Tuesday, December 21, 2010
Tommy Flanagan Trio Feat. Kenny Burrell - Beyond The Bluebird (1990)
The "Bluebird Inn" in Detriot was a significant bop locus; Some of the Motor City's first bebop jams took place there.
In 1949 tenor-saxophonist Billy Mitchell became the leader of the house band, which had in it, on and off, trumpeter Thad Jones and his brother drummer Elvin Jones, and on the piano bench, Tommy Flanagan or his good friend Barry Harris.
The first half of this album is dedicated to the "Bluebird Inn" and the music played there: two (relatively unfamiliar) Charlie Parker composition, "Bluebird" and "Barbados", a long renedition of "Yestardays" featuring Kenny Barrell at his most contemplative, a terrific version of Benny Carter's "Blues In My Heart" and "50-21" (the Bluebird's address) by Thad Jones.
The second half of the recording is, in the words of Flanagan's gorgeous title-piece "Beyond The Bluebird", dispelling any impuatation of mere nostalgia. Trumpeter Dizzy Reece's rarely played "The Con Man", whose unusual blues tonality provides a vivid setting for remarkable solos by Flanagan and bassist George Mraz.
Flanagan's "Something Borrowed Something Blue" reappears from an old Galaxy session, a fine reinvention.
Burrell's composition "Bluebird After Dark" is a tremendous closing track, and while pherhaps beyond the Bluebird in time, right in there in spirit.
In 1949 tenor-saxophonist Billy Mitchell became the leader of the house band, which had in it, on and off, trumpeter Thad Jones and his brother drummer Elvin Jones, and on the piano bench, Tommy Flanagan or his good friend Barry Harris.
The first half of this album is dedicated to the "Bluebird Inn" and the music played there: two (relatively unfamiliar) Charlie Parker composition, "Bluebird" and "Barbados", a long renedition of "Yestardays" featuring Kenny Barrell at his most contemplative, a terrific version of Benny Carter's "Blues In My Heart" and "50-21" (the Bluebird's address) by Thad Jones.
The second half of the recording is, in the words of Flanagan's gorgeous title-piece "Beyond The Bluebird", dispelling any impuatation of mere nostalgia. Trumpeter Dizzy Reece's rarely played "The Con Man", whose unusual blues tonality provides a vivid setting for remarkable solos by Flanagan and bassist George Mraz.
Flanagan's "Something Borrowed Something Blue" reappears from an old Galaxy session, a fine reinvention.
Burrell's composition "Bluebird After Dark" is a tremendous closing track, and while pherhaps beyond the Bluebird in time, right in there in spirit.
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