LP-715

The Ramsey Lewis Trio - Pot Luck

Released 1963

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass; Red Holt, drums
Universal Recording Studio, February 27-28 1963

12292 Andaluza
12293 Look-a-here
12294 Arrividerci Roma
12295 I gave my love a cherry
12296 Loch Lomond
12297 Nature boy
12298 We blue it again
12299 I remember the starlight
12300 Shenandoah
12301 Swamp girl

Track Listing

Andaluza	Granados	February 27-28 1963
Look-A-Here	Ramsey Lewis	February 27-28 1963
Arrivederci Roma	Sigman, Kascel	February 27-28 1963
I Gave My Love A Cherry		February 27-28 1963
Lock Lomond		February 27-28 1963
We Blue It, Again!		February 27-28 1963
Nature Boy	Eden Ahbez	February 27-28 1963
I Remember The Starlight	Puccini	February 27-28 1963
Shenandoah		February 27-28 1963
Swamp Girl	Eldee Young	February 27-28 1963

Liner Notes

JAZZ musicians used to be surprisingly conservative and unimaginative in their selection of tunes to play, stuck to a few standards and "original" compositions which were often based on the chord patterns of those same standards. In part this reliance on well known material may have stemmed from a concession to mass taste by the musicians: they tried to play tunes that were readily accessible to the public. But a large quantity of good material was constantly passed up. tunes thJt were familiar enough to readily "reach the people" yet weren't shopworn.

Sometimes jazz musicians shy away from tunes because they feel the material isn't suitable for jazz interpretation. or an artist will say that it would Sc disrespectful to melody to do a jazz version of it. To me this seems to represent a lack of respect for their own art, since if they have pride in their music and consider it a valid and serious form, they should be able to interpret any melody regardless of its q»urce without feeling they were degrading the material. Jazz is basically a way of playing music, not a kind of music and the entire musical library is available to thc jazz interpreter. It's up to his good taste to decide how a particular tune should be done.

One factor that has served to encourage jazz artists to widen the scope of their material is the profusion of recording activity that's been going on during the past several years. In order to find new grist for the insatiable mill of new releases, the jazz musician has had to search out material from many sources and some interesting and worthwhile finds have been made.

Some performers have always displayed a willingness to try tunes from many diverse sources. Ramsey Lewis for example. He firmly believes that any melody that is enjoyable in its original form is valid material for a jazz interpretation. In "POT LUCK" he makes a strong argument for his contention. Included in the album is an adaptation of an aria in the opera Tosca, a Scottish folk tune, an American folk tune, a popular Italian melody and a classical melody based on a Spanish folk tune.

The trio approaches each tune differently, managing to retain the original flavor of the melody while giving it the distinctive Ramsey Lewis Trio style. When some jazz groups shift moods from tune to tune it seems as though different group is performing each tune. The fast tunes have one sound and the slow ones another. Ramsey, Eldee and Red always have their own special sounds going for them and whether they're playing the gently swinging "I GAVE MY LOVE CHERRY" or the heavily rhythmic "ANDALUZA" it's always clear that it is a RAMSEY LEWIS TRIO performance.

One of the most beautiful and effective numbers in "POT LUCK" is "I REMEMBER THE STARLIGHT" the aforementioned aria from Tosca. This has always been one of my favorite melodies and the trio performs it with a warmth and sensitivity that rivals any I've ever heard by an operatic diva. Still it is jazz all the way and in no way reminiscent of Roger Williams or Liberace playing their syrupy, whip-cream topped pastiches.

From their years of musical association these three young men have developed into a tightly knit, professional trio. The three seemingly have one mind and audiences lucky enough to them in person are always impressed by the well rehearsed precision of the group. Unlike some tightly knit groups however, the fellows never sacrifice their basic intent — to Swing!

Esmond Edwards