Search - Big Al Sears :: The Rocking and Honking Tenor 1945-1952

R & R Tenorman Cast in New Light

J. G. Gollin | Holmdel, NJ United States | 12/14/2003

(4 out of 5 stars)

"Many of us knew Al Sears from the exposure he received on Alan Freed's rock and roll radio show and Freed's band that played stage shows at the NY and Brooklyn Paramount Theaters, where he was billed as "Big Al Sears." Other tenor players appearing on the stage with Big Al (or occasionally in his place) included Sam (The Man) Taylor, Red Prysock, King Curtis, Freddie Mitchell and Count Hastings. A favorite Sears solo of mine was in the middle of Joe Turner's "Flip Flop and Fly."One typically categorizes the sound of most swing or R&B tenor players as either coming out of (a) Lester Young or(b) Herschel Evans/Coleman Hawkins. But Sears (who's tone may have been closer to Hawkins)actually had a delivery that was totally unique.Al was self-effacing and often plead that he couldn't hold is own technically with the major tenors of his day. But, as a true music lover would say" "Technical Schmenical!" - It's what comes out of the horn and into your ear that counts, and what came out was pure serendipity. (Just 3 or 4 notes, and you knew it was Al Sears). Three things made him different. (Excuse me if I screw up the terminology - I don't play a musical instrument): (1) a haunting "cry" in his tone(reminiscent of southern blues players), (2) the way he used a "yodel" in his sound to move from one note to another and (3) his unique way of accenting alternate beats within the 2-4 framework (I think it was on the 1 & 3, but it could have been 2 & 4). The end result was a driving, booting, haunting style that once you've heard, you'll never forget.Many rock and roll fans may not realize this, but Al Sears played tenor in the Duke Ellington organization for 4 or 5 years in the mid forties. The first half dozen or so cuts on "Rocking & Honking Tenor" featured Big Al with the Ellington band. And most of the other cuts featured Sears with various Ellington alumni, including Johnny Hodges and Lawrence Brown.The arrangements for all the cuts on this CD -whether with Ellington or not - equal (or better) the lyricism of many swing standards and you'll hear echos of Ellington in each one. This alone makes this CD unique. And hearing Sears against this backdrop makes these cuts extra special.My favorite cut on this CD is Marshall Plan. (It has echos of Bandstand Boogie by Les Elgart - although perhaps historically, it was really the other way around). But what's really neat is to hear our Rock & Roll Hero solo on such swing standbyes as One O'Clock Jump and Sweet Georgia Brown.Most of Sears'solos were typical, hard-driving (hit the alternative notes hard) Big Al, but there are one or two cuts on this CD where he plays in a more traditional style more akin to the way Coleman Hawkins or Herschel Evans would play.It's a departure from old Sears standbyes like Tina's Canteen, Right Now, Right Now and Come a Runnin', but to hear Al Sears play with the big boys (and play well) is a rare treat.If you like Al Sears (or are into the oldtime R&B tenors) buy this."