Horace Parlan-Us Three-Remastered-CD-FLAC-2014-THEVOiD | Music | FLAC | 127.02 MiB
Jazz | English FLAC 394 kb/s VBR
DRIFT INTO THE VOID
Info
Artist | Horace Parlan
Title | Us Three
Genre | Jazz Format | Album
Source | CD Time | 40:39
Label | Pickwick Group Store | 2014
Catalog | 715482 Rip | 2021
Bitrate | 429 kbps Size | 132.90 MB
Freq | 44.1 kHz Encoder | FLAC 1.3.1
Tracks
01. Us Three 4:32
02. I Want To Be Loved 4:49
03. Come Rain Or Come Shine 6:23
04. Wadin' 5:52
05. The Lady Is A Tramp 7:09
06. Walkin' 7:06
07. Return Engagement 4:48
Notes
Born 1931 in 1931, Pittsburgh, Pennsylvania, Horace Parlan played
piano from an early age, his first professional work being in R&B
bands during the early and mid-50s. In 1957 he joined Charles Mingus
in New York, later playing with Lou Donaldson, Booker Ervin, Eddie
Lockjaw Davis, Johnny Griffin, Rahsaan Roland Kirk and others. In
the early 70s he settled in Denmark, playing with local and visiting
musicians including Dexter Gordon, Archie Shepp and Michal Urbaniak.
As a result of contracting polio as a child, Parlan suffered
limitations in the use of his right hand; to compensate, he
developed a powerful left hand and evolved a distinctive style in
which echoes of bop and the blues blend comfortably and to great
effect.
On this recording made in 1960 during his tenure with Lou Donaldson,
Parlan is situated nicely alongside bassist George Tucker and
drummer Al Harewood. The trio had its own gig on Sundays at Minton's
in Harlem, and had established a repertoire and reputation for being
able to lay down both hard bop and soul-jazz stylings with equal
verve (and yeah, that jazz/hip-hop group from the 1990s was named
after this disc). The proceedings here are straight-ahead with some
cool soul-jazz touches. Parlan's "Wadin'" moves the off-minor key of
"Wade In The Water" and funkifies the rhythm, paraphrasing and
improvising as the rhythm section struts it out.
On the title track, there is a gorgeous lilt in his playing that
corresponds to a behind-the-beat walk by Tucker that makes Harewood
slip and shimmy constantly on the cymbals with his brushes. There
and on "I Want To Be Loved" as well as "Return Engagement" (another
Parlan original), something else starts to creep into his playing:
the spacy, spare feel of Ahmad Jamal, who Parlan cited as a
contemporary influence. The economy of touch, which stands in stark
contrast to the hard bop he played with Donaldson and the energetic
music he played with Mingus, is in some ways more complex
harmonically, and more emotionally satisfying. This is a fine effort
from an underappreciated trio.
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