Duke Pearson - The Right Touch

1967. El 13 de septiembre de ese año de 1967 Duke Pearson y siete músicos más entran en el estudio para grabar una de las joyas mejor guardadas del catálogo de Blue Note. Entre los miembros del octeto destacan, obviando a Pearson (p.), Freddie Hubbard (tp.), James Spaulding (as.), Stanley Turrentine (ts.) o Grady Tate (dm.). Un auténtico all-stars del género que nos legó esta maravilla que ha permanecido en el tiempo con su fuerza original intacta para deleite de profanos y expertos. Para el que quiera profundizar en la info os corta-pego un par de textos al respecto. ¡Salud! (9,5/10)

Duke Pearson was an accomplished, lyrical, and logical -- if rather cautious -- pianist who played a big part in shaping the Blue Note label's hard bop direction in the 1960s as a producer. He will probably be best remembered for writing several attractive, catchy pieces, the most memorable being the moody "Cristo Redentor" for Donald Byrd, "Sweet Honey Bee" for himself and Lee Morgan, and "Jeannine," which has become a much-covered jazz standard. Pearson was introduced to brass instruments and the piano as a youth, and his abilities on the latter inspired his uncle, an Ellington admirer, to give him his nickname. Dental problems forced Pearson to abandon the brass family, so he worked as a pianist in Atlanta and elsewhere in Georgia and Florida before moving to New York in 1959. There, he joined Donald Byrd's band and the Art Farmer-Benny Golson Sextet, and served as Nancy Wilson's accompanist. In 1963, he arranged four numbers for jazz septet and eight-voice choir on Byrd's innovative A New Perspective album; one of the tunes was "Cristo Redentor," which became a jazz hit. From 1963 to 1970, Pearson was in charge of several recording sessions for Blue Note, while also recording most of his albums as a leader. He also led a big band from 1967 to 1970 and again in 1972, hiring players like Pepper Adams, Chick Corea, Lew Tabackin, Randy Brecker, and Garnett Brown. Pearson continued to accompany vocalists in the 1970s, such as Carmen McRae, but he spent a good deal of the latter half of the decade fighting the ravages of multiple sclerosis. (extraído de aquí)

Duke Pearson rises to the challenge of writing for an all-star octet (with trumpeter Freddie Hubbard, trombonist Garnett Brown, altoist James Spaulding, Jerry Dodgion on alto and flute, Stanley Turrentine on tenor, bassist Gene Taylor, drummer Grady Tate, and the leader/pianist), contributing colorful frameworks and consistently challenging compositions. The set is full of diverse melodies (the CD reissue has a previously unissued take of "Los Malos Hombres") played by a variety of distinctive soloists; many of these songs deserve to be revived. This is one of the finest recordings of Duke Pearson's career. (extraído de aquí)

As an arranger, composer, pianist, and producer, Duke Pearson was Blue Note's secret weapon for more than a decade. This 1967 all star octet sessions features six great Pearson tunes and arrangements. Freddie Hubbard, James Spaulding, and Stanley Turrentine are the primary soloists. This music pops with vitality. An alternate take of "Los Malos Hombres" has been added to the original LP. (extraído de aquí)