Magazine article IAJRC Journal

Evans Bradshaw Trio - Roosevelt Wardell Trio

Magazine article IAJRC Journal

Evans Bradshaw Trio - Roosevelt Wardell Trio

Article excerpt

Evans Bradshaw Trio - Roosevelt Wardell Trio

Fresh Sound FSR-CD 665

Evans Bradshaw Trio - Look Out for Evans Bradshaw (Riverside RLP-12 263)

Evans Bradshaw (p), Jamil Nasser (b), Philly Joe Jones (d). Reeves Sound Studio, NYC, June 9, 1958

Georgia On My Mind/Hallelujah !/The Prophet/Love For Sale/Coolin' The Blues/Blueinet/Angel Eyes/Old Devil Moon

Evans Bradshaw Trio - Pieces of Eighty-Eight (Riverside RLP-12 296)

Evans Bradshaw (p), Al Jackson (b), Richard Allen (d). Reeves Sound Studio, NYC, January 27, 1959

The Trolley Song/Mangoes/Pushing the Blues/It Ain't Necessarily So/Take The "A" Train/A Foggy Day/It's All Right With Me/Blues For Jim/A Night In Tunisia

Roosevelt Wardell Trio - The Revelation (Riverside RLP 9350)

Roosevelt Wardell (p), Sam Jones (b), Louts Hayes (d). United Recording Studio, LA, October 5, 1960

Like Someone In Love/Lazarus/Autumn In New York/Max The Maximum/ Elijah Is Here/Willow Weep For Me/Cherokee/The Revelation

TT 2:07:51

With this double CD, Fresh Sound has rescued from oblivion three Riverside LPs from half a century ago by a couple of promising, but now all but forgotten, young pianists.

Evans Bradshaw (1933-1978) came out of the productive Memphis jazz community and first recorded there in 1952 in groups accompanying R&B singers. He later relocated to Flint, Michigan where he held down a day gig in an auto factory while playing on weekends with his trio. A local jazz enthusiast and record distributor became a devotee of "Brad's" playing and persuaded Orrin Keepnews to make the trip to Flint to hear him. Keepnews was sufficiently impressed that he arranged to bring Bradshaw to New York to make his first recording in a jazz context, the June 1958 trio session, in the distinguished company of drummer Philly Joe Jones and bassist Jamil Nasser (then known as George Joyner). Seven months later, a second trio session was recorded.

Bradshaw was a most interesting musician. The first, and most lasting, impression one gets from his playing is his dazzling technique. He had a powerful two handed style and a fondness for sixteenth note passages at breakneck speed, more often than not played in octaves. His style was largely his own and while certainly showing influences of other pianists, he could in no way be regarded as a copyist. …

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