Further Definitions [Japan Limited Edition]

1	Honeysuckle Rose 3:53
2	The Midnight Sun Will Never Set 4:00
3	Crazy Rhythm 3:26
4	Blue Star 5:22
5	Cotton Tail 4:27
6	Body and Soul 4:13
7	Cherry 4:56
8	Doozy 3:33

Barnes & Noble

No arranger has ever written for the saxophone with as much originality and flair as Benny Carter, himself one of the most important alto saxophonists in jazz history. So it's little wonder that his masterpiece also features some of the all-time great sax players: Coleman Hawkins, Phil Woods, and former Thelonious Monk sideman Charlie Rouse. Everyone gets a chance to stretch out -- Hawkins is characteristically magnificent on his "Body and Soul" feature - - but Carter's writing commands just as much attention. Dipping and swooping through the elaborate charts as if they were one four-headed saxman, Carter and company put new spins on chestnuts including "Honeysuckle Rose," "Crazy Rhythm," and "Cotton Tail." Tacked on to FURTHER DEFINITIONS is the follow-up recording, ADDITIONS TO FURTHER DEFINITIONS, a lesser effort that nonetheless has some terrific blowing from legendary West Coast saxophonists Teddy Edwards, Bud Shank, Bill Perkins, and Buddy Collete. Steve Futterman

All Music Guide

This essential single-CD combines altoist/arranger Benny Carter's classic Further Definitions with the related Additions to Further Definitions. The former set was a revisit, instrumentation-wise, to the famous 1937 session that Carter and tenor saxophonist Coleman Hawkins made in France with two top European saxophonists (Andre Ekyan and Alix Combelle) and guitarist Django Reinhardt. The all-star group (which also includes Hawkins, altoist Phil Woods, Charlie Rouse on second tenor, pianist Dick Katz, guitarist John Collins, bassist Jimmy Garrison, and drummer Jo Jones) performs a particularly inspired repertoire. Carter's charts, which allow Hawkins to stretch out on "Body and Soul," give everyone a chance to shine. "Honeysuckle Rose" and "Crazy Rhythm" hold their own with the 1937 versions, and "Blue Star" and "Doozy" prove to be two of Carter's finest originals. The second date does not quite reach the same heights, but is enjoyable in its own right. This time, Carter contributed six of the eight selections (including a remake of "Doozy"), and the band was gathered from jazzmen then working in the L.A. studios, including Carter and Bud Shank on altos, and tenors Teddy Edwards and either Buddy Collette or Bill Perkins. Although Benny Carter was not actively playing much at the time (this was his only small-group recording during 1963-1975), he is heard in typically prime form. Very highly recommended. [The Japanese release features the original track listing, which cuts the final eight songs from the re-release and leaves only eight tracks.] Scott Yanow