| Available Options: | | |
|
| Formats Available: | |
Cat Anderson was arguably the greatest high note trumpeter of all time. While he had competition from Maynard Ferguson, Jon Faddis and Arturo Sandoval, in a few of his solos, Anderson actually hit notes higher than those three. But as his Inner City set shows, Cat was more than just a high note specialist.
Born in 1916, he grew up in South Carolina. An orphan at the age of four, Anderson was raised at the Jenkins Orphanage Home School. Being there was a lucky break since the orphanage had a legendary music school. Although Anderson, who earned the lifelong nickname “Cat” due to his expertise in fights, was largely self-taught, the musical environment gave him opportunities. After learning trombone, mellophone and baritone horn, as a teenager he permanently switched to trumpet.
In 1937 Anderson made his recording debut with the Carolina Cotton Pickers in Birmingham. Developing his high note expertise, he worked with a variety of big bands including Claude Hopkins, Erskine Hawkins and Lionel Hampton. In 1944 Anderson became a member of the Duke Ellington Orchestra. While he left twice (during part of 1947-49 and 1959-61), he was otherwise part of Ellington's world until 1971. During those 27 years he succeeded Rex Stewart as the band's high note master while also occasionally having features. His post-Ellington career during his final decade included work with big bands in the Los Angeles area with former Ellingtonians Bill Berry and Louie Bellson.
In 1964, Anderson recorded the music heard on this release in Paris. He only led a handful of sessions in his life and this is one of his best. Since he was touring Europe with Ellington, he used four of Duke's sidemen: trombonist Buster Cooper, tenor-saxophonist Paul Gonsalves, Russell Procope on clarinet and alto, and drummer Sam Woodyard. Also in the septet are bassist Roland Lobligeois and either Claude Bolling or Joe Turner (no relation to the blues singer) on piano, both of whom are equally brilliant.
The music includes basic originals by Anderson and Bolling plus a few standards. Most intriguing is hearing Anderson's solos. Sometimes he uses a plunger mute and shows what he learned from sitting next to Ray Nance and Cootie Williams. On his quartet feature “I'm Confessin' That I Love You,” he pays his debt to Louis Armstrong. And on the rapid blues “For Jammers Only,” Anderson cuts loose in the stratosphere.
But in general throughout this excellent Ellington-flavored set (which has Procope in particularly good form), Cat Anderson, the king of high notes, shows what a fine trumpeter he could also be when he played beneath the clouds.
Recorded March 20, 1964, Cat Anderson's Paris session features the 47-year old trumpeter on two of his originals, four standards and a song by Bolling. The opener, “I'm Confessin' That I Love You,” has Anderson showcased with the rhythm section. The trumpeter plays out-of-tempo for the first half of the opening chorus before creating a melodic solo with the trio. “Gatherin' In A Clearing,” which was co-written by Anderson with Ellington in 1946, has Cat playing muted, displaying a sound not all that different than Cootie Williams or Ray Nance. He shares a chorus with a boppish Buster Cooper as does Paul Gonsalves with Russell Procope on clarinet. The Bolling arrangement features riffing horns in key spots.
“'C' Jam Blues” is a very familiar song, but Joe Turner's piano intro lets one know that this is not an Ellington date. Turner contributes a boogie-woogie backing while playing some stride during his solos. Procope, Gonsalves, Cooper and Cat (using a plunger mute) each get their spots. Bolling's uptempo blues “For Jammers Only” gives Procope on alto an opportunity to display a tone closer to Tab Smith than to Johnny Hodges. Cat is muted, Cooper displays his fluency, and Bolling hints at Teddy Wilson and Earl Hines. After Gonsalves is heard from, Cat flies over the closing ensemble although he could have gone an octave higher with ease.
The slow blues “A Chat With Cat” has Cat utilizing his plunger. Procope plays his clarinet with such passion (like Sidney Bechet or Barney Bigard) that he almost sounds like a soprano. Cooper, Turner and Gonsalves are all in excellent form. Cat and Procope lead the band out.
The last two songs particularly benefit from Bolling's inventive arrangements. “Don't Get Around Much Anymore” has Cat improvising over two choruses of “How Long Blues” before he and Procope share the theme. Cooper and Gonsalves divide the second chorus. Cat and Procope return for the final section with the four horns only playing together during the song's tag. The dixieland standard “Muskrat Ramble” has tightly arranged ensembles that make the warhorse sound very different than usual. Turner hints at Willie “The Lion” Smith during his breaks and Gonsalves and Procope get a chorus apiece before the leader has an exciting closing statement.
Review
"Cat Anderson is heard in prime form throughout this highly enjoyable and formerly rare set, which shows that he was much more than just the #1 high note trumpeter.
"Cat Anderson is most famous for being possibly the greatest high note trumpeter of all time as he showed during his 23 years with Duke Ellington. However as can be heard on this rare album for Cat as a leader from 1964, Anderson was also talented with the plunger mute and could play quite credibly in the lower register. He is featured performing with an all-star group comprised of trombonist Buster Cooper, tenor-saxophonist Paul Gonsalves, Russell Procope on clarinet and alto, bassist Roland Lobligeois, drummer Sam Woodyard and either Claude Bolling or Joe Turner on piano. The swing-oriented music is very much in the Ellington style and this is one of Cat Anderson’s finest showcases." -Scott Yanow
|
