A Tribute to Benny Golson: The Enduring Legacy of “Free”

Introduction:

On September 21, 2024, the jazz world lost one of its towering figures: Benny Golson, a composer, arranger, and saxophonist whose influence stretched across more than seven decades of jazz history. Known for his brilliant compositions like “Whisper Not” and “I Remember Clifford,” Golson was not only a creator of memorable melodies but also a soulful tenor saxophonist with a unique style that bridged bebop, hard bop, and more modern approaches to jazz. Among his many albums, “Free,” released in 1963, stands out as a testament to his mastery as both a player and an improviser. In this tribute, we reflect on this classic album, which captures Golson at a pivotal point in his career.

A Time of Transition:

“Free” was recorded on December 26, 1962, at Van Gelder Studio in Englewood Cliffs, New Jersey—an iconic recording venue known for producing some of the greatest jazz records of all time. This album came at a time when Golson was nearing a transition in his career. Though he had been celebrated as a leader and instrumentalist, his passion for arranging was pulling him more towards composing for larger ensembles and film scores. In fact, this would be his last album as a leader until 1977, when he would return to the recording studio with a distinctly evolved style.

As Golson’s career began to pivot, “Free” served as a kind of farewell to his earlier playing style, which was heavily influenced by tenor saxophonists like Don Byas and Lucky Thompson. The album captures him at his improvisational peak, presenting a final showcase of his dexterous yet soulful phrasing before fully immersing himself in the world of composition.

The Lineup: A Quartet of Giants

One of the most striking features of “Free” is its stellar lineup. Joining Golson are pianist Tommy Flanagan, bassist Ron Carter, and drummer Art Taylor—all giants in their own right. The chemistry between these musicians is palpable, and it elevates the album into a cohesive, yet exploratory, musical statement.

Flanagan had played with Golson before and brought his usual elegance and lyricism to the session. His piano work is both delicate and commanding, perfectly complementing Golson’s thoughtful saxophone lines. Bassist Ron Carter, who would later go on to become one of the most celebrated bassists in jazz history, brings a different kind of energy to the music. His approach to the bass was innovative, moving beyond simply providing the harmonic foundation to actively shaping the direction of each piece. Art Taylor, who stepped in for Philly Joe Jones, rounds out the rhythm section with his impeccable timing and subtle touch. Together, these musicians create a rhythmically fluid and harmonically rich environment in which Golson can truly shine.

A Showcase of Golson’s Range:

The album opens with “Sock Cha Cha,” a lively composition by Will Davis. From the first notes, it’s clear that this is a record that will traverse a wide range of emotions and styles. The tune is playful and danceable, driven by a Latin-tinged rhythm that allows Golson to stretch out with joyous improvisation. His tenor saxophone dances through the melody with a lightness that belies the technical complexity of his lines. It’s a reminder of Golson’s ability to inject warmth and humor into his playing, even within intricate frameworks.

Next comes a surprising yet poignant rendition of Noël Coward’s “Mad About the Boy.” In Golson’s hands, this tune transforms from its original Broadway roots into a heartfelt ballad, full of longing and vulnerability. His playing here is restrained but deeply expressive, revealing his ability to communicate profound emotion through subtlety. Flanagan’s accompanying piano adds just the right touch of melancholy, making this track a standout on the album.

“Just by Myself,” one of Golson’s two original compositions on the album, follows. Ron Carter’s bass provides a grounding force for this medium bright swing. It’s a perfect example of Golson’s mastery of pacing and dynamics, allowing the music to breathe and evolve naturally.

The next track, “Shades of Stein,” showcases Golson’s compositional prowess. It’s a nod to the jazz tradition while also venturing into more modern harmonic territory. The melody is angular and complex, yet Golson makes it sound effortless as he weaves his improvisations through the intricate structure. Tommy Flanagan’s solo here is a masterclass in harmonic exploration, complementing Golson’s ideas while pushing the piece forward. The interplay between the musicians on this track is particularly exciting, with each member of the quartet contributing to the dynamic flow of the music.

“My Romance,” the Rodgers and Hart standard, gives Golson a chance to return to ballad form, and he delivers a performance that is tender and romantic without ever becoming saccharine. His phrasing is impeccable, every note placed with care and consideration. It’s the kind of performance that reminds the listener why Golson was not just a great composer but also a great interpreter of other people’s work.

The album closes with “Just in Time,” a spirited, uptempo tune that allows the quartet to cut loose a bit. Here, Golson’s playing takes on a Sonny Rollins-like robustness, as noted by several critics, displaying his ability to switch between different tonalities and approaches. The track feels like a final celebration—a joyous end to a record that has traversed so many emotional and musical landscapes.

A Lasting Legacy:

In reflecting on “Free,” it becomes clear just how significant this album is in the context of Benny Golson’s storied career. While it might not be as widely known as some of his earlier works with The Jazztet or his later achievements as a composer and arranger, it captures a moment of artistic transition. At the time of its release, Golson had already secured his place in jazz history as one of the genre’s great composers, but “Free” reminds us that he was also a deeply thoughtful and expressive saxophonist.

In the 2004 liner notes to “The Complete Argo/Mercury Art Farmer/Benny Golson/Jazztet Sessions,” critic Bob Blumenthal described “Free” as “among the highlights of [Golson’s] recording career.” Indeed, the album captures a level of maturity and depth that speaks to Golson’s years of experience while also pointing toward the creative paths he would later follow. Harvey Pekar, writing in Down Beat at the time of the album’s release, awarded it five stars and remarked that “Golson’s improvising is outstanding; I doubt that he’s ever before played as consistently well on record.”

Though Benny Golson’s subsequent career would focus more on arranging and composing, “Free” serves as a powerful reminder of his skill as a player. It’s an album that feels both timeless and rooted in a particular moment in jazz history—a record that showcases the incredible interplay between four masterful musicians and the profound improvisational skill of Golson at his peak.

As we reflect on Benny Golson’s passing, “Free” stands as a fitting tribute to his immense contributions to jazz. His work as a composer and arranger will continue to be celebrated for generations, but it’s important not to forget his brilliance as a saxophonist. Free captures Golson at a moment when he was exploring the full range of his instrument and his creative potential, and it remains a vital part of his legacy.

In many ways, Benny Golson’s career was about creating freedom in music—freedom to explore new ideas, freedom to collaborate with others, and freedom to push the boundaries of what jazz could be. On “Free,” that spirit of exploration is evident in every note, and it serves as a lasting testament to the genius of Benny Golson.

References:

1. Golson, B. & Merod, J.B. (2016). Whisper Not: The Autobiography of Benny Golson. Temple University Press.
2. Feather, L. & Gitler, I. (2007). The Biographical Encyclopedia of Jazz. Oxford University Press.
3. “Free” album cover art. Retrieved from https://en.wikipedia.org/wiki/File:Free_(Benny_Golson_album).jpg