LP-696

Red Holt – Look Out!! Look Out!!

Released 1963

Recording and Session Information

Floyd Marvin, trombone; Wallace Burton, alto saxophone; Ramsey Lewis, piano; Roland Faulkner, guitar; Eldee Young, bass; Redd Holt, drums
Ter Mar, Chicago, December 1961

11363 Red sails in the sunset
11364 Stella by starlight
11365 Soul mist
11366 I cover the waterfront
11367 Look out no.1
11367 Look out no.3
11368 Drum drunk
11369 My favorite things
11370 Little Liza Jane
11371 Sanctified woman
11372 To-night
Ghost riders

Track Listing

Look Out No. 3	Red Holt	December 1961
Little Liza Jane		December 1961
Favourite Things	Rodgers, Hammerstein	December 1961
Red Sails In The Sunset	Kennedy, Williams	December 1961
Drum Drunk	Red Holt	December 1961
Soul Mist	Holt-Lewis-Young	December 1961
Ghost Riders	Edw. Kay	December 1961
Stella By Starlight	Young, Washington	December 1961
Sanctified Indian	Red Holt	December 1961
I Cover The Waterfront	Green, Heyman	December 1961
Tonight	Bernwtein, Schirmer	December 1961
Look Out No. 1	Red Holt	December 1961

Liner Notes

LOOK OUT!! LOOK OUT!! Here comes Isaac "Red" Holt and Company taking you on a musical journey that should impress you most favorably.

Red Holt — the man — is sensitive and sincere. You get the impression he's always striving to say, "This is the way I truly feel. I've got a statement to make, hear me out." He's unpredicable, entertaining and magnetic.

Of course most of you are already familiar with Red through his long participation as percussionist with the Ramsey Lewis Trio. He, Ramsey, and Eldee Young have been making wonderful music for many years and the popularity of the group is a tribute to the discerning taste of the music loving public. The trio invariably works before packed audiences and its record releases areenthusiastically received.

Red Holt — the percussionist — is dynamic, confident and thoroughly professional. Through the years he has been the anchorman in the Ramsey Lewis Trio. His wonderful sense of rhythm and tasteful showmanship have been essential to the success of the group. The powers at Argo Records thought it would be a good idea to spotlight Red as leader on a record session and we're inclined to believe it was a very wise move. Naturally, Ramsey Lewis and Eldee Young were present on piano and bass and to round out the group, add tonal color and instrumental excitement Red wisely chose the fine jazz talents of Floyd Marvin, Roland Faulkner and Wallace Burton.

On this particular record date, it would be easy to say that the many moods of "Red" have been recorded with musicians that have been close to him for most of his musical life. Each one having something definitely in common with the others. That magnetic cohesion of minds, each anticipating the other in collaborating to give a careful blend of melodic, swinging and exotic sounds in jazz.

If this is your first time entering the world of jazz, you've picked a masterful jazz story teller in Mr. Holt. If you're a long time member in our exciting world of jazz, enjoy it!! So have fun, sit back, relax and close your eyes if you can and will, let the musical images take form, you see they'll definitely come alive with vibrancy for you, "the many connoisseurs fine music," for only you and the will have reality now!! Music is recorded, yes...it is the very best in recorded music, so...LOOK OUT!! LOOK OUT!! Hear "Red" Holt and Company.

LeBaron Taylor
Radio WCHB
Detroit. Michigan

LP-695

James Moody - Another Bag

Released 1962

Recording and Session Information

Paul Serrano, trumpet; John Avant, trombone; James Moody, tenor saxophone, flute; Kenny Barron, piano; Ernest "Ernie" Outlaw, bass; Marshall Thompson, drums
Ter Mar, Chicago, January 30 1962

11438 Minuet in G
11439 The day after
11440 Cup bearers
14441 Sassy lady
14443 Ally (parts 1,2,3)
14444 Pleyel D'jaime
14445 Spastic

Track Listing

Sassy Lady	Tom McIntosh	January 30 1962
Ally (Parts 1, 2, 3)	Tom McIntosh	January 30 1962
Spastic	Ken Duhon	January 30 1962
Minuet In G	Tom McIntosh	January 30 1962
Cup Bearers	Tom McIntosh	January 30 1962
The Day After	Tom McIntosh	January 30 1962
Pleyel D'Jaime	Dennis Sandola	January 30 1962

Liner Notes

JAZZ IS AMERICAN...as American as fire crackers on the fourth of July or presents at Christmas. Jazz is our own unique music that grew, grew and grew until the whole world sat up and listened. It is the music best suited to express sad and happy moods. Jazz expresses all aspects of life. Never before has so much of life been put into sound as has been put into the patterns of jazz.

