LP-759

Lou Donaldson – Musty Rusty

Released 1965

Recording and Session Information

Bill Hardman, trumpet; Lou Donaldson, alto saxophone; Billy Gardner, organ; Grant Green, guitar; Ben Dixon, drums
RVG, Englewood, New York, June 3 1965

13974 The Space Walk
13975 Musty Rusty
13976 Hippity hop
13977 Cherry pink and apple blossom white
13978 Ha' Mercy
13979 Midnight Sun

Track Listing

Musty Rusty	Lou Donaldson	June 3 1965
Midnight Sun	Lionel Hampton & J. Francis Burke	June 3 1965
Hipty Hop	Lou Donaldson	June 3 1965
The Space Walk	Ben Dixon	June 3 1965
Ha' Mercy	Lou Donaldson	June 3 1965
Cherry Pink And Apple Blossom White	Marcel Agerson, Mack David, Luis Gugliemi	June 3 1965

Liner Notes

DURING the history of jazz, many artists have come and gone. On the current scene only a select few from the late Forties clan are still active and popular and one of the main reasons is that these men have so much to offer both jazz and non-jazz listeners. This is particularly true of Lou Donaldson. Lou's lyrical style. original sound and ability to appeal to a varied audience is once again demonstrated in MUSTY RUSTY, his fourth Argo album. It is a foot-tappin', soul-stirring record, full of drive, swing and musical creativity.

When I write about Lou Donaldson, I feel that I can do so with some authority. because I speak as a long-time friend and fellow musician. I have been a fan of the man and his music from the release of his first album. I was around during the evolution of this great sound and now you, the listener. are hearing it at its greatest maturity. You are the important judge at this time, so let's give the album a listen-to. If you are not now a Donaldson fan, I believe that you will join the crowd after hearing MUSTY RUSTY.

The first track Of the album is the title tune — a Lou Donaldson original. Lou and the very capable trumpeter Bill Hardman set the theme and then Lou leads off with about five exciting choruses to set the groove and lead the way for a very young and new talent on the organ named Billy Gardner. I'm sure that after you hear his solo you will agree that he will be heard from again and again. After Billy swings his way through the blues, Grant Green, one of the greatest jazz guitarists on the current scene, takes charge and leads you through several "boss" choruses. After the sermon by Grant, we just fade away quietly.

Midnight Sun, a Lionel Hampton original, really gets the Lou Donaldson melodic touch. It is soulful, pretty and very warmly complimented by a Grant Green solo that leads you back to the last statement by Lou. This is a must for listening delights.

As they say in the "soulville" of every city, "This is it. Baby"! Hip-swinging, finger-poppin', or any thing else you want to call it, can very easily be applied to Lou's composition, Hiply Hop. Lou, Bill Hardman, Grant Green and Billy Gardner swing from beginning to end.

Five-four-three-two-one-and side two blasts off with Space Walk, an original composition by Ben Dixon, the drummer in the group. The theme is taken by Bill and Lou with an off beat syncopation by Grant Green and Billy Gardner to set the orbiting mood. Then Lou goes into orbit, followed by Bill on trumpet and then Grant Green. After walking and swinging in space, the crew makes a perfect landing and everything is A-OK.

Ha' Mercy makes you think of Lightning Hopkins, Kansas City, New Orleans, and all of those other dimly-lit, smoke-tilled rooms with blues singers feeling the spirit and making up the words as they go along. Alto and trumpet set the theme to let you know where it's at and then Lou plays two choruses to let you know what it's all about. Billy Gardner then ignites the electronic tubes to tell his story, and last but not least, Grant Green lets you know that words do not have to be spoken or sung to convey this type of message. Ha' Mercy!

Cherry Pink and Apple Blossom White is a tune that has been around for a long time but Lou's originality in phrasing and sound breathes new into this interpretation. Lou leads off with the melody, then he is joined by Bill Hardman in the middle of the tune. Then Lou has the final eight bars by himself. As on all the other tracks in this album, the soloists all come through with flying colors.

—Warren Stephens

LP-758

Ahmad Jamal – Extensions

Released 1965

Recording and Session Information

Ahmad Jamal, piano; Jamil S. Nasser, bass; Vernel Fournier, drums
Nola's Penthouse Studios, New York, May 18-20 1965

13961 This terrible planet
13962 Dance to the lady
13963 Bogaloo (?) (unissued)
13964 Whisper not
13965 Extensions (pt 1)
13966 Who can I turn to? (unissued)
13967 The first love song (unissued)
13968 unknown title (unissued)
13969 Look at that face (unissued)

Track Listing

Extensions	Ahmad Jamal	May 18-20 1965
Dance To The Lady	John Handy	May 18-20 1965
This Terrible Planet	Bob Williams	May 18-20 1965
Whisper Not	Benny Golson	May 18-20 1965

Liner Notes

IT IS always delightful exposing oneself to Ahmad Jamal's talents because he posesses all of the ingredients of 'the real jazz musician'. Innate ability varies in people but this man has been given an infectious swing, a wide harmonic scope, and a love for beautiful melodies.

