Notes
The late great Timmons' soulful, swingin' piano along with the soaring sound of Sonny Redd, the steady heart-beat of Sam Jones and the driving power of Mickey Roker, makes for a very special collectors item. Robert Henry Timmons (Bobby), the Philadelphia born pianist, under the tutelage of his uncle, became a musician by the age of 21, began a never look back journey down the highway of music, beginning with Kenny Dorham's Jazz Prophets in February of 1956. He then joined Chet Baker in April of '56 and stayed through January of '57. This stay was followed by a seven month stint with Sonny Stitt, after which he joined Maynard Ferguson in August '57 and stayed until March of '58. It was after this that he became a consequential member of Art Blakey's Jazz Messengers in July of 1958, where he stayed until September of 1959. But it was in October of '59 that he settled with the Cannonball Adderley organization where he stayed for some time and where he was to make some of the most indelible contributions in his career as a performer and composer. It was then that I met Bobby, and it was the beginning of a new personal relationship and all too seldom artistic one that left me with moments so fulfilling and so dear, that to this day it is with but joy that I sometimes drag them out of my memory and joyously replay them on the screen of my mind's eye and the photograph of my memory's ear. It was on such occasion, while taking a break at 'Boomers' on Bleeker Street in New York City's West Village, that Bobby and I agreed that if you surround yourself with the best, you ultimately rise above them. Here again we find Bobby surrounding himself with the best. 'Sonny Redd' who on this occasion chose to play alto sax both a personal and musical reputation that endures throughout, although I have just learned this morning while finishing these notes that the world now has to suffer the loss of this truly fine musician and most and likeable gentleman. A man who gave us naught but beautiful music and at no time gave the slightest indication of the suffering he endured for so many years. May he truly rest in peace. The ever dependable and eminently capable bassist Sam Jones, who years ago taught me that in ensemble work, unless one is soloing, the bass is most advantageously exhibited when it is felt and not heard, Mickey Roker, one of the most integral drummers ever, whose time is flawless and whose perception and punctuation are of a most tasteful nature. Despite the house-party situation 'Somewhere In Connecticut' Bobby rises not only to the occasion, but above it, and brings with him the reflections and the intelligent absorption of a variety of modern influences such as Art Tatum, Bud Powell, Thelonious Monk and Red Garland. This CD may lack some of the technical benefits that enhance most of the present day studio recordings we are now used to, but it does have it's moments, and was more than a hint of things to come from all of the musicians present. But more than anything it reminds us that Bobby Timmons was truly one of the people the piano was invented for. (from the liner notes written by Ted Ross) 'A live session, from pianist Bobby Timmons, taken from "somewhere in Connecticut". My guess is it's the late '60's, when Timmons was working Supper Clubs and Bars in New York. The playing is all there, however - Bassist Sam Jones and Drummer Mickey Roker are a propulsive Rhythm tandem, and Timmons is inspired to regular episodes of 'double-time' soloing, because of them. Sonny Red fills out The Quartet on Alto Sax. For all it's' rough edges, his playing achieves a certain gliding quality, that recalls Clifford Jordan on another saxophone. Timmons "Moanin", his signature piece from the days (late '50's) with Art Blakey, is included here. It gets an appropriately funky, two-fisted treatment, while Roker's shuffle rhythm adds swagger'. (Keith Raether, 'Rocky Mountain News')
