LP-714

Sam Lazar - Soul Merchant

Released 1963

Recording and Session Information

Miller Brisker, tenor saxophone; Sam Lazar, organ; George Eskridge, guitar; Philip Thomas, drums
Ter Mar, Chicago, November 21 1962

12027 Smooth casting
12028 See see rider
12029 High noon
12030 Sam's jams
12031 Happy bossa nova
12032 Soul merchant

Track Listing

High Noon	Tiomkone, Washington	November 21 1962
Happy Bossa Nova	Sam Lazar	November 21 1962
Sam's Jams	Sam Lazar	November 21 1962
C C Rider	Arr. Sam Lazar	November 21 1962
Smooth Coasting	Sam Lazar	November 21 1962
Soul Merchant	Sam Lazar	November 21 1962

Liner Notes

FATS WALLER cut a few sides on the organ back in the thirties. To my tender young ears, these were the first recordings of jazz played on the instrument. Around the same time, there must have been theatre organists with strong jazz inclinations, pure jazz souls pedaling away during the intermissions. The phenomenon of the jazz organ's rise in popularity and acceptance is a comparatively recent event. There are still those "moldy figs" who resent the use of the organ as a jazz instrument and present arguments about "jazz purism." It is strange to realize that the saxophone, guitar and flute were once considered non jazz instruments. Anyhow, I trust the "figs" enjoy their dissertations...and Edison cylinders and banjos and striped jackets.

Just what has caused the popularity and acceptance of the organ? I imagine a number of reasons could be given. I think the words accessibility and availability can sum up the situation. The portable electronic organ has become available to a large number of musicians enabling them to transport the instrument from gig to gig. Something else too! The use of the organ in many Negro gospel church services has conditioned listeners to the sound of the instrument. And who is to say that many gospel songs could not be pure jazz if the words were left out. I wouldn't be a bit surprised to see many large jazz and dance bands including an organist as a regular member of the band in the near future.

Unlike some of the musicians who have jumped on the organ bandwagon, Sam Lazar is a very good musician and in full command of his instrument. He is not overawed by the vast variety of sound combinations the electronic organ is capable of and concentrates his efforts on swinging.

On SOUL MERCHANT Sam has the very capable assistance of three fine sidemen. Miller Brisker, the tenor saxophonist, is a regular member of Sam's St. Louis based group. Even though his previous exposure on record has been brief, it was enough to bring him critical plaudits.

Guitarist, George Eskridge is a Chicagoan who is in great demand for gigs and recording sessions in the Windy City. He is a cookin', imaginative soloist.

Phil Thomas, the drummer on the session is also a Chicagoan. He keeps things swinging throughout the album in a very competent yet unobtrusive way.

SOUL MERCHANT is Sam Lazar's third album and it fulfills much of the promise he showed in his first two releases. Without a doubt this young man is one of the finest jazz organists in the business. If you aren't already hip to him, we think a listen to this album will make you an enthusiastic fan.

Norm Spaulding
WAAF