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.

LP-755

The Ramsey Lewis Trio - Choice!

Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Chicago, 1958

8795 Carmen

Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Chicago, 1959

9185 Delilah

Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Chicago, April 22 1959

9275 C C Rider

Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Chicago, February 23 & 24, 1960

10065 Little Liza Jane

Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Chicago, February 16 & 17 1961

10701 Hello, Cello!
10704 Blues For The Night Owls

Ramsey Lewis, piano; Eldee Young, bass, cello; Redd Holt, drums; Lew Douglas (dir, strings), Oliver Nelson (dir, reeds)
Bell Sounds Studios, New York, August 2+3 1962

11810 Memphis In June
11817 My Bucket's Got A Hole In It

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

12293 Look-a-here

Ramsey Lewis, piano; Eldee Young, bass, cello; Chris White, bass; Redd Holt, drums
RVG, Englewood, New York, August 20 1963

12559 Lonely Avenue

Ramsey Lewis, piano; Eldee Young, bass, cello; Richard Evans, bass; Redd Holt, drums
Ter Mar, Chicago, January 31 1964

12971 Travel On

Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Bohemian Caverns, Washington D.C, June 4 + 6 1964

13261 Something You Got

Track Listing

Something You Got	Chris Kenner	June 4 + 6 1964
Little Liza Jane	Arranged By – Lewis	February 23 & 24 1960
Memphis In June	Carmichael	August 2+3 1962
Travel On	Eldee Young	January 31 1964
Delilah	Victor Young	1959
CC Rider	Arr. Lewis, Young, Holt	April 22 1959
Lonely Avenue	Doc Pomus	August 20 1963
Look-A-Here	Ramsey Lewis	February 27-28 1963
My Bucket's Got A Hole In It	Clarence Williams	August 2+3 1962
Hello, Cello!	Young, Lewis, Holt	February 16 & 17 1961
Blue Spring	Ramsey Lewis	February 14, 15 1962
Carmen	Arranged By – Ramsey Lewis	April 30 1960
Blues For The Night Owls	Bernard, Thompson	February 16 & 17 1961

Liner Notes

Success in the entertainment business is difficult to achieve and more difficult to hold on to. And for a jazz oriented group this is doubly true. The Ramsey Lewis Trio has managed to get a firm foothold on the cliffs of success and their steady, well-paced climb to the top gives every indication of a long reign of popularity. Ramsey, Eldee and Red have not "lucked up" on anything, they have worked hard to perfect a presentation that combines great musicianship and showmanship.

A pronounced characteristic of Ramsey's playing is the fact that everything he does is touched with at least a tint of blue. It is interesting to note that several of the "best of" tunes in this album are out-right blues or close relatives of the form. There is something eternal and universal about the blues — everyone seems able to relate to the soulful sounds.

How do you pick a baker's dozen "best" tunes from almost twenty record albums of one of your favorite instrumental groups? We tried and ended with an absolutely irreducible list of twenty-two titles. What to do? We decided to ask Ramsey Lewis which tunes are among those most often requested when the trio is performing throughout the country. In effect, you, the fans, picked the tunes in this album. So enjoy!

—Esmond Edwards

LP-750

Ramsey Lewis Trio & Jean DuShon - You Better Believe Me

Released 1965

Recording and Session Information

Ronald Wilson, alto saxophone, flute; Ramsey Lewis, piano; Roland Faulkner, guitar; Eldee Young, bass; Redd Holt, drums; Jean DuShon, vocals
Universal Recording Studio, Chicago, December 19 1964

13637 Who can I turn to? [When nobody needs me]
13638 Night time is the right time
13639 Something you got
13640 He was too good to me
13641 Goodbye lover, hello friend
13642 You'd better believe me

Ramsey Lewis, piano; Eldee Young, bass,cello; Cleveland Eaton, bass; Redd Holt, drums
Universal Recording Studio, Chicago, January 14 1965

13667 Corcovado [Quiet nights]
13668 Tain't nobody's business if I do
13669 Let it be me
13670 It had better be tonight
13671 My coloring book
13672 I'm beginning to see the light

Track Listing

You'd Better Believe Me	Buddy Johnson	December 19 1964
Who Can I Turn To	Bricusse / Newley	December 19 1964
Night Time	Joe Bailey	December 19 1964
Something You Got	Chriss Kenner	December 19 1964
He Was Too Good To Me	Rodgers / Hart	December 19 1964
Goodbye Lover, Hello Friend	Norman Newell / Micharl Carr	December 19 1964
Corcovado (Quiet Nights)	Antonio Carlos Jobin / Gene Lees	January 14 1965
Ain't Nobody's Business	William York	January 14 1965
Let It Be Me	Becaud/Delance/Curtis	January 14 1965
It Had Better Be Tonight	Mancini/Mercer/Stasera	January 14 1965
My Coloring Book	John Kander/Fred Ebb	January 14 1965
I'm Beginning To See The Light	Hodges/George/Ellington/James	January 14 1965

Liner Notes

IF YOU want a good album, don't buy this one, because it's great — and "YOU BETTER BELIEVE ME"! The combination of the swinging Ramsey Lewis Trio and remarkable Jean DuShon — augmented on some tracks with flute, guitar aed sax — marks a departure for the Trio and a new high in listening pleasure for you.

Jean DuShon is making her second recorded appearance on ARGO. Her first album, which rapidly drew rave reviews and many plays from disc jockeys throughout the country, was recorded bast summer. This album can only help to add to the well-deserved praise and recognition that her first ARGO effort won for her.

Youngest of twelve children, whose parents died when she was only five, Jean attended the Detroit Conservatory of Music and began her professional career at the age of 15. In 1960, she made that legendary trip to New York with the Lloyd Price Band and since then has sung with the Cootie Williams group and the ever-popular Fats Domino aggregation. Finally, only a few months ago, she cut herself loose and began making solo appearances after gaining the valuable musical experience that only singing in front of a band can give a vocalist.

As for Jean's singing ability, just try on "Who Can I Turn To" size. There can be no doubt after the first few bars that Jean has an unusu depth and quality to her voice — and that she doesn't employ the gimmicks that have come to be standard equipment with almost every female vocalist singing today. Jean possesses an almost uncanny ability to get inside the lyric and project all the emotion, all the feeling, all real meaning — and more — that the composer meant it to have.

On this, her second ARGO outing, Jean also does a mose competent job of letting you know immediatelv that she can't be type-cast as just a ballad singer. She adequately proves this on the swinging "Something You Got" which is only recommended to the listener when all doors and windows are locked and the right person is there to share Jean's mood with you. "You'd Better Believe Me" certainly can't hurt you either, for that matter, and Jean's emotionally-packed "He Was Too Good To Me" pours a whole new supply of fuel into this great "torch" tune. If you've survived all of this emotionally, don't miss Jean's "Night Time" and a rather swing rendition of "Goodbye Lover, Hello Friend". Jean in the parlance of the trade, is "too much" and a most welcome addition to a world full of women who either rely on vocal tricks or who try to sound like someone they aren't and can never hope to be.

