 Artist: Lucky Thompson: mp3 download Genre(s): Jazz Discography:  Jazz in Paris: Modern Jazz Group Year: 2001 Tracks: 9  Soul's Nite Out Year: 2000 Tracks: 10  Lucky in Paris Year: 1999 Tracks: 10 Born in Columbia, SC, on June 16, 1924, tenor saxist Lucky Thompson bridged the interruption betwixt the strong-arm dynamism of sway and the cerebral intricacies of bop, emerging as unmatchable of his instrument's foremost practitioners and a hairstylist par excellency. Eli Thompson's womb-to-tomb cognomen -- the spin-off of a tee shirt, granted him by his fatherhood, with the book "lucky" sewn across the thorax -- would prove piercingly inappropriate: when he was five, his mother died, and the remainder of his puerility, played extinct mostly in Detroit, was devoted to helping resurrect his jr. siblings. Thompson loved music, simply without hope of getting an instrument of his possess, he ran errands to bring in enough money to purchase an instructional book on the saxophone, fill kO'd with fingering chart. He then carved imitation lines and keys into a broom administer, precept himself to interpret music days earlier he always played an actual sax. According to fable, Thompson lastly received his possess saxophone by stroke -- a delivery company mistakenly dropped one off at his abode along with some furniture, and afterward graduating high school and working shortly as a samuel Barber, he sign-language on with Erskine Hawkins' 'Bama State Collegians, touring with the mathematical group until 1943, when he joined Lionel Hampton and settled in New York City. Shortly after his arrival in the Big Apple, Thompson was tapped to substitute Ben Webster during his regular fizgig at the 52nd Street clubhouse the Three Deuces -- Webster, Coleman Hawkins, Lester Young, and Art Tatum were all in attendance at Thompson's debut fizgig, and patch he deemed the performance a disaster (a ill-famed perfectionist, he was seldom if of all time pleased with his work), he even so quickly earned the regard of his peers and became a club fastness. After a stretch with bassist Slam Stewart, Thompson once more toured with Hampton earlier connexion isaac Bashevis Singer Billy Eckstine's short-lived big banding that included Charlie Parker, Dizzy Gillespie, and Art Blakey -- in other row, the melting pot of bop. But although he played on some of the earliest and most influential boP dates, Thompson never fit foursquare inside the movement's paradigm -- his playing boasted an elegance and formal powerfulness all his own, with an emotional depth rare among the tenor voice greats of his generation. He joined the Count Basie Orchestra in late 1944, exiting the following year while in Los Angeles and left on that point until 1946, in the lag playing on and transcription a series of dates for the Exclusive label. Thompson returned to the road when Gillespie hired him to substitute Parker in their epochal combo -- he likewise played on Parker's landmark March 28, 1946, session for Dial, and that like class was a phallus of the Charles Mingus and Buddy Collette-led Stars of Swing which, sadly, never recorded. Thompson returned to New York in 1947, leading his possess banding at the celebrated Savoy Ballroom. The following class, he made his European debut at the Nice Jazz Festival, and went on to feature on roger Huntington Sessions headlined by Thelonious Monk and Miles Davis (the seminal Walkin'). Backed by a group dubbed the Lucky Seven that included cygnus buccinator Harold Johnson and alto saxophonist Jimmy Powell, Thompson cut his number 1 studio seance as a leader on August 14, 1953, returning the following March 2. For the most share he remained a sideman for the length of his career, however, enjoying a specially fruitful collaborationism with Milt Jackson that yielded several LPs during the mid-'50s. But many musicians, not to honorable mention industry executives, found Thompson difficult to consider with -- he was notoriously blunt around what he considered the unfair force wielded over the jazz clientele by record labels, music publishers, and engagement agents, and in February 1956 he sought to escape valve these "vultures" by relocating his family to Paris. Two months afterwards he linked Stan Kenton's French tour, even reversive to the U.S. with Kenton's group, just he before long establish himself blacklisted by Louis Armstrong's managing director, Joe Glaser, afterwards a freakish conflict with the dearest jazz open up all over which musician should be the first to entrust their plane subsequently landing place. Without steady work, he returned to Paris, cutting various roger Sessions with manufacturer Eddie Barclay. Homer A. Thompson remained in France until 1962, returning to New York and a year by and by headlining the Prestige LP Plays Jerome Kern and No More, which featured pianist Hank Jones. Around this like time his married woman died, and in accession to struggling to bring up their children on his have, Thompson's old battles with the jazz power structure also remained, and in 1966 he officially announced his retirement in the pages of Down Beat magazine. Within a few months he returned to active tariff, just remained thwarted with the industry and his have power -- during the March 20, 1968, engagement captured on the Candid CD Almighty, Lord Am I Ever Gonna Know?, he says "I feel I have only scratched the surface of what I cognise I am equal to of doing." From late 1968 to 1970, Thompson lived in Lausanne, Switzerland, touring widely crossways Europe earlier returning the U.S., where he taught music at Dartmouth University and in 1973 lED his final recording, I Offer You. The odd decades of Thompson's aliveness are in orotund part a whodunit -- he spent respective years surviving on Ontario's Manitoulin Island ahead relocating to Savannah, GA, trading his saxophones in exchange for dental crop. He eventually migrated to the Pacific Northwest, and after a long period of homelessness chequered into Seattle's Columbia City Assisted Living Center in 1994. Thompson remained in aided maintenance until his end on July 30, 2005. |
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