quarta-feira, 2 de março de 2011

MILT BUCKNER: Locked hands

MILT BUCKNER
Milt Buckner foi o criador do estilo "locked hands" ou "block chords", consagrado por George Shearing. Além de piano, Milt tocava órgão - instrumento ao qual passou a se dedicar, devido ao insucesso  comercial de sua banda. Milt "descobriu" que com o órgão, podia substituir os instrumentos de sopro: por isso, desfez a banda e passou a trabalhar com a formação de trio ou quarteto. O piano saiu perdendo, mas Milt influenciou diversos organistas, principalmente de "blues".
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MILT BUCKNER

Milt Buckner (1915 - 1977) was a colorful and versatile musician who was comfortable while on the piano, or stretching out on the Hammond organ. Orphaned as a child, Buckner was taught music by an uncle in Detroit. He started playing piano and arranging for local bands such as The Harlem Aristocrats and The Dixie Whangdoodles - by the late 1920s. After joining drummer Don Cox's band in 1932, Buckner began experimenting with patterned parallel chords, becoming famous as the earliest purveyor of what came to be known as “block chords” or “locked hands” style. Buckner continued working with the local Detroit groups of Don Cox and Jimmy Raschel, until he joined Lionel Hampton's big band as pianist and arranger in November 1941, acting as pianist and staff arranger, and remained there for seven years, where his recorded arrangements included “Tempo's Birthday,” “Slide Hamp Slide,” “Overtime,” “Rockin' In Rhythm,” and the perennial “Hey! Ba-Ba-Re-Bop,” and “Hamp's Boogie Woogie.” Hamp's free-wheeling orchestra suited Milt admirably; the on-stage histrionics, the jump and swing repertoire and the musical and visual appeal of the band fit his charact er like a glove. While with Hampton, Milt broke away sporadically to pursue his own career. Recording with a small quartet or quintet, he achieved sufficient success to quit Hamp's band in 1948 at which time Milt quickly formed his own orchestra which recorded for MGM Records. Around this time that Buckner began to concentrate on playing organ, and he worked as a solo or in harness with Jo Jones, Sam Woodyard and Illinois Jacquet, frequently returning to Hampton for record and concert dates. Milt returned to Hampton in 1950 for another two years during which time he switched from piano to organ - after being influenced by Wild Bill Davis' playing on Louis Jordan's “Tamburitza Boogie” - an instrument he was largely to stick with for the rest of his life. As a jazz organist he recorded for Regent (1952), Scooter (1952-53), Brunswick (1953), Capitol (1955-57), Argo (1959-61) and Bethlehem (1962-63) before recording extensively in Europe throughout the 1960s and 1970s for the likes of Black & Blue, whe re he was the resident session man for visiting musicians. He also did recordings for MPS and Jazz Odyssey. With the rise of the international jazz festival scene in the 1960s, he began to tour extensively. He died in 1977 shortly after setting up his organ for a live performance with his old buddy Illinois Jacquet at Jazz Showcase. He was just 62. Milt Buckner left us quite a recorded legacy from the years of 1946 until his death. There are many of his works available currently.
Source:www.allaboutjazz.com
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MINHA OPINIÃO
Este é mais um caso daqueles em que a criatura supera o criador: como se constata nas faixas em que Buckner toca piano, dá para notar que George Shearing enriqueceu, desenvolveu e ampliou o estilo, não só pelas suas harmonias sofisticadas, mas pela técnica primorosa. Ao optar pelo órgão, Buckner se livrou das  inevitáveis comparações com o piano elegante de Shearing. Neste álbum,  a performance de Milt Buckner me parece um tanto burocrática, ainda que competente.

(*)Confesso que meu julgamento talvez seja um tanto quanto rigoroso para com Milt Buckner, mas não tenho como evitar a parcialidade, pois sou apaixonado pelo piano de Shearing...

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MILT BUCKNER: Locked hands

PERSONNEL:
Milt Buckner (piano,organ)
Jimmy Woode (bass)
Kenny Clare (drums)

TRACKS/FAIXAS
Glady's Dance  
Jersey Bounce  
Blues For Anita  
Willie's Blues  
Sunny  
Jitterbug Waltz  
Lil' Darlin  
Honeysuckle Rose

3 comentários:

Jean Tromb disse...

conheci Milt Buckner que era Presidente de Honra do Hot Club da cidade de Orange (perto de Avignon). Cada ano e,e chegava para temporada na casa do presidente daquele clube que organisava pequenos concertos para os membros, uns 200 pessoas privilegiadas, que podiam assistir shows com o Milt e alguns amigos seus como Jo Jones, Lionel Hampton, Charlie Shavers, Slam Steward, Buddy Tate e varios outros. Tratava sempre de pequenos conjuntos e os shows aconteciam nos porões do famoso teatro romano, num atmosfero de swing que nunca encontrei na minha vida. Falo tudo isso para te dizer que não conheci um Milt Buckner "burocratico", muito ao contrario, era verdadeiramente "Monsieur Swing". A proximidade dos vinhedos de Châteauneuf du Pape era, talvez, a razão da euforia swingante daquelas noitadas mas acho que, mesmo antes de beber, o Milt era o rei do swing. Claro, a presença do Jo Jones, do Hampton e do Slam ajudava bastante.

CARLOS BRAGA disse...

DOWNLOAD LINK

http://rapidshare.com/#!download|801l3|403237417|Milt_Buckner_-_Locked_Hands__1968_.rar|90370

CARLOS BRAGA disse...

Oi Jean,
Sim, o Buckner era excelente, sem dúvida.
O meu comentario se refere especificamene AO ÁLBUM postado, onde a performande do MB está abaixo da expectativa, ou seja: ele está mesmo "burocrático" naquela gravação.
Um abraço,
CB