psalt

There is a link between the established guys such as Bernie Glow and the newer players such as Jon Faddis and that is Marvin Stamm who arrived in NY in 1966 and the great Alan Rubin who was making a name for himself in the late 1960's. These guys had the orchestral approach to sound ( especially the way they played short notes in a ringing manner) but they had the appropriate time feel to 16th notes ( swung in some instances and even in others) It was a bit like the Chicago Symphony trumpet section playing rock n roll.
I once heard at a recording session, Jon Faddis playing lead over Marvin Stamm, Lou Soloff and Marky Marckiewicz. He certainly did not have a narrow penetrating sound but rather a beautifully sweet blending timbre that sounded like a harmonic at the top of the overall sound. This approach to sound had been consistent with all the New York studio players going way back to Charlie Margulis and Chris Griffin through to Bernie Glow, Alan Rubin, Jon Faddis etc.
Any comments?
Peter Salt