Backing up Jean on this album is the fabulous Ramsey Lewis Trio — and what words can describe them adequately. I think that Ramsey said it best himself several ARGO albums ago when he wrote that "After fourteen years of playing together, our trio is very close to achieving something that every group of musicians strives for. That is, to be able to think and play as one."

Ramsey, Red Holt on drums, and Eldee Young on bass and cello, have reached a point of perfection rarely touched by any jazz instrumental group. Having played together for so many years, their performance as a group is sometimes beyond belief. Their individual solos — be it funk, progressive or commercial jazz — continue to reach new heights of swinging excellence. Perhaps the best way to express it is for you to take your own hands and tightly intertwine your fingers — for that's the way they think, play, and perforrn, closely knit and almost as one.

If you've been hiding in a cave or for some reason havcn't heard this group before, treat yourself to the Trio's fresh approach to "Quiet Nights". Their rendition of this current favorite gives the tune a whole new flavor, a brand new feeling. Then there is the swinging romp through "It Had Better Be Tonight" which can only leave you breathless at best. When you hear "My Coloring Book", "Let It Be Me", or "Ain't Nobody's Business", you know that Ramsey, Red and Eldee are not only performing great music — they are enjoying themselves to the fullest.

Finally, you are again treated to another of those unique musical experiences as Eldee Young embraces his cello for a revival of that great oldie, "I'm Beginning To see The Light".

If vou haven't seen "the light" by the time you've reached this point with the Ramsey Lewis Trio, you're in big trouble. Ramsey, Red, Eldee and something new and great called Jean DuShon have said it all right here in this album. I think you'll their message.

-CHUCK TAYLOR

LP-745

The Ramsey Lewis Trio - More Sounds of Christmas

Released 1964

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums; John Avant, trombone; Sol Bobrov, David Chausow, Henry Ferber, Irving Kaplan, Mark Konorad, Harold Kupper, Abe Meltzer, Albert Muenzer, Harold Newton, Theodore Ratzer, Everett Zlatoff-Mirsky, strongs; Pete Eagle, harp; King Fleming, Will Jackson, arrangers
Universal Recording Studio, October 14 1964

13476 Snowfall
13477 Rudolph the red-nosed reindeer
13478 Snowbound
13479 The twelve days of Christmas
13480 Little drummer boy

Ramsey Lewis, piano; Eldee Young, bass,cello; Cleveland Eaton, bass; Steve McCall, drums
Universal Recording Studio, October 15 1964

13481 We three kings
13482 White Christmas
13483 Egg nog
13484 Jingle bells
13485 Plum puddin'

Track Listing

Snowbound	Russel Faith/Clarence Kehner	October 14 1964
The Twelve Days Of Christmas	Lewis/Edmonds arr	October 14 1964
Egg Nog	Ramsey Lewis	October 15 1964
Rudolph, The Red Nosed Reindeer	John D. Marks	October 14 1964
Jingle Bells	J. Pierpont /arr Young	October 15 1964
Plum Puddin'	Eldee Young	October 15 1964
Snowfall	Claude Thornhill	October 14 1964
We Three Kings	Ramsey Lewis arr	October 15 1964
White Christmas	Irving Berlin	October 15 1964
Little Drummer Boy	Davis/Onorati/Simeone	October 14 1964

Liner Notes

IN THE MOOD of Yuletide, snow flurries, and good tastin'— three kings, (Ramsey Lewis, Eldee Young, and Red Holt) tell it like it is! They make merry music with piano, bass and drums mounted in a sleigh full of strings, and "go, go, go" with the spirit of Christmas and good jazz.

One good thing about this stocking full of goodies — it will outlive the holiday season. "TWELVE DAYS OF CHRISTMAS", "JINGLE BELLS", "WE THREE KINGS" et al, Ramsey and company make for year-round good listening.

Two good things about this album are the talented arrangers, King Fleming and Will Jackson. These Chicagoans have combined forces to produce arrangements that compliment the trio's style, and add new lustre to familiar tunes.

Three good things about "More Sounds of Christmas" are Ramsey, Eldee and Red. These young men continually display their unique ability to make any kind of tune their own. They have adapted classical tunes to their style, (BACH TO THE BLUES) bossa nova tunes, (RAMSEY LEWIS TRIO — BOSSA NOVA) and country & western tunes, (COUNTRY MEETS THE BLUES). Whatever the source of the material, the trio makes it a swinger or a lyrical thing of beauty with their personal hallmark.
A fourth good thing is drummer Steve McCall, who filled in for Red Holt (no small feat) on all sides featuring the trio without strings. When Red was unfortunately unable to make the session, Steve was called on short notice. Although he had never played with Ramsey or Eldee before, he performed admirably, and the feeling of swinging togetherness was preserved.

The beautiful "SNOWBOUND" is given a sensitive reading by Ramsey, with the rich string sounds of the Fleming/Jackson arrangement lending fine counterpoint.

Forget all the mediocre arrangements you've heard of "TWELVE DAYS OF CHRISTMAS." This one moves! From the "round" beginning with the cello and celeste, it picks up momentum when Ramsey switches to piano for his solo and later fades out wailing.

While we're on the subject of the celeste, how about the hip-swinging, foot-tapping celeste work on "EGG NOG"! Here again Ramsey does his solo work on the piano — and work he does! This egg nog is a potent brew reserved for serving to the "cool ones."

And how about Eldee Young's rollicking version of "JINGLE BELLS"! No "one horse open sleigh" for him; his cello is rocket propelled and soon gets into orbit with Eldee humming along. Eldee's cello outings on the trio's albums have been consistent favorites with the fans, and "BELLS" will be swinging on many turntables.

"SNOWFALL" is strictly for lovers, embraces. fireplaces, and if you're in the mood...some slow dances. "LITTLE BOY" grows up under the fast, skilled hands of Red Holt; and "PLUM PUDDIN'" has obviously been soaked with a heady brandy, or maybe more likely, some corn "likker." It has that down-home Christmas feeling.

God Rest Ye Merry Gentlemen, and thanks, Trio! Rest your ears on this beauty! is no "Ho, Ho, Ho" here...it's all "Yeah, baby!

