Al Cohn

小簡(jiǎn)介
Al Cohn 在6歲時(shí)學(xué)彈琴，12歲時(shí)接觸薩克斯風(fēng)，其風(fēng)格主要受Lester Young影響。早期有豐富的大樂團(tuán)經(jīng)驗(yàn)，像是Boyd Raeburn的樂隊(duì)、Budy Rich的團(tuán)體、Artie Shaw的樂隊(duì)以及1948-1949年在Woody Herman的大樂團(tuán)。他和同為薩克斯風(fēng)手的Stan Getz、Zoot Sims同在一個(gè)樂團(tuán)，而在他們的陰影之下，不易有出頭的機(jī)會(huì)，而使的他的才藝沒有被特別注意。50年代中期加入Eliot Lawrence的樂團(tuán)，并經(jīng)常與他的長(zhǎng)期搭檔Zoot Sims錄製許多專輯。
An excellent tenor saxophonist and a superior arranger/composer, Al Cohn was greatly admired by his fellow musicians. Early gigs included associations with Joe Marsala (1943), Georgie Auld, Boyd Raeburn (1946), Alvino Rey, and Buddy Rich (1947). But it was when he replaced Herbie Steward as one of the Four Brothers with Woody Hermans Second Herd (1948-1949) that Cohn began to make a strong impression. He was actually overshadowed by Stan Getz and Zoot Sims during this period but, unlike the other two tenors, he also contributed arrangements, including The Goof and I. He was with Artie Shaws short-lived bop orchestra (1949), and then spent the 1950s quite busy as a recording artist (making his first dates as a leader in 1950), arranger for both jazz and non-jazz settings, and a performer. Starting in 1956, and continuing on an irregular basis for decades, Cohn co-led a quintet with Zoot Sims. The two tenors were so complementary that it was often difficult to tell them apart. Al Cohn continued in this fashion in the 1960s (although playing less), in the 1970s he recorded many gems for Xanadu, and during his last few years, when his tone became darker and more distinctive, Cohn largely gave up writing to concentrate on playing. He made many excellent bop-based records throughout his career for such labels as Prestige, Victor, Xanadu, and Concord; his son Joe Cohn is a talented cool-toned guitarist.