| 1954, December |
|
|
| Tony Scott(lead, cl), Lex
Mond (trp), Billy Byers (trb), Eddie Wasserman (ts), Danny
Bank( bs), Milt Hinton (b), Osie Johnson (d) |
| 1. |
Squaw with no reservation
(Tony Scott) |
|
| 2. |
Body and Soul |
|
| 3. |
Melancholy baby |
|
| 4. |
Friday the 13th (Tony
Scott) |
|
|
| RCA VIC EPA 705 |
|
| REVIEW |
|
COVER LINER NOTES:
Those who have been deceived into thinking
that the clarinet cannot be played in a modern jazz style have exactly
four selections in which to change their minds.
The four are right here, and the mind-changer is a tall, serious, dark-haired
New Yorker who answers to the name of Tony Scott, and who answered "Here!"
when the name of the winner of the jazz clarinet spot in the latest
International Jazz Critics' Poll was called.
Tony, who cut his teeth and developed his
embouchure during the Swing Era (he was one starred in Count Basie's
band), shows his early training on the light, airy, boppish Squaw,
blows some very lovely and modern notes on
the two ballads, Body and Soul
(usually reserved for tenor saxist), and
Melancholy Baby,
and gets a fine, up-to-date bluesy feeling on the minor, ghost-like
Friday the 13th.
Assisting Scott throughout are Billy Byers' warm
trombone, Lex Mond's modern trumpet, Eddie Wasserman's fine and heretofore
unheralded tenor sax, Danny Bank's steady, booting baritone sax, Milt
Hinton's driving bass, and the swinging drums of Osie Johnson.
Copyright 1956 radio Corporation of America