Louise D. Stone
Jazz Columnist
Chicago Daily Defender

LP-741

The Ramsey Lewis Trio At The Bohemian Caverns

Released 1964

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Bohemian Caverns, Washington D.C, June 4 + 6 1964

13256 All of you (unissued)
13257 The cave
13258 Let's have it... (unissued)
13259 The shelter of your arms
13260 People
13261 Something you've got
(West Side Story medley :)
13262 Maria
13263 Somewhere
13264 Jet song
13265 To-night
13266 Fly me to the moon
13373 My babe

Track Listing

West Side Story Medley	L. Bernstein	June 4 + 6 1964
Somewhere		June 4 + 6 1964
Maria		June 4 + 6 1964
Jet Song		June 4 + 6 1964
Somewhere		June 4 + 6 1964
People	J. Styne	June 4 + 6 1964
Something You Got	Chris Kenner	June 4 + 6 1964
Fly Me To The Moon (In Other Words)	B. Howard	June 4 + 6 1964
My Babe	W. Dixon	June 4 + 6 1964
The Caves	R. Lewis	June 4 + 6 1964
The Shelter Of Your Arms	S. Collie	June 4 + 6 1964

Liner Notes

FOR MORE than four years the Bohemian Caverns in Washington, D. C., has provided a steady home for jazz and its faithful supporters. This club is known world wide for its physical layout of sculpturesque beauty and stalactite formations hanging from its ceiling. Said club owner Tony Taylor to his partner Angelo Alvino and myself, "That's why, times when we don't even have a strong act in the room to draw the people, there are a certain amount of individuals who might filter through here anyway, just to see the place". So here we find the very necessary ingredients of the mixture to make jazz — the customer, the atmosphere, and the world's finest performing artists.

One of the most exhilarating feelings a jazz fan could have is to watch and listen to great musicians, and the audience here attests in unanimous agreement to the aforementioned statement. I assume by now that you know that the Ramsey Lewis Trio recorded this album live at the Bohemian Caverns, in the heart of the nation's capital. On hand was a full house of eager Ramsey Lewis fans, a new piano, and bass and drums tuned to perfect pitch. Here you will find an energetic and joyous atmosphere as the trio - opens with music from WEST SIDE STORY. The improvisations in the West Side Story medley are not all in the jazz choruses. The arrangement itself is more than just a clever restatement of the melody. Each section of the score reveals to the listener a different face of the structure, and when the final Chorus and the dramatic coda are reached, a thorough exposition of the remarkable work of Leonard Bernstein has been accomplished.

In creating a jazz version for three themes of this story, the trio combined its great musical know-how to reveal beautiful, dramatic contrast, tenderness, love, and unrest.

On "PEOPLE", the trio defies description, and proves that "people who need people, are the luckiest people in the world."

The blues can often come very close to truc poetry, a virtue that is often overlooked, and a mighty convincing story is told here in the very popular opus, "SOMETHING YOU GOT".

It is difficult to praise Ramsey Lewis' pianistic ability too highly. Ramsey makes a bold adventure of "FLY ME TO THE MOON" or "IN OTHER WORDS": and his consistently high performances are just short of miraculous.

One of the country's best cello and bass players, since Oscar Pettiford, is Eldee Young. This young man is so advanced that there is seemingly no harmonic puzzle too abstract for resolution, no rhythmic limb too high for him to jump off. All this is proven in his venturesome journey with "MY BABE" Many professional players of swinging repute mention Red Holt as their favorite drummer. Red can do more with his left hand, than most can do with both. He is well received for his efforts on "SHELTER OF YOUR ARMS".

"THE CAVES" brings the fellows together with great applause; this one written by the trio for the club.

This album contains many musical principles and musical feelings; and before jazz fulfills its promise there may be a long lonesome road ahead, yet efforts like this show the way and make the whole thing worth while. You will agree that this is one of the best sessions in the career of the three: Ramsey, Red, and Eldee — the illustrious RAMSEY LEWIS TRIO.

Al Clarke
WOOK Radio
Washington, D. C.

LP-732

Ramsey Lewis - Back To The Blues

Released 1964

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass, cello; Richard Evans, bass; Redd Holt, drums
Ter Mar, Chicago, January 31 1964

12971 Travel on
12972 Peace and tranquility
12973 For the love of a princess
12974 Misty days, lonely nights
12975 Why don't you do right?
12976 Sadness done come
12977 You'll love me yet
12978 All my love belongs to you
12979 Dance mystique
12980 Bach to the blues

Track Listing

For The Love Of A Princess	R. Lewis	January 31 1964
Why Don't You Do Right	L. Green	January 31 1964
Misty Days, Lonely Nights	R. Lewis	January 31 1964
Bach To The Blues	E. Edwards	January 31 1964
Travel On	E. Young	January 31 1964
Dance Mystique	R. Lewis	January 31 1964
Sadness Done Come	R. Lewis	January 31 1964
You'll Love Me Yet	R. Lewis	January 31 1964
Peace And Tranquility	E. Young	January 31 1964

Liner Notes

AFTER almost fourteen years of playing together, our trio is very close to achieving something that every group of musicians strives for. That is, to be able to think and play as one.

Fortunately Red, Eldee and myself have similar ideas concerning music and life in general. An individual's music is an extension of his life and the fact that we have similar tastes and goals makes it much easier for us to blend musically.

From the beginning we have striven for a true group sound, a true group image in which each participant's role is of equal importance instead of two of the members serving primarily as accompanists. Among the jazz groups that I feel have most nearly accomplished this sound are. The Modern Jan Quartet, The Bill Evans Trio and the original Miles Davis Quintet (with Coltrane, Garland and Philly Joe).

Where two or more people are involved in a performance, it is impossible for an individual to attain complete freedom of expression — some concessions must be made to the ideas of the other musicians. However. the joy and satisfaction of being an integral part of a well functioning whole is just as rewarding, if not more so.

During my course of study with Dorothy Mendelsohn in Chicago, I developed a great love for the classics. Not only did classical study develop my technique at the piano but it also served to broaden my tastes in music and the arts in general. I also arrived at the conclusion that although classical music is included in the list of creative arts; it offers the least amount of freedom for self expression for the performer. The composer has äll the freedom he desires to project what is in his heart but the performer only recreates what is on the paper. This in itself is no easy task. It takes hours and hours of training and practice to master the great composers and regardless of your instrument or musical goal, the best route to competence is a solid classical background.

To return to my original point though; satisfaction is gained in performing the classics more through technical accomplishment rather — the infant of the creative than creative, self-expression as in jazz arts. The jazz soloist must be an interpreter and composer.

Eldee, Red and myself have always tried to incorporate knowledge gained through our classical training into our work in jazz and on previous albums we have used melodies from the great composers as the basis for inprovisation. We believe, as does Esmond Edwards, that most music regardless of its origins, can be expressed in jazz terms. Errol Garner has recorded "I Want To Be A Rug Cutter" and the works of "serious" composers like, Delibes, Villalobos and Rodrigo have been used as the basis for jan expression, How about Curtis Fuller's exciting arrangement of "Three Blind Mice" as recorded by Art Blakley's Jazz Messengers!

