Give It Up

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Give It Up album cover
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Total Tracks: 4   Total Length: 44:30

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Charles Farrell

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Since returning to active playing in 2005 after a career as a boxing manager, pianist Charles Farrell has released eleven CDs, played with Ornette Coleman, and ...more »

11.17.08
An alto sax master hiding in Cecil Taylor's shadow
1985 | Label: Black Saint / CAM

The late alto saxophonist Jimmy Lyons was a genuinely great musician, one who quietly spent nearly his entire professional career in service to another genuinely great musician, Cecil Taylor. As a result, Lyons's reputation isn't nearly commensurate with his extraordinary ability.

In the company of the most formidable of colleagues, Lyons not only held his own, but maintained his unique voice. Essentially a radical lyricist, Lyons reconfigured the lessons of Charlie Parker with a nod to Ornette Coleman. "Give It Up" is one of only a handful of albums Lyons made in his relatively short lifetime. Indifferently recorded, it is nevertheless crucial jazz listening. The title tune consists of a simple three note motif repeated quickly and followed by a swirl of notes, played by the unusual frontline combination of alto, trumpet, and bassoon. This bare-bones material gives way to bassist Jay Oliver, who sets up a propulsive bass line a la Charlie Haden. Drummer Paul Murphy frantically creates a splashy cymbal pattern that ties into what Oliver is playing, and that's all Lyons needs to construct his solo. He is able to play with great logic and speed, developing long lines that are echoed by Enrico Rava's trumpet and Karen… read more »

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They Say All Music Guide

Altoist Jimmy Lyons spent most of his career as a member of Cecil Taylor’s Units. For his own projects, it is not too surprising that he chose not to utilize a piano; who could fill in for C.T.? On these occasions, Lyons often teamed up with the adventurous bassoonist Karen Borca, and for this set their quartet (with bassist Jay Oliver and drummer Paul Murphy) is joined by the lyrical trumpet of Enrico Rava. They stretch out on four of Lyons’ emotional originals; the ensemble work is frequently exciting; and the front line boasts three distinctive and rather different (but complementary) solo voices. Highly recommended. – Scott Yanow