Until a couple of years ago, he often said. "I haven't had a lesson in fifteen years: I was playing this way when I was twenty!" In his native Pittsburgh, and later while working Chicago night spots, his exceptional gifts were recognized, hut we have to differ with Jamal — he's playing greater than ever! This album is a testimony to that, sanctioned by the extremely capable bassist, Jamil S. Nasser, and the superb drummer, Vernei Fournier. Jamal's preference for the trio has persisted for sixteen years and this seems to be an ideal choice.

From "Wanted...Peace," one of Bob Williams' musicals, comes THIS TERRIFLE PLANET. A rhythmic combination of tambourin, sock cymbal, and side tom helps set the pace of this F-minor medium offering with a bluesy-eastern flavor.

Ahmad says, "THIS TERRIBLE PLANET is a most interesting composition and the words are equally interesting. I'm looking forward to people like Johnny Hartman doing it."

The runs of John Handy's DANCE TO THE LADY advance ripples of feeling. A&R man Dave Usher, highly excited in the control booth, is prompted to tell Ahmad after the take. "Yea! The lady dances with us!"

"DANCE TO THE LADY is a pretty tune," says Ahmad. "I dig it! Written by one of the most talented and scholarly musicians today, John Handy. He holds a masters degree and lives in San Francisco. A person, in musician circles, is very unfortunate who hasn't discovered him, very unfortunate!"

Benny Golson's WHISPER NOT is in the 'groovy modern tradition'. A fiery flavor is given underneath the beat by Vernel's fantastic top cymbal work.

Ahmad reminisces, "WHISPER NOT is such a swinger! A tune I've been doing for some time. Wrinen by one of my favorite musicians who has the rare facility of being a fine writer and instrutnentalist. When he was with Earl Bostic, he used to come to the Pershing. This is one of many of his compositions I enjoy."

After an ensemble intro, we go into the only original, EXTENSIONS. Then comes a bass solo, then one by Fournier, then Ahmad surprises us by tastefully plucking the piano strings. Following is a series of exchanges and then an up-tempo demon-like swing: a sort of intellectual adventure. a variety of interesting rhythms.

Ahmad considers EXTENSIONS to be the most important tune in the album and it has occupied his thoughts considerably: "This is a flag-waver even time we perform it. Wc did it with the Cleveland Orchestra on July 28, 1965. This is definitely 'thinking' music. Ever since we starred doing EXTENSIONS it hasn't failed to overwhelm the audience to the point of standing ovations."

Vernel Fournier has experienced two jazz history-making cities and perhaps this has contributed to his more than adequate percussion endowment and made him an expert. He was born in New Orleans and migrated to Chicago at twenty. A recording studio technician says. "He plays so politely!" Fournier rides his top cymbal brilliantly and with accompanying accents, using sock, brass, snare and tom — a soloist can't helped being moved. A brief spell away from the trio caused him to say on returning, "It's good to be back. I missed Ahmad!"

Vernel says. "THIS TERRIBLE PLANET is some title! It has a beautiful African sound. I play 3/4 and 4/4 time, Jamil 3/4, and Ahmad 3/4. DANCE TO THE LADY has a beautiful melody," Vernel continues, "I love this one! I like WHISPER NOT's beat. Going to listen carefully to the playback. Yea, " Vernel amens, "this EXTENSIONS really gives me a fast up-there challenge!"

Jamil S. Nasser is also from a city with a jazz tradition, Memphis. He allied himself to the bass in 1948 and, now being one of the prominent men on that instrument in New York, shows that this alliance wasn't fruitless. Of significance, however, is the pleasure of hearing his power, steady beat, and fertile rhythmic imagination.

Jamil says. "I love THIS TERRIBLE PLANET and sinking into the rhythm like an anchor. This I call 'anchoring'. DANCE TO THE LADY is unusual, musical, and written by a helluva musician! Love the tune! I get a swingin' kick out of WHISPER NOT." (Nasser danced happily on the playback of this one.) "We really get a good tempo on EXTENSIONS."

