Listening to Prestige 638 - Benny Golson

LISTEN TO ONE: The Call

Benny Golson edidn't bring his instrument to this date, but virtually everyone else in Sweden did, including one American expat, Benny Bailey. Golson is composer of six cuts, some new compositions and his classic "I Remember Clifford," and arranger on compositions by Gordon Jenkins, Bill Evans and Victor Young. There are 32 pieces altogether (four of them added after the fact, two in Stockholm and two--Cecil Payne and Grachan Moncur III--in New York).

Golson was the composer of some of the best-loved jazz standards such as "I Remember Clifford" and "Killer Joe," and he includes "I Remember Clifford" here, along with several pieces composed for this session, and a few jazz standards by other composers. But the real news here is his orchestration and conducting of a truly ambitious orchestra.

It's an adventurous project, pushing the boundaries of jazz. Many were pushing them in those days, but not necessariy like this Can you make a large orchestra swing? Golson does, using well-timed juxtapositions of soloists (given some room for improvisation) with the orchestral parts.

I found the familiar pieces -- Bill Evans's "Wattz for Debbie," "My Foolish Heart," and his own "I Remember Clifford" particularly interesting for a new take on those classics, and I also warmed to the pieces like the concluding one, "The Call," that used more jazz soloists. But the balance of solos and full orchestra, Golson-style, is exhilarating.

Lew Futterman, who had brought Jack McDuff to Prestige, produced this session, showing his range as a producer. He was soon to extend that range even further and in a different direction, with a successful career in the rock business.