LP-735

Illinois Jacquet – Desert Winds

Released 1964

Recording and Session Information

Illinois Jacquet, alto, tenor saxophone; Tommy Flanagan, piano; Kenny Burrell, guitar; Wendell Marshall, bass; Ray Lucas, drums; Willie Rodriguez, percussion
RVG, Englewood, New York, February 13 1964

13006 Star eyes
13007 Blues for the early bird
13008 Canadian sunset
13009 When my dreamboat comes home
13010 Lester leaps in
13011 You're my thrill
13012 Desert winds

Track Listing

When My Dreamboat Comes Home	Dave Franklin & Cliff Friend	February 13 1964
Desert Winds	Esmond Edwards	February 13 1964
Star Eyes	Don Raye & Gene DePaul	February 13 1964
Blues For The Early Bird	Illinois Jacquet	February 13 1964
Lester Leaps In	Lester Young	February 13 1964
You're My Thrill	Ned Washington & Burton Lane	February 13 1964
Canadian Sunset	Eddie Heywood	February 13 1964

Liner Notes

I HAD never met Illinois Jacquet prior to this recording session, though I have been an admirer of his tenor saxophone sound for years. Please allow me to introduce you to the men involved in the production of this album and allow me to take you to the session with me.

You are holding the product of many years of experience in a number of different fields, all closely related, in that each is necessary for the production of record albums in general and this album in particular.

The talents of the recording engineer are very necessary in the production of the final product and Rudy Van Gelder is one of the best. Rudy's studio is located in New Jersey, just across the George Washington Bridge from New York City. The setting of the studio is suburban and from the reports of musicians, very conducive to musical creation.

Illinois Jacquet gives the first impression of being in command, of himself his music and hence, the situation at hand — the making of a record. My first impression was proven by the events of the afternoon. Illinois does all things in a relaxed, confident way, born of long experience and great ability. The experience has been gathered from working in the bands of Basie and Hampton and leading various small groups of his own. With the Hampton band, Illinois became very well known for his solos on Flyin' Home and his section work with both bands was fine. That he has benefited from all this is evident in the 1964 sound of Illinois Jacquet.

The actual recording session took a while to get going. By this I mean not the actual playing but "going" in a cooking sense. Rapport must be established between the musicians involved, because these men do not work together in a regular group. It takes some time to get the "feel" of the ideas each man wishes to contribute. The last Illinois Jacquet recording (Argo LP-722) has some of the same personnel but a change of only one man changes the complexton of the album.

Willie Rodriquez, besides being a latin percussionist, is a very funny man. Upon examining Willie's very barren head, I complained of the glare. To this Willie explained that he would have worn his toupee but it would have altered the studio accoustics.

The first tune of the album, When My Dreamboat Comes Home, was made for Illinois Jacquet or did he make the tune into his own? Upon reflection coupled with listening, I feel that the latter supposition is more valid. The tempo is sort of jog-along and Jacquet fits perfectly into the rhythmic slot provided by the rhythm section; with Ray Lucas and Wendall Marshall supplying a really sturdy beat as they do throughout the album. Kenny Burrell follows the opening Jacquet solo with one of his own. Kenny is tall and lean and plays guitar in a style befitting his stature. He sort of lopes along with long phrases and ideas. Tommy Flanagan follows, tasteful as ever.

Desert Winds opens with a theme statement by Illinois and Kenny Burrell, followed by a tenor solo, but not just any tenor solo. This one is by Illinois Jacquet and that is saying something. The slightly eastern flavor carries throughout the piece, back to the unison line and then out.

Star Eyes is taken pretty much as written and done in this manner, demonstrates yet another side of Illinois Jacquet. This is a beautiful song and the original is only enhanced by the very personal Jacquet treatment. The Tommy Flanagan solo further points out why Tommy is so much in demand for recording sessions and club work. If I needed a piano player I would hire Tommy Flanagan.

Blues For The Early Bird came about by Jacquet saying, "Blues!" and then they played it. Note that Illinois plays alto on this track — not tenor. He swings on both.

Lester Leaps In is, a tribute to "Pres", in the title and in the playing style. Illinois Jacquet leans toward Lester Young in style derivation and it is especially evident on this tune. This is a real screamer and I told Esmond Edwards thaf as soon as this one is released I would use it to lead off my show. You can hear why. It is very important to start a radio show off each night with music which will hold the interest, of the listener. This one starts strongly, builds strength in the middle and conclådes with power. Kenny Burrell plays some very polished rhythm guitar, illustrating his ability to fill other than a solo role Jacquet is all over the horn, up, down and around but not as a showboat. He is using his command of the horn to communicate his ideas to the listener. If you are reading these words while you are in a record store and have yet to sample the sound contained herein or hereon, ask the man to play Lester Leaps In for you. From this time on you will be an Illinois Jacquet admirer like so many others before you.

When Jacquet recorded You're My Thrill, he stopped the show. Everyone in the studio went over to congratulate him on his poignant, sensitive rendition of the lovely old tune. A lot of people have forgotten how lyrical this man can be with his horn.

Eddie Heywood's Canadian Sunset never had it so good. The same beat is present that propelled the first tune on side one. We started this way and we end this way — all the way around then back home.

So from a Canadian Sunset to a New York one, the session ended. I bade adieu to all the musicians, to Esmond Edwards and to Rudy Van Gelder. I lingered with Illinois to invite him to the show for an interview. Possibly the word "interview" is not quite the proper word choice. I think it could better be called a "talk". I feel I can say this because I now know the man and his music much better than I did before this recording session. You know him better also.

Willie Rodriquez yolunteered to drive me back to Manhattan and we recrossed the Hudson. I enjoyed the day and you will surely be pleased with the product Of this day. Enjoy yourself!

R. D. HARLAN
Radio Station WNCN—FM
New York City