Five of the tunes in this album are based on classical themes. "For The Love Of A Princess" is based on a theme of Rimsky-Korsakov, Days, Lonely Nights" is from Rachmaninoff, "Bach To The Blues" owes a debt to J. S. Bach, "Dance Mystique" is a Tchaikovsky derivative and "You'll Love Me Yet" is from Brahms. The other four tunes have their roots in the blues.

This is not an offering of third-stream, main-stream, progressive, commercial or "funky" jazz. This is music that Red, Eldee and I love to play and also make a living at. (To borrow a phrase of Chicago DJ "Daddy-O Daylie".) We sincerely hope you will enjoy a few moments of pleasurable listening to Bach...and the blues.

RAMSEY LEWIS

LP-723

Ramsey Lewis Trio - Barefoot Sunday Blues

Released 1963

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass, cello; Chris White, bass; Redd Holt, drums
RVG, Englewood, New York, August 20 1963

12559 Lonely Avenue
12560 Act like you mean it
12561 Don't even kick it around
12562 Barefoot Sunday blues
12563 Salute to Ray Charles
12564 Li'l mama please don't start
12565 Come on baby
12566 Island blues
12567 I spend my life
12568 Sarah Jane
12569 This 'n that
The train won't wait

Track Listing

Lonely Avenue	Doc Pomus	August 20 1963
Don't Even Kick It Around	R. Lewis	August 20 1963
Salute To Ray Charles	R. Lewis	August 20 1963
Barefoot Sunday Blues	Jullian Adderly	August 20 1963
Island Blues	Charles Lloyd	August 20 1963
I Spend My Life	Eldee Young	August 20 1963
Act Like You Mean It	Eldee Young	August 20 1963
Sarah Jane	Dave Grusin	August 20 1963
The Train Won't Wait	R. Lewis	August 20 1963
Come On Baby	Holt & Lewis	August 20 1963

Liner Notes

JAZZ is such a large and beautiful thing; and part of its beauty is the space and the freedom it allows for development of many diverse and dissimilar styles, which can still properly be called jazz. (Although, no one has yet come up with a definition of exactly what jazz is, for which we should all be extremely thankful). Another marvelous aspect of the music, is that even when one style or persuasion of it becomes outrageously popular, you will still be able to find some very gifted performers working in completely alien areas. So that no matter how ubiquitous Bossa Nova or Soul-Funk-Groove ideas become throughout the music, there will be other serious workmen who will not be very interested in getting on that particular bandwagon.

This is true with Ramsey Lewis and his group, to a large extent. Lewis, Eldee Young and Red Holt have been content for a long time now, to go pretty much their own way, playing music they feel moved to play, without much concern for who else is doing what. Lewis has been playing the music he wants to play, in a style that is by now readily identifiable as his own.

Lewis' playing, as well as his music does not follow in fthe most familiar tradition of Negro piano music. There is little of the percussiveness and tension that characterizes the most famous jazz piano styles, from Montana Taylor to Horace Silver. Instead, Lewis has been interested in developing a more "pianistic" technique on the instrument, utilizing a touch and attack that rely very directly on under-statement and the subtle exploitation of the melody. And there have been quite a few outstanding jazz pianists that thought along these same lines, e.g., Teddy Wilson, John Lewis, Hank Jones and some others; preferring a light swinging facility to the heavier rhythm inspired piano, that I suppose can be called Classic. But even so, like these other pianists who have thought in similarly pianistic terms, Lewis is still very conscious that jazz is a blues based music, as almost any tune on this album will readily attest (but especially on tunes like Lonely Avenue, Don't Kick It Around, Train Won't Wait). In fact, there is a bluesy exterior to all of Lewis' efforts, even on latin flavored numbers like Come On Baby, with its anonymous soul sister whispering her sensous refrain. In fact, there is a bluesy exterior to all of Lewis' efforts, even on latin flavored numbers like Come On Baby, with its anonymous soul sister whispering her sensous refrain.

The gospel influence is also very apparent in the Lewis style, for instance, on tunes like Salute To Ray Charles, which sounds like incidental music at a prayer meeting, or on the slow, gauzy ballad, Sarah Jane, which still has very clear echoes of a kind of popular "gospel" music, without losing its essentially fleshy nuances.

The point is that Lewis is able to come on a lot of different ways and still maintain his essential musical character. That is, whether he is playing a neo-gospel piece, a latin-blues production number or a dreamy ballad, Lewis and his trio are still able to keep their familiar musical identity intact, creating a music that is light and breezy or gayly introspective, but always with continous reference to the most classic of Negro music, the blues.

And Mr. Lewis' blues references are usually made in the most polished and sophisticated terms imaginable, combining the natural facility I have already mentioned with the lilting urbanity that is his trademark. No matter what the tempo, he is aided and abetted at every step by a very sympathetic rhythm section, Eldee Young and Red Holt (and on this album, by Chris White on two of the tunes). But this trio has been together long enough to get a closeness and musical rapport that many groups in jazz lack merely because they can't play together long enough to really find a common groove.

But Ramsey Lewis' music does not need long explanations, nor windy advertisements. It has a straightforward uncomplicated excitement that cancommunicate without any trouble at all. And one need only play this record to find that out. Your ears will help you.

LeRoi Jones

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

LP-705

The Ramsey Lewis Trio - Bossa Nova

Released 1962

Recording and Session Information

Ramsey Lewis, piano; Jose Paulo ,guitar, pandeiro; Eldee Young, bass; Redd Holt, drums; Carmen Costa, cabaca,vocals
Yamaha Studio, San Francisco, California, September 22 and 25 1962

11903 O pato
11904 Manha de carnaval
11905 As criancinhas
11906 A noite de meu bem
11907 Roda moinho
11908 Canacao para Geralda
11909 Samba de Orfeu
11910 A felicidade
11911 Care de Palhaco
Generique

Track Listing

Samba De Orpheus	Jobin, Bonfa	September 22 + 25 1962
Maha De Carnaval (The Morning Of The Carnaval)	Jobin, Bonfa	September 22 + 25 1962
A Criancinhas (The Children)	Eldee Young	September 22 + 25 1962
A Noite Do Meu Bem (The Night Of My Love)	D. Duran	September 22 + 25 1962
O Pato (The Duck)	J. Silva	September 22 + 25 1962
Generique (Happiness)	Ramsey Lewis	September 22 + 25 1962
Roda Moinho (Whirlpool)	V. Guaraldi	September 22 + 25 1962
Cara De Palhaco (The Face Of The Clown)		September 22 + 25 1962
Canacao Para Geralda (A Song For Geraldine)	R. Lewis	September 22 + 25 1962

Liner Notes

ONCE IN A LONG, long while there comes along a musician who seems to have the knack of keeping his ear and his music in tune with the broad taste of thc public. He struggles along unheeded by the teeming throng, he may become recognized as a great neglectcd artist. If he is quickly and painlessly accepted and is financially successful, more than likely he will be classified as quote "commercial" unquote. For some logic-defying reason, money and acceptance in jazz can become the kiss of death.