The story of James Moody parallels the story of jazz here in America and around the globe. James Moody has carried jazz almost around the world, spreading its message to kings and queens, and to the common people...whoever would listen. The growing acceptance of jazz has more than ever created good will, established friendly ties and broken down racial barriers. Yes the mutual bond of jazz appreciation has helped to dissolve differences between men of every race and color enabling these men to work together with a common cause.

James Moody, age 37, born in Savannah, Georgia, tenor, alto and flute, he is an arranger, composer and leader. Moody's musical career has gone thru many changes...changes not only musically, but physically. I think his "LAST TRAIN FROM OVERBROOK" has given not only him confidence, but the poor seeing eye public, the chance to respect and understand a musician of very high musical ability.

Like all the arts, jazz has its faddists. Let's forget them; they are a fringe minority. It is the major aspects of this art-form which concern us.

In this album you will hear a cross section of the past ten years of James Moody's works...From the early 50's, in Europe, to one of his best selling LPs to date, "Moody With String" (ARGO LP 679).

The beautiful originals here receive exquisite performance at the hands of arranger, Tom McIntosh; five young brilliant musicians and the leader James Moody.

"1n Another Bag," opens with "SASSY LADY," which is very reminiscence of SOFT WINDS, this is Moody on tenor making use of this new material which he treats with love and tender care. "ALLY," follows, as Moody on flute treats the intro gently, and then it swings with Moody taking over on alto. The trumpeter is Paul Serrano; Ken Barron at piano while Moody returns to flute and a beautiful ending.

"Spastic," is an amazing tenor saxophone performance by James.

"Minuet In G," is the most sensitive with a waltz beat, with James on flute, "Cup Bearers," is the happy sound with everyone getting a chance to say something nice. "The Day After," the flute employed again seems to tell a sad story, but one which is told With great interest.

PLEYEL D'JAIME...Sounds to me a bit like one expressing a tear of love in a happy sort pf way...thus Moody on alto wraps up ANOTHER BAG Of beautiful sounds, and if I may repeat myself, this is James Moody at his finest, and heard in a setting that supports him wonderfully well...the band and the arrangements of Tom McIntosh.

AL CLARKE
HOUSE OF JAZZ
WJMO
CLEVELAND, OHIO

LP-694

Lorez Alexandria - Deep Roots

Released 1962

Recording and Session Information

Lorez Alexandria
Lorez Alexandria, vocal; John Young, piano; Vernel Fournier, bass; George Eskridge, drums
Chicago, February 13, 14 1962

11493 Almost like being in love
11494 Spring will be a little late this year
11495 Softly, as in a morning sunrise
11496 I want to talk about you
11497 Trav'lin' light
11498 Detour ahead
11499 No moon at all
11500 It could happen to you
11501 Nature boy
11502 I was a fool

Track Listing

Nature Boy	Ahbez	February 13, 14 1962
I Was A Fool	Pate	February 13, 14 1962
No Moon At All	Mann, Evans	February 13, 14 1962
Spring Will Be A Little Late This Year	Loesser	February 13, 14 1962
Softly As In A Morning Sunrise	Hammerstein II, Romberg	February 13, 14 1962
Detour Ahead	Ellis, Frigo, Carter	February 13, 14 1962
It Could Happen To You	Van Heusen-Burke	February 13, 14 1962
Travlin Light	Mundy, Mercer, Young	February 13, 14 1962
Almost Like Being In Love	Lowe-Learner	February 13, 14 1962
I Want To Talk About You	Eckstine	February 13, 14 1962

Liner Notes

MY PREDECESSORS here, on the informative side of a Lorez Alexandria album jacket have been much more professionally qualified than I, in passing musical judgment on the engraven image within; and much more informative.

