Native Land
Katanga!
Curtis Amy & Dupree Bolton
A Richard Bock Production
Recorded at Pacific Jazz Studios - Hollywood, California
Audio by Richard Bock
Album Design & Photography by Woody Woodward
Yamaha Piano courtesy Dave Abell Pianos
Authentic African mask courtesy Ralph C. Altman Galleries
Pacific Jazz Records PJ-70
A Division Of World-Pacific Records
1963
Personnel:
Curtis Amy - Tenor & Soprano
Dupree Bolton - Trumpet
Jack Wilson - Piano (courtesy Atlantic Records)
Ray Crawford - Guitar
Vic Gaskin - Bass
Doug Sides - Drums
From the back cover: It is a pleasure to be a able to confront the task of constructing a set of liner notes for another Curtis Amy Recording. The reason for this is simple: Curtis is a relentlessly changing jazzman – constantly seeking a new format, a new method, new instrumentation, and new fellow musicians. The result is that each new Amy recording finds this leader involved in and with new or different approaches that allow the jaded writer fresh inspiration. The present recording introduces several new facets to the Amy formula. The instrumentation is new and rather uncommon – tenor sax, trumpet, solo guitar, and rhythm section. Trumpeter Dupree Bolton debuts on Pacific Jazz for only his second time on record. Next, Curtis introduces a personnel combination that added up to one of the most powerfully jazzy groups to appear on disc in 1963. Besides Dupree (the fantastic Bolton), and Curtis' own horns, there is Ray Crawford, guitar, the fine new pianist Jack Wilson, roaring bassist Vic Gaskin, and the excellent young drummer, Doug Sides, recently of The Lighthouse and a recording with Johnny Griffin. And lastly, Curtis unveils his personal new contribution – his own playing of the soprano saxophone. Oh this difficult instrument, Amy reveals himself as its most blushful and mournful practitioner, and an important new voice of the horn.
Concerning the power and cohesion of the group as a whole, I can only say that the method by which such combination jell is largely a mystery in jazz. Often the phenomenon can be attributed rightly to long association of the members, but too often (as in the present case) that just isn't so. Whatever the reason for the jell, the rhythm section and the soloists and ensemble with the rhythm section achieve unity and virility and clarity that exhilarate me greatly as a listener.
Beyond the notable qualities of the group I think these things important: Curtis Amy achieves an authenticity and traditionalism with the soprano sax that recall Bechet's familiar ease with the straight horn; Dupree Bolton is the most important "new" trumpeter to appear in jazz since Carmell Jones: Ray Crawford is finally on record in a small group context that demonstrates his remarkably conversational style – one that like Burrell's and Budimir's rivals the opining and reflective quality in the old blue's guitarists.
Dupree Bolton first appeared on recordings with tenorman Harold Land on a recording called The Fox several years ago. Although that LP received critical notice, Bolton did not follow its acceptance with sufficient personal appearance to bolster his position. At the time of The Fox, Dupress's principal influence seemed to be Clifford Brown or possibly Fats Navarro. But now, considering Bolton's obvious maturity as a musician, some rather surprising changes have occurred in his playing. I hear, for instance, a bit of Dizzy Gillespie, a little of Clifford, and a very large amount of original Dupree Bolton in his trumpet style. Though it is a bit early to make predictions about Bolton's future in jazz, considering the sporadic nature of his career so far, there is reason to believe that his flexible attack and voice like phrasing will lead him toward the abstract and colorful lamentation currently being voiced by Sonny Rollins, Sonny Simmons, Don Cherry, John Coltrane and Gary Peacock. The warmth, humanity, and flow of Dupree's trumpet voice rivals that of the late Booker Little in this respect. In any event, Dupree stands on the verge of greatness. Observe closely.
Further concerning Ray Crawford: would you please hear Lonely Woman and Native Land in this collection? Now, what can I say that would be of further explanation?
Pianist Jack Wilson made his debut on Pacific Jazz with Earl Anderza (Outa Sight, PJ-65), and is the most fluent pianist on the coast. Bassist Vic Gaskin, frequent member of the Paul Horn quintet, has recorded with The Jazz Crusaders (PJ-57) an is exciting comment from musicians all over the Los Angeles area. Vic is young (early 20s) but possessed of a chord sense and beat that rival those of the most experienced bassists in town. Doug Sides is a youthful polished player who saw nightly service with Howard Rumsey's Lighthouse group for most of 1962 and is certain to become one of the most sought after drummers in the western scene.
Katanga
Lonely Woman
Native Land
Amyable
You Don't Know What Love Is
A Shade Of Brown