The Ramsey Lewis Trio has been, since its inception, a "winner." The group suffered through no "dues paying" period per se. The three healthy, normal, well adjusted family men got together in Chicago, rehearsed, worked local clubs, recorded and became a popular attraction without ever leaving home. More than five years later the original musicians still with the trio as normal, well adjused family men - (same families). Commercially, the trio is the one shining exception to Chicago's traditional indefference to homegrown talent. Lewis & Company is an ovcrwhelming favorite in the Windy City. This album is a good indication of why.

For the past eighteen months, jazz has been floundering in the dregs of the waning "soul" movement. Writers, listeners, and music fringe craftsmen have been groping feebly for new, fresh ways of saying "It's the same old groove: badly mutilated and overdone." Meanwhile the serious jazz musician has been experimenting with a new idea. The perfected product is now bombarding the airwaves under the grandiose title of Bossi Nova.

In the past, American jazzmen have drawn on the latin culture for rhythmic variation; flavor and excitement in music. In the main, however, the latin harmonic limitations were not conducive to jazz improvisation. Melodies were undistinguished and almost horizontal in structure. There few challenging chord progressions or variations. The emphasis was strictly on rhythmic development.

In the late fifties, a new musical concept was becoming prominent in certain areas of Latin America. Primarily based in Brazil, a style was emerging which still employed the latin rhythms; but displayed more extensive harmonic breadth. Gradually, the melody began to stand out with an identity of its own. With this change, the latin music of Brazil began to lend itself more readily to jazz adaptation. There were fundamental compromises to be made before jazz and the Brazilian music were to fuse into a new "school."

The latin music was still basically a percussion orientated one; while in jazz, the piano is the only prominent percussion instrument and it is employed in a melodic or harmonic capacity as well as a rhythmic one. Often jazz musicians, accustomed to playing primarily in flat keys found themselves faced with the dilemma of either transposing this music and possibly losing some of its subtle connotation or playing it in the unfamiliar, sharp keys. There were infinite variations in instrumentation to be adjuested to.

It was Ramsey's task to make these adjustments within matter of days. Having become acquainted with the music as a listener and admirer, he set about learning the technical fundamentals of the form. He was fortunate in having Josef Paulo and Carmen Costa to woodshed with the trio. These artists are two of the most sought after performers in the Bossa Nova rage. So thoroughly did the trio become entrenched in their music, that both Lewis and Eldee actually contributed original tune to this date.

By this time, "Bossa Nova" is the big thing in jazz and everyone should have become familiar with the term. For those who may not have heard yet, "nova" means new and there is no literal English translation for "bossa." Very, very loosely, it represents the equivalent of our slang "bag" or "thing." Ironically, there is a similar Russian pronunciation which means "barefoot"; that should result in an International definition "new barefoot" music. Somehow, the term seems appropriate for the Ramsey Lewis Trio whose music has always been synonymous with that which is and "of the people."

Again this unit has responded to the music of the hour. Today, the listening public is halfway between the emotional outpourings of the "soul" school and the exciting rhythmic beckoning of Bossa Nova. This album is a happy balance embodyipg both.

Barbara J. Gardner

LP-701

The Ramsey Lewis Trio – Country Meets The Blues

Released 1962

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass, cello; Redd Holt, drums; Lew Douglas (dir, strings), Oliver Nelson (dir, reeds)
Bell Sounds Studios, New York, August 2+3 1962

11808 Your cheatin' heart
11809 St. Louis blues
11810 Memphis in June
11811 Country meets the blues
11812 Blueberry Hill
11813 High noon
11814 I need you so
11815 I just want to make love to you
11816 Tangleweed 'round my heart
11817 Bucket's got a hole in it

Track Listing

Your Cheatin' Heart	H. Williams	August 2+3 1962
St. Louis Blues	W. C. Handy	August 2+3 1962
Blueberry Hill	Lewis, Stock, Rose	August 2+3 1962
Country Meets The Blues	R. Lewis	August 2+3 1962
Memphis In June	Carmichael	August 2+3 1962
High Noon	Tiomkine, Washington	August 2+3 1962
I Need You So	Hunter	August 2+3 1962
I Just Want To Make Love To You	W. Dixon	August 2+3 1962
Tangleweed 'Round My Heart	Wyatt, Kelley	August 2+3 1962
My Bucket's Got A Hole In It	C. Williams	August 2+3 1962

Liner Notes

JAZZ is a feeling rather than statement. An unmistakable feeling of self expression, of independence, of the individual speaking and living in harmony with his fellow men. This is a feeling which can be communicated.

Jazz appreciation is not limited to social or economic groups. Jazz is for everybody, for everyone who will listen.

The scope of jazz has widened as it has spontaneously developed contrapuntal melodies. Jazz has an important story to tell; as such innovators as 'John Lewis, Charlie Parker, Thelonious Monk and John "Dizzy" Gillespie'' have all given to its telling — a structure, an intellectual appeal rivaling its emotional impact. Their contributions have made jazz a rich and fertile music, exciting, alive and stimulating, to the mind as well as to the heart. The contributions to jazz did not stop With the aforementioned, but you Will find it to be ever increasing.

Young men and women 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 young man today most qualified of the above mention is...Ramsey E. Lewis Jr. who was born in Chicago just 26 years ago. Ramsey has a background most musicians envy.

His studies started at the tender age of six. He continued to equip himself at De Paul University where he also became a student of the classics and thus the leader of the Ramsey Lewis Trio was born.

This trio (and I might add, is the most popular in the country today) consists of bass and cello player extraordinary, Eldee Young, who is also from Chicago.

The brilliant drummer, from Rosedale, Mississippi, raised in Chicago, is Isaac "Red" Holt. Three of the most brilliant minds ever applied to jazz.

The Ramsey Lewis Trio find themselves in a setting not familiar to some but one which find the group right at home, with the blues — and a little country feeling added for flavor.

