Guest
Dive into the smoky, soulful world of Lucky Thompson, the unsung hero of the saxophone, with “Bop & Ballads.“ These newly discovered sessions, recorded in Hamburg in 1959 and 1960, capture the essence of Thompson's lyrical bebop approach, showcasing his mastery of both tenor and soprano saxophones. The album, featuring the Michael Naura Trio, Quintet, and a stellar lineup of guests, offers a rare glimpse into the melodic and intimately personal world of this jazz maestro. From the opening notes of “Summertime“ to the closing cadenzas of “Star Eyes,“ Thompson's saxophone speaks a language of its own. A contemporary of giants like Dizzy Gillespie and Charlie Parker, Thompson connected the swing era to the cerebral complexities of bebop. As Miles Davis once remarked, “Lucky was a hell of a saxophone player.“ This sentiment echoes through every note of “Bop & Ballads,“ where Thompson's sophisticated, harmonically abstract approach takes center stage. Thompson's journey in jazz is a tale of innovation and resilience. Having played with the likes of Thelonious Monk and Miles Davis, he carved his unique path, maintaining a distance from the pervasive influence of Charlie Parker. His sojourn to Europe in the mid-'50s, fueled by a desire to escape the clutches of the music industry, resulted in these Hamburg sessions, an uncharted territory until now. The concerts, organized by Hans Gertberg at NDR in Hamburg, brought together a stellar ensemble of musicians, including Michael Naura, Hajo Lange, and Wolfgang Schlüter. The quintet, along with guests like Hans Koller and Georges Grenu, weaved through Thompson's compositions with nuance and expression. Tracks like “Jeannie“ and “The World Awakes“ showcase the interplay between Thompson's soft yet powerful saxophone and the dynamic rhythm section. Thompson's affinity for the soprano saxophone shines in “Brother Bob,“ where he effortlessly maneuvers through a groovy theme, demonstrating remarkable intonation and facility. The album spans the spectrum from the up-tempo brilliance of “Cherokee“ to the mellow elegance of “Yesterdays,“ offering a sonic journey through the mind of a jazz visionary. The reviews from the June editions of “Jazzpodium“ in 1959 and 1960 capture the essence of these performances. Thompson's sound on the soprano sax is likened to a flute, and his tenor performance on “Cherokee“ nods to the legacy of Lester Young. The audience sensed that for Michael Naura, this wasn't about fashionable novelties but an artistic effort to expand the realms of jazz. “Bop & Ballads“ is not just an album; it's a rediscovery of a jazz luminary. Lucky Thompson's contribution to the art form reverberates through these tracks, offering a glimpse into the mind of a musician for whom every note had meaning. Join us in unearthing this treasure trove of jazz history, a testament to Lucky Thompson's magic in bending his horn to shape an artist's needs and making it an extension of his own, personal voice. The final mastering in 2016 by Roskow Kretschmann at Audiomoto Berlin ensures that every nuance is preserved, while the album cover, adorned with photos by Susanne Schapowalow, is a visual homage to a bygone era. So, sit back, let the sultry sounds of Lucky Thompson transport you to the jazz-filled nights of Hamburg in 1959 and 1960, and witness the magic of a saxophone virtuoso at the peak of his powers.
