Al Grey Featuring Billy Mitchell – Snap Your Fingers
Released 1962
Recording and Session Information
Donald Byrd, trumpet; Al Grey, trombone; Billy Mitchell, tenor saxophone; Bobby Hutcherson, vibes; Herbie Hancock, piano; Herman Wright, bass; Eddie Williams, drums
Birdland, New York, January 31 1962
11471 Hush
11472 Minor on top
11473 African lady
11474 Grey's blues
11475 Home fries
11476 On Green Dolphin Street
Hi fly
11724 Dirty low down blues
11725 Why was I born?
11726 Nice and easy
11727 Heavy soul
Dave Burns, trumpet; Al Grey, trombone; Billy Mitchell, tenor saxophone; Bobby Hutcherson, vibes; Floyd Morris, piano; Herman Wright, bass; Eddie Williams, drums
Ter Mar, Chicago, February 19 1962
11503 Three-fourth blues
11504 On Green Dolphin Street
11505 Nothin' but the truth
11506 R.B.Q.
11507 Just waiting
Track Listing
| Nothing But The Truth | Bowen | February 19 1962 |
| Three Fourth Blues | G. Kee | February 19 1962 |
| Just Waiting | M. Liston | February 19 1962 |
| R.B.Q. | Gene Kee | February 19 1962 |
| Green Dolphin Street | Kaper, Washington | February 19 1962 |
| Minor On Top | T. Jones | January 31 1962 |
| African Lady | M. Liston | January 31 1962 |
| Hi Fly | R. Weston | January 31 1962 |
Liner Notes
IN the jazz business, friendships and alliances are formed and broken off constantly. A few long hauls in the back of a band bus together; a night off in a small town a thousand miles from New York or home; a jam session after hours in the back room of the club — a friendship is born. Not just a casual acquaintanceship, but a warm comfortable relationship during which great respect is born, dreams are shared and secrets are bared. Often as quickly it has been spawned, this friendship flutters and flitters away. There is no great hassle over quiet disappearance for months of a "good buddy". For the length of its existence, the alliance was a healthy, stimulating one.
Occasionally, the ties which formed continuous and the musicians remain in touch, and at the earliest possible time, one makes a place for his buddy in the group in which he works. Such is the case with Al Grey and
Billy Mitchell. The two men have been friends for well over a dozen years. They have worked together in bands led by noted jazz leaders, and once before they attempted to co-lead a unit of their own. The venture failed, as have so many fresh, unheralded groups and Grey and Mitchell went their separate ways only to meet again in the steaming, exciting Count Basie organization in the late fifties. In 1960 the tenor saxophonist and the trombonist got that leadership urge and the Al Grey-Billy Mitchell Sextet was formed.
For weeks, the unit rehearsed, never taking gigs in any of the jazz areas. Rumors flew about New York, Chicago and as far away as Los Angeles. Everybody was talking about the group, but very few people had heard it. Finally Grey and Mitchell felt they were "ready" and the Sextet burst on the jazz scene with the most explosive, dynamic music to seep into jazz since the advent of the "cool school."
This is their second group album and it fulfills the promise and contains all of the vitality of the first. Here the co-leaders are direct and colorful and they are wise enough to share the spotlight with the exceptionally fine sidemen on the date. The tunes have been chosen with discretion, blending comfortably the familiar jazz standard with the latest time and voicing innovations.
Each of the charts has a particular qualifying merit of its own, however, several held special charm for me.
No!hing But The Truth is self-explanatory. It is a cooking blues tune built on simple, familiar blues chords taken at a smoldering pace.
R. B. Q. is a swinging uptune taken at a saucy tempo. It features some elusive Grey skittering through the changes.
Minor On Top is especially appealing to me because Of the depth and color it explores. It is a dark tune — not like a pit; rather like a summer night — warm and enveloping. Billy Mitchell has an exciting vertical solo which should stand him in good stead with the young tenor moderns.
African Lady is a quiet and stately tune for the most part. There are some interesting alterations of the tempo throughout the tune, coloring is also unusual. Al Grey solo here also reveals that the court jester of the trombone is not always growling and joking. He has his sensitive moments. Indeed, the African is a complex, intriguing lady.
Jazz is fortunate that this allßnce has flourished throughou€ the years. Its fruits are ripening and showering down in abundance. For those of you who live in the major jazz markets, I bid you hie to the nearest establishment which features the Al Grey-Billy Mitchell Sextet. For the rest of you, this recording will serve as an appetizer. Feast on its essence and enjoy yourselves.
Sid McCoy
