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The sax soloist on Blakey's first studio cut of Timmon's "Moanin" is Benny Golson and that album is pure dynamite, what with Lee Morgan and all. But Golson somehow never received the praise for his playing on cuts like these I feel he deserved. Solid as Rollins, and as slippery as Cannonball, bluesy, risky - the whole 9 yards. It seems being a great composer sometimes overshadows one's prowess on the instrument. Wayne Shorter also comes to mind. Golson never makes anyone's top 10. Why do you guys not rate him more highly?
 

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In my case, I love his tone and many of his compositions. I'd probably include him in my top ten tenors. I love the duets with Curtis Fuller, an unmistakable icon sound of hard bop. But for some reason I cannot explain, his playing, as great as it might be, doesn't move me the way Dexter, Stanley (T) or Michael Brecker do.
 

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He has always been in the top five of my list. I've always felt that both he and Charlie Rouse don't get nearly enough accolades.
 

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Benny Golson and Charlie Rouse are in the top ten of tenors for me, too.

I met Golson some years ago during a workshop in Switzerland. He was very helpful and very constructive in his critisism. A real gentleman. I love to play his "Horizon Ahead".
 

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Hey--he's a 'golden age' jazz artist that's still alive. Of course he's not respected by the jazzers!!! :twisted: I'd like to hear from a few jazz lovers myself on this one as I kind of like what I've heard of his playing. To this untrained jazz ear his playing seems more melodic than what I hear elsewhere.
 

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I suck! He was just here in town a couple weeks ago and I was just flat broke. I told myself to go walk down there and sit by the window to listen until somebody told me to beat it. I knew I would hate myself for not figuring out some way to hear him... and I do.
 

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In my case, I love his tone and many of his compositions. I'd probably include him in my top ten tenors. I love the duets with Curtis Fuller, an unmistakable icon sound of hard bop. But for some reason I cannot explain, his playing, as great as it might be, doesn't move me the way Dexter, Stanley (T) or Michael Brecker do.
Speaking of his sound, I have somewhere, I'll look for it, an interview in Windplayer magazine, or an old Rico reed ad, where he advocates double lip embouchure.
 

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I like Golson's playing a lot, but not sure I consider him as innovative an improvisor as say guys like Bean, Webster, Prez, Dexter, Mobley, Rollins, Trane, Shorter, Henderson, Brecker...once you get into the next tier of players, there's so many great ones. Charlie Rouse, Stanley Turrentine, Johnny Griffin, Jug, Lockjaw, Illinois Jacquet, Sonny Stitt...the list goes on and on. I think Golson's right in the mix with those guys...

Shawn
 

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Keep in mind, Golson also penned some of the best Jazz compositions and arrangements in Bop, and wasn't/isn't just a performer.
 

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I love Benny Golson's playing and writing! Moanin' and Blues March are some of my favorite solos ever (and everything else on that album for that matter). His sound and style are instantly recognizable. I also don't understand why he doesn't make more top ten lists, he has a really nice sound and feel and constructs solos like the best of them. I think a lot of people need to check his stuff out.
 

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I love the bluesy swinging playing on Moanin' and Groovin' with Golson albums. (Check out Hank Mobley and Tina Brooks if you liek those.)
 
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