Here, Ramsey has the assistance of strings and voices, under the leadership of Lew Douglas, and a very unique brass section lead by none other than Oliver Nelson. The "treatments" you will find to be indescribably beautiful. String and voices may lead you to believe that the group doesn't swing...quite the contrary...Ramsey is in full charge all the way and SWINGS. The group swings extra hard on "My Bucket's Got A Hole In It", making for smooth dancing and very commercial. Another highlight of the set is the trio's confession of "I Just Want To Make Love To You." The trio is into a great groove with Eldee on Cello and out front all the way.

This is Ramsey Louis utilizing Country and Blues, as a truly soulful music to underline a variety of musical situations as only Ramsey Lewis can do it, BEAUTIFUL.

Al Clarke
House Of Jazz
Radio WJMO
Cleveland, Ohio

LP-693

Ramsey Lewis Trio - The Sound Of Spring

Released 1962

Recording and Session Information

Ramsey Lewis Trio
Ramsey Lewis, piano; Eldee Young, bass; Isaac (Red) Holt, drums
United Studios, Hollywood, February 14, 15 1962

11522 Sound of spring
11523 Spring can really hang you up the most
11524 Blue spring
11525 Spring is here
11526 Spring will be a little late this year
11527 Spring fever
11528 It might as well be spring
11529 Soft winds
11530 There'll be another spring
11531 Truly, truly spring

Track Listing

Sound Of Spring	Ramsey Lewis	February 14, 15 1962
Spring Can Really Hang You Up The Most	Tommy Wolf	February 14, 15 1962
Blue Spring	Ramsey Lewis	February 14, 15 1962
Spring Is Here	Hart, Rodgers	February 14, 15 1962
Spring Will Be A Little Late This Year	Frank Loesser	February 14, 15 1962
Spring Fever	Ramsey Lewis	February 14, 15 1962
It Might As Well Be Spring	Hammerstein	February 14, 15 1962
Soft Winds	B. Goodman	February 14, 15 1962
There'll Be Another Spring	Lee, Wheeler	February 14, 15 1962
Truly, Truly Spring	Eldee Young	February 14, 15 1962

Liner Notes

Spring has never been at a loss for musical representation. Throughout the centuries it has been interpreted in a broad range of sounds. This diversity of concepts is reflected in the vernal viewpoint of Ramsey Lewis, ranging from the gentle rustle of strings on the first side to the diversified rhythms of the trio on the second.

Because this album may bring him a substantial accumulation of new followers, some of whom may be unfamiliar with the men's backgrounds, a few vital statistics may be worth repeating. Born in Chicago May 27, 1935, Ramsey studied privately from the agc of six, later attending Chicago Musical College and De Paul University. ("However," he says, "I credit most of my musical accomplishments to Miss D, Mendelsohn, my instructress.' Music has been the focus of his life from the start: with a mother who sang in the church choir a father who directed it, as well as two sisters who studied piano extensively; he never considered the possibility of any other career. He was an early aåmirer of Art Tatum and Bud Powell, but considers John Lewis and Oscar Peterson his main influences.

Eldee Young, also Chicago-born (January 7, 1936) has a similar background. His father played guitar and mandolin. Eldee studied guitar with his brother, Carl; played guitar and bass in high school, and studied at the American Conservatory of Music in Chicago. He began his professional career early, going on the road with rhythm-and-blues singer Chuck Willis in 1954.

Isaac (Red) Holt, born May 16, 1932 in Rosedale, Mississippi was raised in Chicago and was a childhood friend of Ramsey and Eldee, playing with them in a teenage band. Red studied at Crane Tech., later playing in an Army band in Germany, in 1955.

Riley Hampton, a virtual fourth wheel who makes the trio move on Side 1, is best known for his skillful backgrounds for Etta James, and was previously associated with Ramsey in the Sound of Christmas album. The instrumentation here includes seven violins, three violas, two cellos and the trio. It is to Hampton's credit that instead of bogging the trio down in a mollsses-like wasteland of sirupy sounds, he has used the instrumentation to provide coloristic contrasts and orchestral variety.

The opening title number offers a striking demonstration of this mood manipulation. The piano states the theme in orthodox fashion, with obbligato comments from the strings. In the second chorus Ramsey takes over ad lib, and suddenly it swings.

Spring Can Really Hang You Up The Most is one of those rare tunes that managed to become a standard Without ever having been a hit. Tommy Wolfe wrote it in 1952, and for the first couple of years couldn't even get record on it. Ramsey and Riley use this exceptional melodic vehicle in an effective wedding of piano and strings.

Ramsey's own Blue Spring impressively meets the challenge of the paradox inherent in the juxtaposition of funky blues and dignified strings. The side concludes with two durable ballads, Richard Rogers' Spring Is Here from I An Angel, and Frank Loesser's wistful Spring Will Be A LIttle Late This Year, which dates back to 11944.

The string-sectionless side is inaugurated lustily by Ramsey's attractive Spring Fever, with gospel-funk overtones as Well as Latin touches, deftly accented by the remarkable work of Red and Eldee. It As Well BeSpring, another child of spring-expert Rodgers, is notable for the contribution throughout of Eldee, from the arco introduction through the intriguing lines during the chorus, with a repeated use of four eighth notes followed by a pause.

Soft Winds has been familiar to jazzmen ever the Benny Goodman Sextet, with Christian and Hampton, cut it in 1939. This, it seems to me, is the most unremittingly swinging track of the album, with expert work by Ramsey and unflagging support from his rhythm team.

Hubie Wheeler's lovely melody There'll Be Another Spring, for which Peggy Lee wrote lyrics (and which she introduced in an album co-starring with George Shearing) is given a gentle, graceful treatment. The final track, Truly Spring, reveals that Eldee is making rapid strides as a cellist, inspired no doubt by his bass and cello favorite, Ray Brown. Eldee's composition is charming, his solo work light and nimble as if he were playing guitar, and the whole treatment, complete with tambourine effects, has an element of humor. This is a welcome quality in these sometimes unduly pompous days.

Samuel Butler once remarked that youth, like spring, is an overpraised season, "more remarkable for biting east winds than genial breezes." This was just his nineteenth century way of pointing out that it can really hang you up the most. These sides, though, prove how wrong he was. The case for youth is well served by Lewis, Young and Holt; spring is no less handsomely attended by the swinging winds of this rhythm section and the supple (even genial) zephyrs of the strings. The result is an album that will offer easy listening throughout the four seasons.

