Ben Webster and Don Byas are two whose importance is, while second to the pair assessed above, crucial to the understanding of jazz expression. The former is considered by most to be the preeminent stylist, regardless of instrument, of ballad expression, the latter a player whose feet were planted firmly in the Swing Era but whose acceptance of many of the elements characteristic of modern jazz clearly affected his creative imagination.

Stan Getz and Zoot Sims also came out of the pre-bebop era, yet their artistic sensibilities were broadened by not only their exposure to the new developments of the 1940s, but by the cool jazz of the 1950s. Nor can we overlook the major role that Getz played in the 1960s introduction of the bossa nova to jazz.

Although bebop was first of all launched via Bird’s alto, the trumpet of Dizzy Gillespie, and drummer Kenny Clarke’s rhythms, it was not long before Dexter Gordon fashioned a role for the tenor in this exciting new style. After a fifteen-year stay in Europe, Dexter returned to this country in 1977 as a legend and remained a vital player until his death in 1990.

A major innovator vis á vis his use of thematic improvisation in the 1950s, Sonny Rollins can also be seen as laying some of the groundwork for the subsequent innovations of free jazz, what with his frequent unaccompanied solos and stream-of-consciousness blowing. In addition, his calypso compositions and performance thereof have constituted an important perpetuation of what Jelly Roll Morton long ago cited as an essential element in jazz, namely, the "Spanish tinge." Sonny is still winning polls as we approach the turn of the millennium.

Each of the above has contributed in significant degree to the cumulative weight of the jazz tradition and elements of their stylistic bags have found their way into the instrumental voices of virtually every tenor saxophonist. As true as that is, perhaps not one of them can lay claim to the impact that John Coltrane has had upon the generations of tenorists who have come up since his untimely death three decades ago. Trane’s exploration of new sonorities, his "sheets of sound" high-speed execution, and the intensity of his playing became staples of free jazz and can be heard in the playing of many tenorists active today.

Finally, there is Benny Golson, the centerpiece of this CD and an artist of great distinction whose career includes co-leadership, with Art Farmer, of the Jazztet and membership in the bands of Bull Moose Jackson, Lionel Hampton, Earl Bostic, Tadd Dameron, and Dizzy Gillespie. It was while with Art Blakey’s Jazz Messengers in the mid-1950s that he wrote "Whisper Not," the selection honoring him in the program at hand. Benny’s compositional skills took him to Hollywood in the late 1960s for a decade-and-a-half's work on film and TV scores, including those of Lady Sings the Blues, M*A*S*H, and Mission Impossible. Back on the jazz scene since the mid-1980s, Benny has been enjoying a full schedule of club dates, concert bookings, festival appearances, and recordings, all of which have met with critical acclaim. Tenor Legacy is his second CD for Arkadia Records, with whom he has an exclusive recording contract.

Harold Ashby began his career in the 1940s and enjoyed musical associations into the 1960s with, among others, Ben Webster, Lawrence Brown, and Johnny Hodges. He was a member of Duke Ellington’s orchestra from the late 1960s until its leader’s death.

Branford Marsalis has proved himself in many contexts, including membership in his brother Wynton’s quintet, Clark Terry’s band, Miles Davis’ combo, V.S.O.P., and the rock/jazz group of Sting.

The youngest member of the quartet of tenorists heard here, James Carter, took first place on his instrument in the "Talent Deserving Wider Recognition" category of last year's Down Beat International Critic’s poll.

The stellar rhythm team of pianist Geoff Keezer, bassist Dwayne Burno, and drummer Joe Farnsworth provides splendid support for the four saxophonists here honoring ten of the all-time greats of the tenor.

—W. Royal Stokes for Arkadia Jazz
(author of Swing Era New York: The Jazz Photographs of Charles Peterson and The Jazz Scene: An Informal History from New Orleans to 1990,
and editor of Jazz Notes, the quarterly journal of the Jazz Journalists Association)