Alabama Concerto
1959 US pressing in near-mint condition.
It is doubtful whether there has ever before been a musical work quite like this Alabama Concerto, with its bold fusing of jazz virtuosity, folk-music themes, and what is usually called "serious" composition.
"Serious" is a proper word here, and so is "concerto," for this is music by a schooled, richly creative writer, and it does follow the classic concerto form. But these words should not be allowed to frighten anyone: John Benson Brooks is an adventurous, highly melodic, often extremely witty composer; and his concerto departs from traditional form in being designed to permit quite a lot of free-blowing improvisation by the four jazzmen on hand – particularly by the forceful, blues-based alto of Cannonball Adderley and by Art Farmer's firm-toned, graceful trumpet.
1959 US pressing in near-mint condition.
It is doubtful whether there has ever before been a musical work quite like this Alabama Concerto, with its bold fusing of jazz virtuosity, folk-music themes, and what is usually called "serious" composition.
"Serious" is a proper word here, and so is "concerto," for this is music by a schooled, richly creative writer, and it does follow the classic concerto form. But these words should not be allowed to frighten anyone: John Benson Brooks is an adventurous, highly melodic, often extremely witty composer; and his concerto departs from traditional form in being designed to permit quite a lot of free-blowing improvisation by the four jazzmen on hand – particularly by the forceful, blues-based alto of Cannonball Adderley and by Art Farmer's firm-toned, graceful trumpet.
