featured John Coltrane
, Red Garland
, Paul Chambers
and Philly Joe Jones
, and once again, Golson and his mates made jazz history come alive with fresh, new connections for modern listeners.
It sometimes sounds cliche to say a person has seen or done it all, but when referring to Benny Golson, the saying has the ring of truth. As composer, arranger, leader or co-leader, the man has been at the center of modern jazz virtually from the beginning. After a full set of the music and tales of this sweet-natured elderly master and his dynamite associates at the cozy Jazz Standard, this jazz fan headed home feeling enriched by the experience.
FOR THE LOVE OF JAZZ
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
WE NEED YOUR HELP
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles
for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today