Leonard Feather

LP-687X

Ramsey Lewis Trio - Sound of Christmas

Released 1961

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Chicago, 1960

10513 Santa Claus is coming to town
10514 Winter wonderland
10515 Hey Mr. Ray (unissued)
10516 Teardrops from my eyes (unissued)

Chicago, October 1961
11248 Christmas blues
11249 Merry Christmas
11250 Here comes Santa Claus

Addtional 10 unknown strings added, Riley Hampton, arranger

11251 What are you doing New Year's Eve?
11252 The sound of Christmas
11253 God rest ye merry gentlemen
11254 Sleigh ride
11255 The Christmas song

Track Listing

Merry Christmas Baby	Charles Brown	October 1961
Winter Wonderland	Smith, Bernard	October 1961
Santa Claus Is Coming To Town	Gillespie, Coots	October 1961
Christmas Blues	Ramsey Lewis	October 1961
Here Comes Santa Claus	Autry, Aldeman	October 1961
The Sound Of Christmas	Lewis, Hampton	October 1961
The Christmas Song	Torme, Wells	October 1961
God Rest Ye Merry Gentlemen	Arranged By – Ramsey Lewis	October 1961
Sleigh Ride	Anderson, Parish	October 1961
What Are You Doing New Year's Eve	Frank Loesser	October 1961

Liner Notes

MERRY Christmas to everyone and especially jazz lovers, but more especially to Ramsey Lewis Trio lovers.

Ramsev and his piano, along with Eldee Young on bass and Red Holt on drums, have put together some of the greatest Christmas sounds ever waxed in the jazz vernacular. And the best part of this album is that it won't go out with the season, because the sounds on many of the cuts such as Christmas Blues and The Sound of Christmas, which by the way are originals, are good jazz 365 days a year.

On Side l, you will hear typical Ramsey Lewis piano. (I would imagine the piano had to be tuned after each track)! They start off with Merry Christmas Baby, with a beautifully melodic introduction, and Ramsey's strong touch taking over as it progresses. Winter Wonderland and Santa Claus Is Coming To Town are two numbers that the trio have done before, and Here Comes Santa Claus swings in the same light cheerful style. Christmas Blues, however, is something else. This tune, along with The Sound Of Christmas, stands out in my mind as the two best pieces of work in the album.

Having already jumped to Side 2, I would like to mention that if Mel Torme and Leroy Anderson, who wrote The Christmas Song and Sleigh Ride, in that order, were to hear the performances of their labors as done by Ramsey, Eldee and Red, they would have to admit "Like it ain't never been done like this before". I hope Mr. Torme and Mr. Anderson will excuse the paraphrasing, but I just can't find better words to describe the interpretation given these two cuts.

God Rest Ye Merry Gentlemen, one of the most beautiful Christmas carols ever written, will satisfy the "Carol Singers" as well as the "Hippys". And closing out the album is one of my all-time favorites, What Are You Doing New Year's Eve. I don't mind saying it absolutely "flipped" me.

This album marks the first time the trio has recorded with strings. Side one features the trio only, but on Side two, they are accompanied by a beautiful string section, conducted by Riley Hampton. After you've listened to this side, I'm sure you will agree that the trio should continue to utilize strings in the future in at least a portion of each album.

While you're listening to The Ramsey Lewis Trio's SOUNDS OF CHRISTMAS, please keep in mind that all of us wish all of you a very Merry, Swingin' Christmas.

Nelson Noble

LP-686

The Ramsey Lewis Trio - Never On Sunday

Released 1961

Recording and Session Information

Ramsey Lewis Trio
Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Chicago, August 10 & 11, 1961

11138 The ripper
11139 I got plenty o' nuttin'
11140 Water boy
11141 Thanks for the memory
11142 Cielito lindo
11143 You just don't care
11144 Never on Sunday
11145 You've changed
11146 The breeze and I
11147 Exactly like you

Track Listing

The Ripper	Ramsey Lewis	August 10 & 11 1961
I Got Plenty Of Nothing	Gershwin, Gershwin	August 10 & 11 1961
Waterboy	Arranged By – Ramsey Lewis	August 10 & 11 1961
Thanks For The Memory	Robin, Rainger	August 10 & 11 1961
Ceilito Lindo	Arranged By – Isaac Holt	August 10 & 11 1961
You Just Don't Care	El Dee Young	August 10 & 11 1961
Never On Sunday	Hadjaidakis	August 10 & 11 1961
You've Changed	Carey, Fischer	August 10 & 11 1961
The Breeze And I	Stillman, Lecuona	August 10 & 11 1961
Exactly Like You	Fields, McHugh	August 10 & 11 1961

Liner Notes

THERE are two kinds of music listeners in the world of jazz as in all other kinds of entertainment. First, there is the social devotee who spins his "sides" whenever the notion strikes his fancy. He has the discretion of selecting what he wants to play, when and for how long. His record collection is the bona fide guide to his personal taste in waxing pleasure. There is little room for pretense or pretext here. The social devotee shells out cash on the line for his records and each niche filled on his record shelf represents a corresponding void in his bank account.

On the other hand, there is the professional listener. He listens, literally, for years on end. At times it seems as though the mountain of music to be listened to is never-diminishing. His collection is multitudinous. It is comprised primarily of records he has had to play. Few of the dozens of records received regularly ever reach that special corner in the record library rcscrved for those albums one wants to listen to again, if ever that mountain diminishes!

As a jazz disc jockey for some several years, I suppose I have developed a tolerant ear of the professional listener. Occasionally, a musical unit along which has that spark of vitality and freshness, mixed with just the proper portion of talent and musical presence, to stand these rather blasé old ears on their ---s, to put it precisely.

The Ramsey Lewis Trio story is one of those made-in-Hollywood tales heard much too infrequently in real life. The three, healthy young men of the same environment decide to improve their lot through playing music. They band together and find that the trio has an unbelieveable, scintillating cohesion right off the bat. They receive influential backing from prominent entertainment leaders, and are booked into and play to SRO audiences in a sophisticated downtown nightclub. A record contract follows and their albums plummet them into the national spotlight. A successful trip around the jazz circuit and growing audience appeal firmly establish the trio as one of the jazz units which is here to stay in an era when groups crop up, blossom and die like an Ephemerida.

This album will give ample evidence of why the trio has continually renewved its lease on public appeal. All of the spontaneous, alive, animation which characterizes the Ramsey Lewis Trio is here faithfully reproduced. As you listen, note that accepted traditions in jazz serve only as guideposts for these three, adventuresome young musicians. Mood, rhythm, instrumentation, utilization of personnel are skillfully manipulated to show off the tune to its best advantage. The material recorded here is deliberately varied and comprehensive. This unit has no "groove" in which they are compelled to play. True, the one word most often associated with their efforts is "funky," this is a treatment rather than a restrictive style. The selections here range from showtunes to folk songs to gutty, earthy blues. Each tune is treated with its own special. portion of the Lewis magic; and becomes an infectious, delightful listening experience.

It is really no wonder that the Ramsey Lewis Trio is the mutual choice of both the social and the professional listener when one wishes to listen for sheer delightful enjoyment.