Both Miss Gardener and Mr. Gleason are known for their knowledgable critiques and essays on jazz and popular music. So, when Lorez asked me to write these notes just couple of weeks after I had met her, I hastened back to the enjoyable #663 and #682 in the Argo catalog to read the Gardener, Gleason enlightenment.

Then it became apparent that the one word I have thought and felt about Lorez singing these past six or scvcn recording years was the essence of Gs and Ralph Gs annotations. They both refer to the freshness and creativity of her singing. Perhaps, that's why I've enjoyed hearing her on record these past years, since I have yet to hear her in person. Perhaps her creativity, and surely her warm, articulate voice uncluttered by trickery, have contributed to my increasing enjoyment of her records.

Most of all, I enjoy Lorcz because she sings like Lorez.

I'm getting kind of sick Of the increasing flood of new albums by young girl vocalists — those plaster of Paris copies of the originals with all the warmth and expression of ice cubes.

In her uncomplicated way, Lorez moves from the slowest ballad to the brightest swinger with amazing facility. She seems to tailor the tones of her voice to fit the pace, mood, storyline, and especially the words of a song. It is here, in what I guess they call interpretation of a song, that I find my biggest kick in listening to Lorez, Take '"Travlin' Light." How many singers try to phrase it like Billie Holiday did? Now listen to Lorez sing it. Here, the opening and tag of the tune are as arrestingly refreshing as anything I've in a long, long time. For crying out softly, this is as plaintive a treatment as the Mundy classic can get. The mood of the other ballads in here cries just as tenderly. That fragile little lament "Spring" Lorez handles so gently, you get a feeling that she is scared, and it'll shatter if dropped. And in "Detour Ahead," she warns of it like you'd have to go clear back, through and around Upper Nowhere to get back on the main drag. The same clarity of voice and lyric interpretation prevails in Johnny Pate's "I Was A Fool" and Billy Eckstine's "I Want To Talk About You." Throughout these tracks, John Young's kind of crystalline piano seems as though it's every aim is to encrust Lorez's warm lovely voice with scatters of diamond chips. Israel Crosby's bass, Vernel Fournier's drums, and George Eskridge's guitar plumping up the velvet pillows to catch the gems. It's probably the way Lorez sings the words mood I'm in" in "Almost Like Being In Love" that prompted the above, but I don't care as she evokes odd little pictures like that when I hear these tracks. Luckily I don't write for a living, and radio is so evanescent, that you get away with random vagaries like that, now and then. There's a lot of fun ahead for you in the nice, easy, loose, up-tempo "Softly", "No At All", and "It Could Happen". There's a paucity of notes in her treatment of "Moon" and then she gets that playful, childlike gleam in her voice as she romps along with Howard McGhee in "It Coud Happen" - and it does. As for "Nature Boy", he's quite a changed personality since Nat covered him years ago.

Almost every time I've played one of Lorez's tracks over the past few years I've said that I hoped that someday she would get outr to the coast so we could hear her in person, never realizing when that someday would be. Well, it happened not long ago when Carmen McRae was at the Blackhawk in San Francisco. I'm a big Carmen McRae fan and she was a tremdous hit last year at the Monterey Jazz Festival. One recent night, Carmen introduced Loret from the stage, and after the set and the initial shock was over, I went up to Lorez and introduced myself. The following day she came over to KFRC for a twenty minute interview and those are the only times I've seen or talked to her.

About seven years ago I got her first album, listened, called the all-knowing Ralph Gleason at home, and launched into a small rave. All-knowingly, he said he knew how fine Lorez sang, that she was a REAL jazz singer, and she deserved more plays on the air than she was getting. I agreed. I still do. In our format of good sounds here on KFRC in San Francisco all of the guys dig Lorez, and so do our listeners. That's a nice combination.

Jimmy Lyons
KFRC
San Francisco