1945 - July 27

Sammy Benskin Trio – July 27 1945 

 

Stanley Dance – The Benny Morton And Jimmy Hamilton Blue Note Swingtets - Mosaic

Sammy Benskin was twenty-three when he played with Benny Morton's sextet at Cafe Society Downtown and made four trio titles later the same year for Blue Note. Asked in 1986 about his influences at that time, he named Earl Hines, Teddy Wilson and Art Tatum. There were. of course,  other influences making themselves felt on jazz piano in 1945. Some are occasionally felt in his playing here, but in his knowing use of space. his bright touch and firm beat, it is evident that his basic heritage was derived from the three men he named.  

Besides Morton's group, he played in another of similar instrumentation led by Bobby Burnet at Cafe Society in 1941. He was with Stuff Smith the following year, then with Al Cooper's Savoy Sultans. with Gene Sedric, and later with Don Redman at the Zanzibar. His ability as an accompanist led to considerable recording with such artists as Billie Holiday, Eddie Barefield, Freddie Green, Josh White and twice for Blue Note with John Hardee. After working with his own trio and as a soloist on 52nd Street, he was heard rarely in jazz contexts for a number of years. 

He found plenty of work, however. He recorded extensively in the pop and R&B fields, accompanied singers like Roy Hamilton. Al Hibbler and Dinah Washington, and ended up with a considerable reputation as a vocal coach and teacher. In the '80s, after making a welcome return to the jazz scene with Panama Francis and his Savoy Sultans, he recorded an attractive album of piano solos (PERSONAL TOUCH, Dowry 3001), showed that he had retained his "personal touch" and lost nothing in the interim. 

CHERRY is a great Don Redman number from the '20s. On it Benskin is immediately revealed as a musician's pianist. After the tasteful melodic statement, there is excellent use of color, rich chords being used most effectively in the last chorus.  

ROSETTA is Earl Hines' most famous composition, and it is often played by pianists both in tribute to him and because they enjoy it. Besides a Hines touch in the left hand's emphases, there are also well-executed runs here in the Tatum manner. 

THE WORLD IS WAITING FOR THE SUNRISE, taken at an infectiously bright tempo, is a tour de force. Benskin makes use of the whole keyboard, and a surprise key change is another example of his concern for color. In the third chorus' work-out with bassist Billy Taylor he gets to swinging hard and doesn't let up through the following two choruses. He always works particularly well with the other members of the rhythm section, feeding them in a way that is at once encouraging and provoking. The whole routine is well planned, and it certainly makes a point rhythmically.  

WILIPHANT WINNIE, which Benskin also recorded with Benny Morton's Sextet on Stinson, resorts to the basic changes of YOU TOOK ADVANTAGE OF ME and indicates some awareness of bop trends in its pattern. A "wiliphant," the composer has explained, was an unattractive, dumb girl. Members of the Basie band later changed the pronunciation and spelling to "wolafunt." It is for the listener to decide how much bearing that has on the performance. 

 

Screenland July 1947 – Volume 51 Issue 9 

SAMMY BENSKIN: “The World is Waiting for the Sunrise,’ “Cherry.” 2 standards given a fresh coat of piano, bass and drums by the Sammy Benskin Trio, Cleo. “Sunrise” rises at a fast clip with Sammy’s box delicate and technical. Flip is more relaxed. Billy Talor’s on doghouse and Specs Powell on the tubs. (bass and drums, you square!) Blue Note) 

January 1947

Downbeat March 12 1947 Volume 14 Issue 6 

With Billy Taylor (bass) and Specs Powell (drums), Sammy’s Sunrise breaks upon some surprisingly idea-less and sloppy right hand. He plays better than this. Cherry is taken at a more sane tempo for constructive playing. If the present trend in 88-ing continues, however, somebody had better write a counterpart to Ravel’s famed concerto; this time for right hand alone, though (Blue Note 512) 

Practical English May 12 1947 Volume 2 Issue 15 

++ The World Is Waiting for the Sunrise (Blue Note). Sammy Benskin Trio. A nice try that doesn’t quite come off. The B-side, Cherry, has the same clean piano work by Sammy and better work by the rest of the trio. 

Session Information 

Sammy Benskin, piano; Billy Taylor, bass; Specs Powell, drums. 

WOR Studios, NYC, July 27, 1945 

BN250-2, Cherry, Blue Note 522 

BN251-0, Rosetta 

BN252-0, The World Is Waiting For The Sunrise, Blue Note 522 

BN253-0, Wiliphant Winnie