Once upon a time, the most popular instrument in jazz was the clarinet. It was the sound of New Orleans traditional songs, introduced to us by the likes of Sidney Bechet and Johnny Dodds, and then segued easily into the swing era with Benny Goodman, Artie Shaw and Woody Herman calling in the minions. Then came bebop, which was deemed too difficult for the unyielding licorice stick, and only a few undaunted individuals dared to try to conquer the modern jazz world armed with the ebony wand. One of them, Tony Scott, is almost forgotten today, but if you want to hear what a real clarinet can sound like in a modern jazz setting, then step right up.
During the time of these recordings, which take place in 1953, Scott was a highly in-demand session player, recording a number of times for Billie Holiday and Sarah Vaughan, even using a young Bill Evans as a side man for one of his own recordings! Here’s he’s caught here in a series of intimate concerts ranging from Minton’s Playhouse in Harlem to the Pythian Temple in NYC. Scott leads a variety of quartets with a rotating team that includes Dick Katz/p Milt Hinton-Earl May-Percy Heath/b and Philly Joe J Ones-Jackie Moffett-Jackie Moffett-Osie Johnson/dr. With Jones, the band swings hard on “I Never Knew” and bears down on “Away We Go” with Scott searing like a flamethrower. Scott at Fort Monmouth, NJ is gorgeously lyrical on ”I Cover The Waterfront” and veers between bop and swing like he’s using mirrors on the exciting “Milt to the Hilt” and Homecoming.” His tone is warmer than Buddy DeFranco’s, and while he’s not as technically adroit as his fellow Italian, his expressiveness is unparalleled on the moody “Yesterdays” and “Goodbye” while sounding coy on “Sweet Lorraine.”
This disc has some very exciting sounds, and may make you want to take up the clarinet. Quite inspiring!
Fresh Sound Records