Requisites

Intermission Riff ~ Sonny Criss | By Eddie Carter

In 1951, producer Norman Granz, the founder of several jazz labels and the chief architect behind the Jazz at The Philharmonic concerts, began a tour featuring Billy Eckstine at the Shrine Auditorium in Los Angeles, California. During the intermission, an all-star septet led by alto saxophonist William “Sonny” Criss took the stage. The result of their performance is this morning’s album from the library, Intermission Riff (Pablo Records 2310-929), released in 1988 after archivist Eric Miller discovered the tapes. His bandmates are Joe Newman on trumpet, Bennie Green on trombone, Eddie “Lockjaw” Davis on tenor sax, Bobby Tucker on piano, Tommy Potter on bass and Kenny Clarke on drums. My copy is the original U.S. Mono release.

Intermission Riff by Ray Wetzel and Michael H. Goldsen opens the set. Eddie begins with a robust introduction before the ensemble’s lively melody. “Lockjaw” gets busy first in the opening solo. Joe motors along in the next spirited statement, and then Sonny follows with an electrifying reading that receives a huge ovation from the audience at its climax. Green provides an exclamation point with an exhilarating solo into a thrilling ending. How High The Moon by Nancy Hamilton and Morgan Lewis starts with the trio’s calypso introduction preceding the high-spirited theme. Newman starts things off, and then Davis is remarkably assured on the next solo. Potter gives an impressive reading next. Green excels on the following reading, and Criss cooks with passionate enthusiasm on the closer.

A rocking version of Perdido by Juan Tizol, Ervin Drake and Hans Lengsfelder starts with the septet’s vigorous melody. Criss makes a strong impression on the first solo. Newman shows assurance and confidence in the second reading. Tucker takes over with an energetic performance, followed by Davis’ unrestrained enthusiasm. Green enters the next solo with a vengeance, then Clarke closes with a brisk workout into the reprise and ending. Body and Soul by Johnny Green, Edward Heyman, Robert Sour and Frank Eyton begins with Green’s soothing introduction before the pace moves to mid-tempo for the ensemble’s melody. Newman, Tucker, Criss, and Davis all contribute concise readings that are expressed very well.

High Jump by E. Greene culminates the set in a blowing session as fast as the Road Runner after the septet’s joyous exuberance in the melody. Bennie speaks his piece first with the added horsepower of the front line in one chorus. Sonny meets the challenge on the second statement, and then Newman gives an aggressive reading that dares the rhythm section to keep up with him. Davis infuses his solo with a few bars of Wild Blue Yonder while exchanging a few thoughts with Kenny, who responds in explosive form preceding the closing chorus. George Horn initially mastered Intermission Riff and it was digitally remixed by Danny Kopelson. The album’s sound quality does have a few momentary sound dropouts, but Eric Miller thought the music was too important to be edited, so he didn’t remove them.

Intermission Riff gives a glimpse of Sonny Criss, who possessed a beautiful sound that was capable of creating emotional solos. He had much to offer the jazz world, as demonstrated on his albums for Imperial, Impulse, Muse Peacock, Prestige and Xanadu. In 1977, he was diagnosed with stomach cancer, and on November 19 of that year, at age fifty, he took his own life as a result of the constant pain. Whether you’re just discovering his music or are already familiar with his discography, I offer for your consideration on your next record shopping trip, Intermission Riff. It’s a remarkable live performance by

Sonny Criss that swings with the best of them and is recommended for a spot in any jazz library!

~ Body and Soul, How High The Moon, Perdido – Source: JazzStandards.com
~ Sonny Criss – Source: Wikipedia.org
© 2024 by Edward Thomas Carter



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