Baby-Face Willette - Behind The 8 Ball
Released 1965
Recording and Session Information
Gene Barge, alto saxophone; Baby Face Willette, organ; Ben White, guitar; Jerrold Donovan, drums
Ter Mar, Chicago, November 30 1964
13576 Behind the 8-Ball
13577 Song of the universe
13578 Just a closer walk
13579 Roll 'em Pete
13580 St. James infirmary
13581 Amen
13582 Sinnin' Sam
13583 Tacos Joe
Track Listing
| Behind The 8 Ball | Roosevelt Willette | November 30 1964 |
| Song Of The Universe | Roosevelt Willette | November 30 1964 |
| Amen | Roosevelt Willette, arr | November 30 1964 |
| Tacos Joe | Bennie White | November 30 1964 |
| Roll 'Em Pete | Pete Johnson, Joe Turner | November 30 1964 |
| Just A Closer Walk | Roosevelt Willette, arr | November 30 1964 |
| St. James Infirmary | Joe Primrose | November 30 1964 |
| Sinnin' Sam | Nesbitt Hooper | November 30 1964 |
Liner Notes
IN ALL FAIRNESS to potential buyers of this new album by Baby-Face Willette, BEHIND THE 8 BALL, it should be stated that this critic is partial to jazz organists and jazz pianists. But that very partiality tends to make me far more critical in evaluations of performances or albums by artists in those two fields.Artists in both the aforementioned categories tend to be (if you'll pardon the over-used expression) a dime-a-dozen. During my years of affiliation with show biz, daresay I've heard literally hundreds of jazz organists, ranging from the nationally known 'name' artists to the average run-of-the-mill cocktail lounge entertainer. In far too many instances, there is such a sameness of technique it is virtually impossible to distinguish one from the other, and I frankly confess I would hate to be subjected to the blindfold test that is sometimes applied to cigaret or wine sampling.
Such, I am happy to report, is not the case With Baby-Fare Willette's playing.
In fact, to be candid, this album could be summed up in three words:
It has SOUL!
To most jazz fans and record collectors such a summation is enough and they know exactly what I mean. But to less knowledgeable or new record buyers, I might use other words which would be more readily understandable. Such as — It's groovey — It swings — It has toe-tapping rhythm. Call it 'instant' rhythm reaction if you like. Or (tho it's somewhat dated by now what with the Frug, the Jerk, et cetera), I could say it has Twistin' rhythm. But however one puts it, it all boils down to one summation and that simply is that Willette is an extraordinarily gifted jazz organist. So fine that one can almost SEE his footwork on the organ while listening to this album. Even more remarkable, tho, is the 'strumming' technique that is peculiarly Willette's own. He does not hold or pound a note or chord as do so many jazz organists today.
BEHIND THE 8 BALL is Willette's second album on the ARGO label and to me, it is a distinct improvement Over his first. That's saying something! On this album he has kept Ben White on guitar and now has Jerold Donavon on drums.
Willette kicks off this album on Side 1 with the title tune, a fairly brief number, and then swings into the lengthier "Song Of the Universe". Third track is a truly swinging version of "Amen", a popular number which is bound to bring instantaneous rhythmic reaction from listeners. Guest artist Gene Barge takes a fine solo on this, the only tune on which he appears. Baby-Face concludes with an especially fine version of "Tacos Joe".
On Side 2, Willette comes on strong with "Roll 'Em Pete" and immediately gives way to some fine guitar by White. So excellent is Willette's aforementioned 'strumming' technique that at times it is almost impossible to tell whether one is hearing Willette or White; each complements the other so effectively that it is a perfect blend. Many of the passages in "Roll'Em Pete" strike me as a complete give and take, back and forth affair between Willette and White with Donavon's drum supplying perfect rhythm.
In the second number, "Just A Closer Walk", Willette offers more concrete proof (if such is needed) of the relationship between the so-called church gospels and modern jazz. For 'Just A Closer Walk" is indeed a jazz version of that well-known church hymn. But before you label that sacrilegious, let me hasten to add that Willette's talent and jazz interpretation gives it the clasp-hands-and-sway rhythm that was always basically in this beautiful tune, proving again the undeniable affinity between gospels and jazz. Other organists have attempted this demonstration but none has shown the evolution quite so strikingly as has Willette in this particular number.
BEHIND THE 8 BALL is an album I would wholeheartedly recommend you add to your collection. Also would I recommend to some of the fine jazz spots in San Francisco (certainly a jazz-orientated city) that they give serious thought to booking Baby-Face Willette and his group in this city in the near future.
—GENE ROBERTSON
"On The Beam"
SAN FRANCISCO SUN REPORTER
