“๐ป๐๐๐๐ ๐๐๐๐๐๐ ๐ ๐๐๐๐ ๐ ๐๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐ ๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐๐๐๐ ๐ ๐๐๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐-๐๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐, ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐.” โ ๐จ๐ณ๐ณ ๐จ๐ฉ๐ถ๐ผ๐ป ๐ฑ๐จ๐๐
Experience counts, especially in jazz. The more time musicians spend interpreting tunes and interacting with others, the more articulation an audience can expect. You can hear the fruits of such work in the expressive language THE COOKERS bring to the bandstand and to their six critically acclaimed recordings.
This legendary and exciting all-star septet summons up an aggressive mid โ60s spirit with a potent collection of expansive post-bop originals marked by all the requisite killer instincts and pyrotechnic playing expected of some of the heaviest hitters on the scene today.
BILLY HARPER, CECIL MCBEE, GEORGE CABLES, EDDIE HENDERSON, and BILLY HART all came up in the heady era of the mid โ60s. It was a period that found the dimensions of hard bop morphing from their original designs, and each of these guys helped facilitate the process as members of some of the most important bands of the era.
Hart and Henderson were members of Herbie Hancockโs groundbreaking Mwandishi group; Cecil McBee anchored Charles Lloydโs great โ60s quartet alongside Keith Jarrett and Jack DeJohnette; Billy Harper was part of Lee Morganโs last group, as well as being a member of Max Roachโs Quartet and Art Blakey and the Jazz Messengers; while George Cables held down the piano chair in numerous bands including groups led by Sonny Rollins, Joe Henderson, Freddie Hubbard, Dexter Gordon and Art Pepper.
DAVID WEISS and DONALD HARRISON, from a more recent generation and the youngest members of the band, are experts in this forthright lingo, having gained experience performing with Art Blakey, Bobby Hutcherson, Freddie Hubbard, Charles Tolliver, Roy Haynes and Herbie Hancock.
โ๐ท๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐, ๐๐๐๐๐โ๐ ๐๐ ๐๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐
๐๐ ๐๐๐๐ ๐๐๐๐ ๐ป๐๐ ๐ช๐๐๐๐๐๐.โ
โ ๐ป๐ฏ๐ฌ ๐ฉ๐ถ๐บ๐ป๐ถ๐ต ๐ฎ๐ณ๐ถ๐ฉ๐ฌ
โ๐ป๐๐๐ ๐๐๐๐
-๐๐๐๐๐๐๐ ๐๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐ ๐๐๐๐ ๐๐๐๐ ๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐๐. ๐น๐๐๐ ๐๐๐๐ ๐ ๐๐๐ ๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐
๐๐๐๐๐๐๐๐๐๐๐, ๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐๐, ๐๐๐ ๐๐ ๐๐๐๐๐ ๐๐๐๐๐
๐ ๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐.โ
โ ๐ณ๐ถ๐บ ๐จ๐ต๐ฎ๐ฌ๐ณ๐ฌ๐บ ๐ป๐ฐ๐ด๐ฌ๐บ
โ๐จ ๐
๐๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐๐๐๐๐
-๐๐๐๐๐๐๐ ๐๐๐๐
-๐๐๐โ
โ ๐ต๐ฌ๐พ ๐๐ถ๐น๐ฒ ๐ป๐ฐ๐ด๐ฌ๐บ
โ๐ป๐๐ ๐ช๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐
-๐๐๐๐๐
๐๐๐๐ ๐๐๐ ๐๐๐๐
๐๐ ๐๐๐ ๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐, ๐๐๐ ๐๐๐๐ ๐๐๐ ๐๐๐๐
๐๐๐๐๐ ๐๐ ๐ ๐๐๐๐๐
๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐๐.”
โ ๐ฑ๐จ๐๐ ๐ป๐ฐ๐ด๐ฌ๐บ
โ๐ป๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐-๐๐๐๐
๐๐๐๐๐๐๐.โ
โ ๐ซ๐ฌ๐ป๐น๐ถ๐ฐ๐ป ๐ด๐ฌ๐ป๐น๐ถ ๐ป๐ฐ๐ด๐ฌ๐บ
“(๐ป๐๐ ๐ช๐๐๐๐๐๐) ๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐๐, ๐๐๐๐๐๐๐๐๐ ๐๐๐
๐๐๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐ ๐๐ ๐๐๐๐, ๐๐๐
๐๐๐๐โ๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐ ๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐๐-๐๐๐๐๐๐ ๐๐โ๐๐ ๐๐๐๐ ๐๐ ๐ ๐๐๐๐, ๐๐๐๐ ๐๐๐๐. ๐ป๐๐ ๐๐๐๐๐๐๐๐๐๐๐๐, ๐๐๐๐
๐๐๐
๐๐ ๐ฏ๐๐๐๐๐ ๐๐๐
๐พ๐๐๐๐, ๐๐๐ ๐๐๐๐๐๐๐๐๐๐๐๐ ๐๐๐๐
๐๐๐๐๐. ๐จ๐๐
๐๐๐ ๐๐๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐ ๐๐ ๐๐ ๐๐๐๐๐ ๐๐๐๐.โ
โ ๐ซ๐ถ๐พ๐ต๐ฉ๐ฌ๐จ๐ป ๐ด๐จ๐ฎ๐จ๐๐ฐ๐ต๐ฌ