There must be one word of caution added. Much has been said of the carefree ease with which the unit rollicks through its chores. This is a deceptive ease acquired from mastery of their instrumnents and the material hand. At times, one is startled at the precision and unity of musical approach which marks their work. The interplay between instruments, the uncanny complimentary support, the deliberate dips into rhythmic variety; all indicate the self assurance and musical maturity which grows more evident with each recording.

This is their latest offering and by virture of the above stated reasoning, it must be conceded that this is their most challenging. They approached the task with responsibility, and the recording will undoubtedly find a haven in the preferred record nooks of listeners of all types.

LP-680

Ramsey Lewis Trio - More Music From The Soil

Released 1961

Recording and Session Information

Ramsey Lewis Trio
Ramsey Lewis, piano; Eldee Young, bass, cello; Redd Holt, drums
Chicago, February 16 & 17 1961

10699 Around the world in 80 days
10700 Since I fell for you
10701 Hello cello
10702 I'll wait for your love
10703 Volga boatmen
10704 Blues for the night owl
10705 Smoke gets in your eyes
10706 Autumn in New York
10707 Gonna set your soul on fire

Track Listing

Around The World In 80 Days	Adamson, Young	February 16 & 17 1961
Since I Fell For You	B. Johnson	February 16 & 17 1961
Hello, Cello!	Young, Lewis, Holt	February 16 & 17 1961
I'll Wait For Your Love	Davis, Head	February 16 & 17 1961
Volga Boatman	Arranged By – Young, Lewis, Holt	February 16 & 17 1961
Blues For The Night Owl	Bernard, Thompson	February 16 & 17 1961
Smoke Gets In Your Eyes	Kern, Harbach	February 16 & 17 1961
Autumn In New York	Vernon Duke	February 16 & 17 1961
Gonna Set Your Soul On Fire	Young, Lewis, Holt	February 16 & 17 1961

Liner Notes

THE seeds of this musical bumper crop were planted long ago when Ramsey Lewis, bassist Eldee Young, and drummer Red Holt played together in a teen-age band in high school days. They grew musically into manhood weed-fast and corn high, and, not long after their trio was formed in late 1956, Jack Tracy, then editor of Down Beat foresaw: "This group could hit the heights of acclaim achieved by such as Shearing, Brubeck, and Garner.

High and mighty, you will hear on this album the finest argument for such a reality and, if you're not careful, the glorious force of it will knock you down. Here is their musical philosophy, their product of maturity, the synthesis of their lives and loves and academic training, their hopes, dreams, and fears boldly stated by young giants at the top of their emotions; unashamed and unafraid to bare hearts as big as the Empire State building. It definitely establishes them as a major force in jazz.

I have been privileged to watch the growth of this trio from close vantage point. I have seen them in north side Chicago cellars when the trio was new and the crowds were small and their names unknown. And I have seen crowds four abreast and rounding a block to hear them at Detroit's Minor Key. I have seen big tears well in the eyes of Ramsey when he takes a little bit of melody up in his finger tips, caressing each note with heartbreaking tenderness. And I have seen Eldee so overcome with his bass that he had to go someplace and sit down. And I have seen Red go mad from the sheer joy of swinging. It is no wonder to that this musical trinity, each of them infused into each other, speaks so eloquently as single voice.

I was also at the birth of this album. Then Ramsey was seated at a big seven-foot Steinway, and five-foot-nothing Eldee, dwarfed by his bass, was made two inches higher because Ramsey had put a pillow under his right foot to muffle the sound of its tapping, They had put an enclosure around Red and sometimes you could see the flash of his teeth bctwccn the 22-inch and 15-inch cymbals. Ramsey had a chart of only 21 bars (some of the changes to Autumn In New York) for the entire session and it rested on the piano top along with Eldee's Austrian rosin, crushed pack of filter tip smokes, and the calling card of an optometrist who had repaired Ramsey's broken glasses that day.

In the control room, engineer Ron Malo mixed the sound from the three microphones and Jack Tracy called out the first tune on side one: "Take One, Around The World In 80 Days." Ramsey kicked it off up tempo. They did it six or seven times before they were satisfied with it and Eldee said quite frankly after it Was over: "I don't have anything to say about this one. It didn't offer much challenge except for the solo, because I hadn't prepared myself for it. I felt I met it, though. I felt it was a completely improvised solo, representing the best I could do at that time. But then I've never played any solo that I didn't think I could improve on." Put in Ramsey: "I found this one exciting but not the best on album." Red just smiled.

Ramsey had a special feeling about the blues ballad I Fell For You because it was written by Paul Gayten, former pianist and now Argo's west coast representative, who encouraged him throughout his career and was one of the first to champion his cause. Hello, Cello! was written by the trio and marked Eldee's recording debut on that instrument, which, with stand extended, was exactly his same height. What you hear on this is an excellent statement, but an earlier take might have been better. It was never completed, however, because in the middle of it Eldee became so emotionally involved he had to put his instrument down for a minute. Eldee liked it, but had little to say of the chosen take. Said Ramsey: "After Eldee irons out himself he will place second only to Oscar Pettiford if not extend him on that instrument." Red just smiled.

I'll Wait For Your Love is a ballad which Ramsey dedicated to the writers, Elizabeth Davis and Robert Head of Pittsburgh. "It's part of our book, one of our most popular tunes and the lyrics are just as effective as the music," Ramsey said, confessing: "I love to play ballads best of all. I'm an incurable romantic and I don't care who knows it." It shows through on this one. The side ends on The Song Of The Volga Boatmen, interesting and up-tempo.

Side 2 opens with Blues For The Night Owl. "I think this is one of the highlights of the album," Ramsey said. "I relate this to high school days. I would finish my homework and go to bed to that tune. It was disc jockey Sid McCoy's theme song. But then most of the things we did on this album have special meaning to us."

Perhaps of equal effect is Smoke Gets In Your Eyes, done here in 3/4 time. And after it was over Ramsey confided: "You know I gave Red a nickname that describes the way I feel about him, I call him Old Ironsides. I can be tired and don't feel like I have it during some sets and he'll come through with all the spark. We've never found his battery down." Eldee nodded his agreement. Red just smiled.

Autumn In New York was truly inspired. And Ramsey was feeling that way. The ending, heavy and dramatic, is all the more effective because of his insertion of a Manhattan phrase.

Gonna Set Your Soul On Fire, which completes the album, was in effect the Second Baptist church of their childhood revisited. Nobody can touch them on this one. It is fire and brimstone.

This album to me suggests jazz at its best. There is nearly a quartet of a century of conservatory training invested in this trio, but the academic devices serve only to facilitate the outpouring of soul. It is a perfect marriage. It is more music from the soil.

Marc Crawford