If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
The wide open spaces referred to in the title is not a reference to free jazz, but rather a description of Texas, the home state of both Clay and Newman.
Julian "Cannonball" Adderley, who began producing records with this album in the hopes of giving credit to lesser-known musicians, brought together these two tenormen for what became quite a blowing session. There are no surprises here; a few bluesy originals, a couple of standards, all played at an appropriate tempo, all of which could be a recipe for mediocrity in the wrong hands. However, this album succeeds due in large part to the excellent rhythm section and the graceful play of the horns. Clay and Newman bring out the best in each other and blend together nicely, but still retain their own character-Newman's bright and probing, Clay's wooden and forceful. Both are capable of playing an endless array of interesting ideas, ensuring that even the twelve minute long title track doesn't wear thin.
Neither Clay's or Newman's work apart from one another is anything to write home about, yet when paired together they managed to create an album that holds its own with the more consistent work of their peers.
Track Listing: Wide Open Spaces; They Can't Take That Away From Me; Some Kinda Mean; What's New; Figger-Ration.
Personnel: James Clay-tenor sax, flute (on #4 only); David "Fathead" Newman-tenor sax; Wynton Kelly-piano; Sam Jones-bass; Arthur Taylor-drums.
I was first exposed to jazz through a high school friend who played Keith Jarrett's The Koln Concert for me. Therefore, that was the first jazz record I bought. From Jarrett to Chick to Oscar and Herbie and then came my first hearing of A Love Supreme. I was never the same...
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.
Thanks for joining the All About Jazz community!