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Sunday, 17 May 2015

Paul Quinchette born 17 May 1916

 
Paul Quinichette (17 May 1916 - 25 May 1983) was a jazz tenor saxophone musician. He was known as the Vice President or Vice Prez for his uncanny emulation of the breathy style of Lester Young, who was known as Prez. Young called him “Lady Q”, (a term not exactly meant at as a compliment.) With a nice smoky tone, Quinichette worked with many great musicians, and played on some of the earliest tribute albums. If he is somewhat forgotten today, it may because the tenor style he followed is currently out of favour. That fact does not lessen his music, some of which is remarkable. 

Paul Quinichette grew up in Denver and started young with the saxophone, and attended Tennessee State College as a music major. Beginning on alto and clarinet, he switched to tenor as he began to get work with R&B bands. After getting experience with Nat Towles, Lloyd Sherock, and Ernie Fields, Quinichette was featured with Jay McShann during 1942-1944. He played on the West Coast with Johnny Otis (1945-1947), travelled to New York with Louis Jordan, and performed with Lucky Millinder (1948-1949), Red Allen, and Hot Lips Page. He moved to New York around 1946. 
His big break came in 1953, when he was hired by Count Basie … to play solos in the style of Lester Young. He played this role exceptionally, to the point of copying Young’s mannerisms. It earned him a contract with Emarcy Records, a series of fine albums (including one with Lester himself) and a certain level of fame, albeit minor. Three of his recordings were directly on a Basie theme as; “For Basie,” “Basie Reunion,” and “Like Basie.” 
When he wasn’t “playing Lester”, Quinichette had an agreeably gruff tone, which served him well on his ’57 effort “Cattin’ with Quinichette and Coltrane.” Though this is considered his best effort, sadly, this disc would be among his last; as hard-bop became the dominant style, Quinichette found it increasingly difficult to ply his trade.  
 
 
                  Here's "This Can't be Love" from above album.  
He left jazz entirely in the late Fifties, working in New York as an electrical contractor. In 1977 he attempted a comeback, producing a few more albums; and spent some time playing with pianist Jay McShann. But poor health forced him to retire again, and he died in New York City, 1983. His music is worthy of more attention - he may not have been innovative, but was always entertaining.
(Info various mainly jazzimprov & AMG)

1 comment:

boppinbob said...

For Charlie Rouse & Paul Quinichette: The Chase Is On / Taylor's Tenors go here:

http://www83.zippyshare.com/v/K6L6iSSo/file.html

1. The Chase Is On
2. When the Blues Come On
3. This Can t Be Love
4. Last Time for Love
5. You re Cheatin Yourself
6. Knittin
7. The Tender Trap
8. The Things I Love
9. Rhythm-A-Ning
10. Little Chico
11. Cape Millie
12. Straight No Chaser
13. Fidel
14. Dacor

Tracks 1-8.
The idea of two-tenor battles had its origin in the original Count Basie band, where Lester Young and Herschel Evans were the alpha males competing for supremacy. It made good copy and the public lapped it up. It could also make for exciting music when two such great talents were involved, something recognized when Wardell Gray and Dexter Gordon made their celebrated recording of "The Chase" in 1947. By the late Fifties, however, the idea had been diminished by fashion overkill when two of the best tenors around, Charlie Rouse and Paul Quinichette, met in the studio and proved the "contest" still had much to offer, especially in the company of such blue riband players as Wynton Kelly, Hank Jones, Wendell Marshall, Ed Thigpen and Freddie Green.

Tracks 9-14
Two years later, under the leadership of Art Taylor, Rouse was back duelling successfully again, this time with the renowned Basie-ite, Frank Foster, with Walter Davis Jr and Sam Jones completing the rhythm section. The music that emerged from both encounters, mature, owerful and swinging, redolent of its era while somehow transcending it, has stood the test of time remarkably well.