Billy Mitchell: Detroit Colossus
18 hours ago
There's plenty of early precedent for this kind of thinking in jazz; but as the bebop model took over (play a head, blow, play the head again), then the Coltrane extension of same (play the head, b---l---o---w, b---l---o---w, b---l---o---w, play the head), we were faced with soloists applying that aesthetic to soloing in long-form jazz compositions. This is not to demean what he did; one of my 5 "desert island" records will always be "A Love Supreme". But I've always appreciated countless recordings from the swing era where a guy had 8 bars to make sense and then get out of the way. The solo was part of the overall texture of the piece. Maybe Rex Stewart wouldn't have articulated it that way, but that's the way he played it. Those guys were on to something!