Ira Sullivan Albums (7)
What The Critics Say
As in other CDs in the After Hours series of GoJazz, Ira Sullivan's collects a number of late-night recordings from several sessions. Sticking primarily to soprano sax for the most part, Sullivan is joined by bassist Billy Peterson, drummer Kenny Horst, and pianist Bill Carrothers (except for two tracks with Bobby Peterson on piano). His adventurous up-tempo arrangement of the often tepid mid-1960s ballad "It Was a Very Good Year" is immediately followed by a sauntering, somewhat exotic take of "Dear Old Stockholm." His powerful interpretation of Dizzy Gillespie's "Con Alma" conveys the sadness of losing someone special. His rich tenor sax finally makes an appearance with a brisk and joyful version of the usually bittersweet "Spring Can Really Hang You Up the Most." Sullivan also wrote two of the numbers on this release; "Ira's Blues" can't help but conjure up the memory of John Coltrane's intense blues on soprano sax, while "Monday Blues" begins with a lyrical unaccompanied solo by the leader then transforms into a driving post-bop number. Highly recommended. ~ Ken Dryden, All Music Guide
What The Critics Say
The talented Ira Sullivan has led relatively few sessions throughout his career considering his skills. This CD brings back his second full album as a leader, adding the previously unissued "Mock and Roll Blues" (a stomping tune) to the original five song program. Sullivan, who sticks here exclusively to trumpet, is joined by the obscure tenor Nicky Hill, pianist Jodie Christian, bassist Victor Sproles and drummer Wilbur Campbell. The music (two standards and four originals) is essentially straightahead bop and generally swings quite hard. ~ Scott Yanow, All Music Guide
What The Critics Say
This CD reissues one of multi-instrumentalist Ira Sullivan's strongest bebop-oriented dates. Sullivan, who is heard on trumpet, alto, baritone and even peck horn (all four on the 19½-minute jam "Bluzinbee"), teams up with the great tenor Johnny Griffin (who on "Bluzinbee" also takes rare solos on baritone and alto), pianist Jodie Christian, bassist Vic Sproles and drummer Wilbur Campbell for a strictly straight-ahead set, a rarity in Sullivan's discography. The 1997 CD adds a new alternate take of "Wilbur's Tune" to the original program, which includes the standard "My Old Flame" and several hard bop originals. Everyone plays in prime form, and Sullivan's trumpet solos in particular are quite exciting. Recommended. ~ Scott Yanow, All Music Guide
'The Incredible Ira Sullivan'
Release Date 1/1/1980
Tracks 7
Label Stash
See Album Tracklist and Review
What The Critics Say
The title of this LP is not hype, for Ira Sullivan throughout the date shows off his impressive improvising skills on trumpet, flügelhorn, alto, tenor, and flute, sometimes overdubbing (mostly for melody statements). Joined by pianist Hank Jones, bassist Eddie Gomez, and drummer Duffy Jackson, Sullivan plays several straight-ahead standards (including "Our Delight," "Bernie's Tune," and "Satin Doll"), along with some newer pieces. He displays both his mastery of bop and of more advanced (and freer) ideas. A pretty definitive session by the underrated Ira Sullivan. ~ Scott Yanow, All Music Guide
What The Critics Say
Ira Sullivan's first recording in five years (which was originally released on Atlantic) features him switching between soprano, tenor, trumpet and flugelhorn with a quintet consisting of some obscure Florida players: pianist Dolphe Castellano, trombonist Lon Norman, bassist William Fry and drummer Jose Cigno. The relaxed and thought-provoking performances of tunes ranging from "Norwegian Wood" and "Everything Happens to Me" to group originals display a solid group sound and Sullivan's interest in integrating freer music and ideas into his playing. ~ Scott Yanow, All Music Guide
What The Critics Say
Ira Sullivan's quintet played at a Charlie Parker Memorial concert in Chicago on Mar. 12, 1962 and the results (six selections) were originally released on a single LP. The release of this double CD greatly expanded the program. The multi-instrumentalist Ira Sullivan sticks to trumpet and fluegelhorn throughout, the legendary tenor Nicky Hill (who made very few recordings) has a rare chance to stretch out on record (combining touches of Coltrane and Booker Ervin with a full tone of his own) and it is interesting to hear some hints of the then-current free jazz movement (particularly in the playing of bassist Don Garrett). Overall, a fine bop set. ~ Scott Yanow, All Music Guide
What The Critics Say
Most of the recordings by the early-'80s Red Rodney-Ira Sullivan Quintet were issued under Rodney's name, but this outing for Muse was an exception. With pianist Garry Dial, bassist Jay Anderson and drummer Steve Bagby completing the unit, this was a mighty group that consistently inspired Rodney to play music more advanced than bebop. Sullivan, who switches between soprano, alto and flugelhorn, matched well with Rodney. They perform five fairly concise pieces (including "The More I See You" and "Amazing Grace"), plus lengthy renditions of John Coltrane's "Central Park West" and Herbie Hancock's "Dolphin Dance"; the latter two pieces add the effective bassoon of Mike Rabinowitz (the first fulltime jazz bassoonist). Recommended. ~ Scott Yanow, All Music Guide
