In the early 1940s, Charlie Parker – who had a keen interest in both classical music and opera – expressed enthusiasm for recording an album with strings accompaniment. It would be nine years before Parker’s wish would be fulfilled. The legendary 1949 and 1950 recordings spawned other artists to embrace the format namely, Clifford Brown, Stan Getz, Wynton Marsalis, Bobby Hackett/Jackie Gleason, and others – even Coleman Hawkins and Ben Webster. With George Coleman with Strings Jazz Master George Coleman joins this illustrious group. The recording done in 2022 offers seven selections with Coleman’s tenor accompanied by a small string ensemble.
Dedicated
to You, a romantic’s serenata launches with
Coleman delivering the selection artistically sans extended solo. His
approach here is painted lyrical, bluish, and not bombastic. Henry Mancini’s Moment
to Moment from the eponymous movie (Universal Pictures, 1966) is a light
bossa nova. David Hazeltine’s piano and Bill Dobbins’ arranged strings set the
stage for Coleman to explore a lighter improvisation. His tenor here is
vibratoless and minimalist as he dances and winds from motif into motif. Stella
by Starlight has Coleman embellishing slightly faster, intense lines.
Pianist Hazeltine provides a tasty solo, picking up from where Coleman’s last motif
ends. A lushly presented and very much the highlight track of the date.
Coleman’s
approach throughout the session is distinctive with a penchant for shorter
statements and embellishments around the heart of the well-known – and groove-worn
– melodies. The rhythm section of pianist David Hazeltine, bassist John Webber,
Joe Farnsworth’s drumming (especially his brush work), Café Da Silva’s
shadings and Bill Dobbins’ sonorous orchestral arrangements
frame Coleman well while eschewing the tendency to smother and detract from the
featured artist and his messaging.
Johnny Mandel and Paul Francis Webber’s’ classic, A Time for Love from the movie An American Dream (Warner Bros., 1966), presents a light bossa nova. Coleman’s melodic statements are responded to by the orchestra in rhythmic and melodic synch. His stylings here are more extended with the orchestra’s accompaniment harmonically more complex. It is an exceptional track.
Thelonious Monk’s oxymoronically titled ballad Ugly Beauty
launches with a noir-shaded string statement and misterioso piano.
Coleman covers it with intense feel. A second track of A Time for Love
offers an extended orchestra introduction to the same selection previously
noted. The harmonic textures here are complex and the shades darker. Along
similar lines, a second track of Ugly Beauty follows with an orchestral
introduction. The intro has obvious shades of Bernard Hermann’s moody voicings
and textures.
Although it certainly doesn’t position itself - nor should it be considered - as a breakthrough “jazz artist with strings” recording, George Coleman with Strings is an intriguing and most enjoyable presentation. There’s a great deal of fine interpretive playing here from a jazz legend and his fine cadre. Nick Mondello
Publicist:
Mouthpiece Music
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