#Bent Jaedig

[jazzdailyblog]

Ernie Wilkins: The Unsung Hero of Jazz Arranging

Introduction: Ernie Wilkins is a name that may not be as immediately recognizable as some of his contemporaries, but his contributions to jazz are profound and far-reaching. An accomplished saxophonist, composer, and arranger, Wilkins’ work has been instrumental in shaping the sound of some of the most iconic jazz ensembles. From his early days with the Count Basie Orchestra to his prolific work…

[projazznet]

Lucky Thompson & Barney Wilen – Four Brothers

“Previously unreleased studio concert from Hamburg in 1960, featuring four jazz saxophone legends: Lucky Thompson (ss/ ts), Barney Wilen (ss/ ts), Helmut Brandt (bars) and Bent Jaedig (ts), recorded with the quartet of Dr. Roland Kovac (p) in a unique workshop. Excellent blend of Modern, Bebop, Cool and Progressive: Eighty minutes of full ensemble pieces in a sound made famous by Giuffre`s “Four Brothers”, plus musical essays in small groups. Superb session produced by Hans Gertberg, mastered in 2015, including vintage cover artwork by designer Guenther Kieser.” – Sonorama Records.

[dustedmagazine]

Lucky Thompson/Barney Wilen/Bent Jaedig/Helmut Brandt – Four Brothers (Sonorama)

Stop me if you’ve heard this one before: a Frenchman, a German, a Dane and an American walk into a Hamburg recording studio… Such was the situation on November 25th, 1960 when saxophonists Barney Wilen, Helmut Brandt, Bent Jaedig and Lucky Thompson convened under the auspices of producer Hans Gertberg to record Four Brothers. The tune and the frontline format it inspired had its genesis in Woody Herman’s Second Herd of 1947 and Jimmy Giuffre’s innovative blend lush horn choruses and hard swinging solos. This international spin on the template sustains the spirit while subtly updating the sound with Thompson serving as defacto leader for an octet and officiating over a program of contemporary originals and standards.

Saddled with a sobriquet that rarely seemed to reflect his professional reality, Thompson was in midst of a European residency as a respite from setbacks he had encountered stateside. Gertberg bankrolled the session and nearly eighty minutes of music resulted, but it’s unclear why it didn’t find commercial circulation at the time. A studio audience provides enthusiastic responses to the tunes with Brandt and pianist Ronald Kovac joining Thompson in contributing to the originals side of the songbook ledger. Creative and combustible renditions of popular tunes of the day including Bobby Timmons’ “This Here”, Sonny Rollins’ “Oleo” and Ellington’s “Take the A Train” occupy the other. Unfortunately, the printed track list only partially matches the order of the actual set list although an accompanying scorecard of solos is a handy tool in correcting the errors.

Most of the pieces are comparatively brief, featuring one or two of the horns between verdant ensemble choruses, but with generous space built in for the rhythm section as well. Guitarist Larry Atwell, a protégé of Kovacs, plays the part of the odd man out with a jagged and jangly delivery and occasional difficulty staying in tune. The blemishes he adds to the pieces, whether intentional or not, generate some intrigue as well. Bassist Jurgen Ehlers and drummer Rudy Pronk work well with the horns, the latter rising to the occasion when heated fours are called for, and make the most of their numerous solo opportunities. Thompson’s “Why Weep��� signals an early highlight with Kovac dropping out and leaving the composer to a rapid-fire string of choruses with the remaining members of the rhythm section and Atwell’s idiosyncrasies on full display.

Both Thompson and Wilen double on soprano and its edifying to hear how each man approaches the instrument in a context prior to Coltrane’s popularizing of the straight horn the same year. As with the original Four Brothers (Stan Getz, Zoot Sims, Serge Chaloff and Herbie Steward) the spirit of Lester Young looms large in the individual styles of the horns. The scripted horns-only opening and coda of Kovac’s “Iris” presents that intangible presence of Pres in sublime detail. Brandt’s interpretation of the influence on baritone is particularly noteworthy on his originals “Have a Light” and “Jahrgang ‘37” where his breathy tone and plush phrasing convey a cocksure swagger and a haunting rendition of “I Surrender Dear”.

Thompson’s relative fortunes wouldn’t receive an upswing anytime soon. A return to the states several years later and subsequent stabs at solidifying his career largely met with indifference and he left music altogether in 1974. He passed away three decades later, a hollow shell of his former self. Even with its bittersweet undertones this previously obscure conclave amongst like-minded peers stands as welcome testament to his prodigious talent.

Derek Taylor

[projazznet]

Sahib Shihab – Sahib Shihab and the Danish Radio Jazz Group (Full Album)

“Shihab’s compositions and solos are the stars here, but the band is terrific too, with fine solo contributions from the likes of bassist Niels Henning Orsted-Pedersen, trumpeter Palle Mikkelborg, tenor saxophonist Bent Jaedig and numerous others.” – AllAboutJazz.