![]() He also worked with Anita O'Day in the 1970s before joining the Disney World house band in 1976. After that band dissolved due to the deaths of Brown and Richie Powell, Morrow continued recording with Max Roach's band. He appeared all of the studio albums made the Clifford Brown-Max Roach Quintet. Īccording to Roach, Morrow had been "free-lancing around San Francisco clubs" when they hired him to play with them after having rejecting two other bassists. Morrow then spent five years in San Francisco (1948-53), often appearing at Bop City and working with Dexter Gordon, Wardell Gray, Billie Holiday and Sonny Clark, among others. Īlthough most closely associated with Max Roach and Clifford Brown, Morrow also appears on recordings by Sonny Rollins and Sonny Stitt.Īfter leaving the military, he played with Charlie Parker, Sonny Criss, Teddy Edwards, Hampton Hawes and other musicians who were in L.A. Funky Hotel Blues (S.George Morrow (born Augin Pasadena, CA, died in Orlando, FL ) was a jazz bassist. It Could Happen to You (Burke-Van Heusen) 9. Toot, Toot, Tootsie (Kahn-Erdman-Fiorito-King) 4. The Last Time I Saw Paris (Kern-Hammerstein) 2. Personnel: George Morrow (bass) Max Roach(drums) Ray Bryant (piano) Sonny Rollins (tenor saxophone) There Are Such Things (Meyer-Adams-Baer) 5. There's No Business Like Show Business (I. The Jazz Journalists Association has nominated The Colossus for an award this year.įor more information, please visit Fantasy Records. The saxophonist blows with plenty of broad and deep sounding swing in "Toot, Toot, Tootsie, "Ev'ry Time We Say Goodbye, and "Dearly Beloved. They both manage to walk the walk in rather uncharacteristic ways till the exquisite tonguing coda by Rollins. ![]() Rollins level of comfort seems higher too, although there also seems to be a lesser sense of immediacy or urgency to his performances. The rhythmic interplay is smoother-sounding and played. ![]() It is less heated.although plenty hot as in 'Just in Time. Check out his performance in "What is There to Say? along with that of Chambers. 1957 The remastered The Sound of Sonny differs in many respects from Worktime. The latter has a greater role in this production than Bryant had in the previous one. This time, Percy Heath and Paul Chambers were the bassists, Roy Haynes was on drums and the pianist was Sonny Clark. It is less heated.although plenty hot as in "Just in Time. The remastered The Sound of Sonny differs in many respects from Worktime. As Rollins says at its outset: "Okay fellows. Bryant and Morrow, however, also get a few bars of their own whereupon they complement the leader's outstanding performance. He could have played this one all by himself and probably attain similar results. In the most extended cut, Rollins sounds larger than life infusing romance with sensual tonal and harmonious rhythmic strength as he expounds on the melody. Indeed, the aforementioned is truly exceptional. The date, with the exception of "There Are Such Things, is cooking. Roach's cymbal ride is infectious nonetheless. The leader, however, evidences a superior sound, technique, and attack unimpeded by its velocity. Cole Porter's "It's All Right With Me becomes a swift hard-bop medium for Bryant, Rollins and Roach's superbly timed, executed and conceived soli. Although much has been made of Roach's playing in this recording.and rightly so.both Bryant and Morrow hold their own in fine fashion too. Worktime has bassist George Morrow, drummer Max Roach and pianist Ray Bryant accompanying a revitalized Rollins. The earliest of the two finds Rollins wondering whether he could perform after kicking his heroin habit, signalling his return to the jazz scene after rehab the latter has the saxophonist fully pursuing his musical beliefs, with his previous fears already allayed. The following recordings represent stations in the mid-50s.-as vital a period in Sonny Rollins' career as any as much of his reputation was built upon this period. ![]()
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