"Don't Follow The Crowd", a song on Frank Strozier's second release for Jazzland, is an apt title for an artist who worked hard to carve out a niche for himself in the jazz world. Unfortunately, Strozier is one of many who never got his due; despite gigs with Miles Davis, Don Ellis, and Chet Baker, Strozier quit playing music in the seventies out of frustration. His two early records for Jazzland have been reissued as a two-fer, and they show an talented altoist with strong similarities to Cannonball Adderley, or Jackie McLean before he discovered Ornette Coleman. Strozier delights in finding obscure songs to tackle, like Rodgers and Hammerstein’s “March of the Siamese Children” and seems quite comfortable with waltz time, but is also capable of contributing some wonderfully unique originals as well. The ace up his sleeve is his flute playing; whereas some musicians who double on the flute treat it as a passing fancy, Strozier creates some lovely textures with it on tunes like the lilting “Crystal Ball”. With the able support of George Coleman, Harold Mabern, and Bill Lee (who also contributes some fine tunes), Strozier lays claim to being an artist who could hold his own with the best. Strozier, in pursuing the original and unexpected, has created a pair of albums that criminally suffered from neglect when they were released, yet are prime examples of the music of the post bop era.
Track Listing
Long Night; How Little We Know; The Need For Love; The Man That Got Away; Happiness IS A Thing Called Joe; The Crystal Ball; Pacemaker; Just Think It Over; March of the Siamese Children; Extension; Something I Dreamed Last Night; Don't Follow the Crowd; Our Waltz; Will I Forget?; Lap; Hey, Lee!
Frank Strozier-alto saxophone, flute; George Coleman-tenor saxophone; Pat Patrick-baritone saxophone, flute; Chris Anderson-piano; Bill Lee-bass; Walter Perkins-drums, Harold Mabern-piano; Al Dreares-drums.
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.
You Can 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.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.