The Modern Jazz Disciples – Right Down Front (side 1) (1960) скачать в хорошем качестве

The Modern Jazz Disciples – Right Down Front (side 1) (1960)

The Modern Jazz Disciples – Right Down Front (side 1) (1960) Recorded in 1960 for the Prestige subsidiary New Jazz, Right Down Front is the second and final album by The Modern Jazz Disciples. While many "disciples" of the era were content to mimic the giants of hard bop, this Cincinnati-based quintet carved out a niche with a unique front-line sound and a soulful, unpretentious swing that remains a hidden treasure of the Van Gelder era. The Front Line: A Unique Sonic Identity The record is immediately distinguished by its unusual instrumentation. While leader Curtis Peagler handles the alto and tenor saxophones with a fiery, blues-drenched fluency—drawing comparisons to Cannonball Adderley and Sonny Stitt—it is William "Hicky" Kelley who provides the band’s "secret sauce." Kelley plays the normaphone, an obscure valve trombone shaped like an alto saxophone, and the euphonium. This choice gives the group a "thick" and "creamy" brass texture that differs significantly from the sharp trumpet/sax pairings common in 1960. The result is a front-line sound that feels both nostalgic and experimental, blending the agility of a saxophone with the warm, rounded timbre of a brass instrument. Track Highlights The album leans heavily into the soul-jazz and hard bop traditions, prioritizing groove and melodic accessibility over abstract complexity. "Right Down Front": The title track is a Peagler original that serves as a perfect mission statement. It’s a swinging, mid-tempo blues that allows Peagler to display his "Parker-esque" speed while Kelley’s normaphone adds a layer of harmonic depth that feels like a mini-big band. "The Happy Blues": A standout cover of the Gene Ammons classic. The band leans into the gospel-inflected "soul" of the era, with pianist William "Billy" Brown delivering a solo that is both percussive and deeply melodic. "My Funny Valentine": On this standard, Peagler shifts gears to show his sensitivity. His tone on the alto is haunting and lyrical, proving he was more than just a "hot-blooded" bop technician. "Autumn Serenade": This track highlights the group's ability to handle ballads with a sophisticated, linear approach that avoids over-sentimentality. Technical Prowess and Production The rhythm section—consisting of Brown on piano, Lee Tucker on bass, and Wilbur "Slim" Jackson on drums—provides a rock-solid foundation. They are "team players" in the truest sense, never overplaying but maintaining a propulsive, "on-the-beat" energy that defines the Prestige sound of the early '60s. Recorded at Van Gelder Studio in Englewood Cliffs, the production carries Rudy Van Gelder’s signature warmth and clarity. The normaphone, in particular, benefits from the room's acoustics, capturing its unique resonant "purr" without it getting lost in the mix. Final Verdict: A Brief, Bright Flame Right Down Front captures a band at its creative peak just before its dissolution. Shortly after this release, the group broke up; Curtis Peagler would go on to have a storied career with Ray Charles and Count Basie, but he never again led a group with this specific, quirky chemistry. For collectors of 1960s hard bop, this album is more than a curiosity—it is a masterful example of "small group" jazz that prioritizes soulfulness and ensemble rapport over individual ego. It is a record that feels like a conversation among friends: warm, articulate, and deeply rooted in the blues. --------------------------------------------- tracklist A1 Right Down Front A2 Along Came Cheryl A3 Ros-Al A4 Autumn Serenade Bass – Lee Tucker Drums – Wilbur "Slim" Jackson Normaphone – William Kelley* Piano – William Brown (12) Tenor Saxophone, Alto Saxophone – Curtis Peagler Label: New Jazz – NJLP-8240 Format: Vinyl, LP, Album, Mono Country: US Released: 1960 Genre: Jazz Style: Hard Bop, Soul-Jazz #hardbop #souljazz #modernjazzdisciples