The Jazz Con Class Radio listeners will literally “be gone” with Benny Golson after listening to this downright superb album. The greatness lies within this unmatchable combination of Curtis Fuller and Golson as they play together in perfect unison. Great take on all the songs, including a great version of “Autumn Leaves. “Gone with Golson” will be featured for a week or so, check the schedule link for play times.
About the album:
Digitally remastered by Phil De Lancie (1994, Fantasy Studios, Berkeley, California). Like its same-year companion GROOVIN’ WITH GOLSON, 1959’s GONE WITH GOLSON pairs composer/arranger/saxophonist Benny Golson with trombonist Curtis Fuller (shortly after this release, the two formed the Jazztet with Art Farmer). Like GROOVIN’, GONE offers solid hard-bop fare with an aura of elegance and relaxation. Golson’s breathy tone on the tenor qualifies the mellow, in-the-cut vibe here, which is not to say the set doesn’t cook. Both Golson and Fuller (whose extremely precise trombone technique distinguishes him from most players) blow mightily through rhythmically and harmonically complex lines, yet manage keep the whole at a sophisticated reserve. Fuller contributes one of his own compositions (the smoothly swinging “A Bit of Heaven”), which fits nicely alongside Golson’s three originals (the smoky “Blues After Dark,” “Soul Me,” which pushes beyond standard gospel-derived soul-jazz, and the up-tempo “Jam for Bobbie”)……Read More
Biography of Benny Golson:
Benny Golson is a talented composer/arranger whose tenor playing has continued to evolve with time. After attending Howard University (1947-1950) he worked in Philadelphia with Bull Moose Jackson’s R&B band (1951) at a time when it included one of his writing influences, Tadd Dameron on piano. Golson played with Dameron for a period in 1953, followed by stints with Lionel Hampton (1953-1954), and Johnny Hodges and Earl Bostic (1954-1956). He came to prominence while with Dizzy Gillespie’s globetrotting big band (1956-1958), as much for his writing as for his tenor playing (the latter was most influenced by Don Byas and Lucky Thompson). Golson wrote such standards as “I Remember Clifford” (for the late Clifford Brown), “Killer Joe,” “Stablemates,” “Whisper Not,” “Along Came Betty,” and “Blues March” during 1956-1960. His stay with Art Blakey’s Jazz Messengers (1958-1959) was significant, and during 1959-1962 he co-led the Jazztet with Art Farmer. From that point on Golson gradually drifted away from jazz and concentrated more on working in the studios and with orchestras including spending a couple of years in Europe (1964-1966). When Golson returned to active playing in 1977, his tone had hardened and sounded much closer to Archie Shepp than to Don Byas…..Read More
