I remember writing recently about the fact that the hard bop scene of the ’50s-’60s featured so many excellent tenor players that many (Mobley, Land, Jordan, Brooks, etc.) never got their due. Nowadays there must be hundreds of players who have mastered the modern idiom, none of whom seem to have styles as well defined as any of the previous generation. The problem is that the honest efforts of dedicated players deserve support, but how can an honest reviewer counsel buying these releases ahead of several dozen old recordings?
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