Watching Ahmad during a break flipping the pages of a Bach two- and three-part inventions, one thinks — or could think — of the journey trekked by him to the top: it's miraculous! But greatness cannot be harnessed by obstacles or disadvantages — this record is the proof.

And now allow me to present Ahmad Jamal's EXTENSIONS...

—Ahmad Basheer
Off The Record

LP-757

The Ramsey Lewis Trio - The In Crowd

Released 1965

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Bohemian Caverns, Washington D.C, May 13-15 1961

13924 A felicidade [Happiness]
13925 Stack (unissued)
13936 Without a song (unissued)
13937 Spartacus [Love theme from Spartacus]
13938 The "In" crowd
13939 Tennessee waltz
13940 A hard day's night (unissued)
13941 Sometimes I feel like a motherless child (unissued)
13942 Come Sunday
13943 It happened (unissued)
13944 And I love her (unissued)
13945 Theme from "Golden Boy" (unissued)
13996 Since I fell for you
13997 Night song (unissued)
13998 You been talkin' 'bout me baby

Track Listing

The 'In' Crowd	Billy Page	May 13-15 1961
Since I Fell For You	Buddy Johnson	May 13-15 1961
Tennessee Waltz	Pee Wee King / R. Stewart	May 13-15 1961
You Been Talkin' 'Bout Me Baby	Garnett / Hirsch / Riviera	May 13-15 1961
Spartacus (Love Theme From)	Alex North	May 13-15 1961
Felicidade (Happiness)	A.C. Jobin / V. DeMorais	May 13-15 1961
Come Sunday	Duke Ellington	May 13-15 1961

Liner Notes

The Ramsey Lewis three are among the best-selling jazz artists on records today. A collection of their works shows the many facets of their styles. Lewis has been presented with big bands and strings in addition to the regular trio format and in all situations he plays good jazz — sometimes pretty, sometimes blue. sometimes cool, but always swinging and straight from the heart of a true jazz artist.

The scope of jazz today has widened and young men like Ramsey Lewis are improvising, drawing from many sources, blending and putting into jazz something that was not there before, but never losing the source — the blues. The shaping of a mature musical personality is a long, slow process that is often as stormy as growing from adolescence to adulthood. In many cases, final crystallization never occurs and the musician is stalled on the brink of something important. For Ramsey Lewis, however, the process is just about complete and there is no doubt in my mind that his playing has reached a finality which indicates the culmination of the long trip.

The strides Ramsey has made in the last few years have been amazing. His sound and style have grown completely distinctive, and could be considered a synthesis of the older elements of jazz — elements that project the roots, beginnings and emotional undercoating of the idiom.

The trio was formed about a decade ago, while Ramsey was a student at DePaul University. The trio still consists of the original members, with bass and cello player extraordinary, Eldee Young, and the brilliant drummer Isaac "Red" Holt. All are from Chicago.

In recent years, the Ramsey Lewis Trio's popularity has risen to phenomenal heights. Nowhere in the country has the trio been more enthusiastically received than in the nation's capitol, where they *enjoy the praises of fans of all nations. It is stnall that hundreds or global neighbors waited in line to enter the beautiful, sculpturesque, world-renowned BOHEMIAN CAVERNS, the home of the 'IN' crowd, to see and hear the Ramsey Lewis Trio.

Recording night for the trio is an event for Washington fans, and this is the trio's second recording date in the famous BOHEMIAN CAVERNS. The first (ARGO LP-741) was as a big commercial success.

The trio opens this albunn with "I'm in with the 'in' crowd...I go where the 'in' crowd goes." Here Ramsey swings with a touch of the blues in the chordal work.

"Since I Fell For You" is a splendid old composition played in a manner that holds the attention all the way to the lonely sounding end.

On "Tennessee Waltz", Eldee Young plays cello with unbelievable dexterity. His approach ranges from a gentle reserve to unpredictable aggressive movements and his "Flamenco" introduction is a priceless bit of merriment.

On other selections, such as "Love Theme From Spartacus." "You Been Talk-in' 'Bout Me Baby" and "Felicidade", I find drummer "Red" Holt increasingly impressive, most effectively so, in his unique contributions.

From the beginning, the trio settled into a comfortable groove. relaxed and swinging. "I'm in with the 'in' crowd I know what the 'in' crowd knows." Yes, they know what the 'IN' crowd wants to hear, so they recorded a thoroughly satisfying collection of fine music, tailor-made for the 'IN' crowd.

Ramsey Lewis has made a lot of fine recordings and this is one more to add to his illustrious background.

Al Clarke
WOOx Radio
Washington. D.C.