Forum of the Saxes

CMelodyMan · Posted: Sat Sep 24, 2005 7:44 pm Post subject: AOTW #4

The AOTW this week is a saxophonist that I recently discovered and who is a great tenor player, IMHO, Charlie Rouse.

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Alto: Yanagisawa (880), Morgan 6M w/ Rico
C Melody: c.1919 Martin Inspiration
York soprano

darby dylan · Joined: 30 Jul 2005 Posts: 63

born April 6, 1924 --died November 30, 1988
Charlie Rouse studied clarinet before taking up tenor saxophone. He played in the bop big bands of Billy Eckstine (1944) and Dizzy Gillespie (1945), but made his first recordings as a soloist only in 1947, with Tadd Dameron and Fats Navarro.

After playing rhythm-and-blues in Washington and New York, he was a member of the Duke Ellington Orchestra (1949-50) and Count Basie's octet (1950). He took part in Clifford Brown's first recordings in 1953, then worked with Bennie Green (1955) and played in Oscar Pettiford's sextet (1955); with Julius Watkins, also one of Pettiford's sidemen, he led Les Modes (later the Jazz Modes), a bop quintet (1956-59). He joined Buddy Rich briefly before playing in Thelonious Monk's quartet (1959-1970), the association for which he is best known.

During the 1970s he worked as a freelance, and recorded three albums as a leader. In the early 1980s he was a member and joint leader of the quartet Sphere, which was dedicated to the performance of Monk's music. He performed in Wynton Marsalis's group at the Concord Jazz Festival (California) in 1987 and the following year recorded compositions by Monk in San Francisco with Carmen McRae.

In the 1960s Rouse adapted his style to Monk's work, improvising with greater deliberation than most bop tenor saxophonists, and restating melodies often. His distinctive solo playing with Monk may be heard on "Shuffle Boil" (1964), in which he alternates reiterations of the principal thematic motif with formulaic bop runs.

Charlie Rouse was the victim of some unstated critical consensus, which always seemed to mask the fact that he found his own way in the eye of the bebop hurricane. Guilty as he was of being neither John Coltrane nor Sonny Rollins at a time when such giants were more common, he was a tenor sax player who carved out his own niche, and in so doing found his personal resolution of the possibilities that bebop offered. In short, he did his own thing, and he does it effectively on both Bossa Nova Bacchanal and Social Call

i hope i could help you al like this

dylan