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-714

Sam Lazar - Soul Merchant

Released 1963

Recording and Session Information

Miller Brisker, tenor saxophone; Sam Lazar, organ; George Eskridge, guitar; Philip Thomas, drums
Ter Mar, Chicago, November 21 1962

12027 Smooth casting
12028 See see rider
12029 High noon
12030 Sam's jams
12031 Happy bossa nova
12032 Soul merchant

Track Listing

High Noon	Tiomkone, Washington	November 21 1962
Happy Bossa Nova	Sam Lazar	November 21 1962
Sam's Jams	Sam Lazar	November 21 1962
C C Rider	Arr. Sam Lazar	November 21 1962
Smooth Coasting	Sam Lazar	November 21 1962
Soul Merchant	Sam Lazar	November 21 1962

Liner Notes

FATS WALLER cut a few sides on the organ back in the thirties. To my tender young ears, these were the first recordings of jazz played on the instrument. Around the same time, there must have been theatre organists with strong jazz inclinations, pure jazz souls pedaling away during the intermissions. The phenomenon of the jazz organ's rise in popularity and acceptance is a comparatively recent event. There are still those "moldy figs" who resent the use of the organ as a jazz instrument and present arguments about "jazz purism." It is strange to realize that the saxophone, guitar and flute were once considered non jazz instruments. Anyhow, I trust the "figs" enjoy their dissertations...and Edison cylinders and banjos and striped jackets.

Just what has caused the popularity and acceptance of the organ? I imagine a number of reasons could be given. I think the words accessibility and availability can sum up the situation. The portable electronic organ has become available to a large number of musicians enabling them to transport the instrument from gig to gig. Something else too! The use of the organ in many Negro gospel church services has conditioned listeners to the sound of the instrument. And who is to say that many gospel songs could not be pure jazz if the words were left out. I wouldn't be a bit surprised to see many large jazz and dance bands including an organist as a regular member of the band in the near future.

Unlike some of the musicians who have jumped on the organ bandwagon, Sam Lazar is a very good musician and in full command of his instrument. He is not overawed by the vast variety of sound combinations the electronic organ is capable of and concentrates his efforts on swinging.

On SOUL MERCHANT Sam has the very capable assistance of three fine sidemen. Miller Brisker, the tenor saxophonist, is a regular member of Sam's St. Louis based group. Even though his previous exposure on record has been brief, it was enough to bring him critical plaudits.

Guitarist, George Eskridge is a Chicagoan who is in great demand for gigs and recording sessions in the Windy City. He is a cookin', imaginative soloist.

Phil Thomas, the drummer on the session is also a Chicagoan. He keeps things swinging throughout the album in a very competent yet unobtrusive way.

SOUL MERCHANT is Sam Lazar's third album and it fulfills much of the promise he showed in his first two releases. Without a doubt this young man is one of the finest jazz organists in the business. If you aren't already hip to him, we think a listen to this album will make you an enthusiastic fan.

Norm Spaulding
WAAF

LP-713

The John Young Trio - A Touch of Pepper

Released 1963

Recording and Session Information

John Young, piano; Sam Kidd, bass; Philip Thomas, drums
Ter Mar, Chicago, 29 November & 4 December 1962

12043 Joey
12044 Got a lot of living to do
12045 Blues Oreenee
12046 Serenata
12047 Everything's coming up roses
12048 Search me
12049 The inch worm
12050 The bridge
12051 In other words
12052 Paprika (unissued)

Track Listing

Blues Oreenee	John Young	29 Nov, 4 Dec 1962
Joey	Frank Loesser	29 Nov, 4 Dec 1962
Everything's Coming Up Roses	J. Styne, S. Sondheim	29 Nov, 4 Dec 1962
A Lot Of Living To Do	Charles Strouse, Lee Adams	29 Nov, 4 Dec 1962
Search Me	Sam Kidd	29 Nov, 4 Dec 1962
Serenata	Leroy Anderson	29 Nov, 4 Dec 1962
Inch Worm	Frank Loesser	29 Nov, 4 Dec 1962
The Bridge	Sonny Rollins	29 Nov, 4 Dec 1962
In Other Words (Fly Me To The Moon)	Bart Howard	29 Nov, 4 Dec 1962

Liner Notes

A Touch of Pepper is the highly descriptive title of this third John Young Argo album. His previous two, Young John Young (Argo 612) and the popular Themes and Things (Argo 692) contain excellent examples of his bubbling fire and effervescence but it is this one that really reaches deep and captures that personal spark for which John Young is so admired. This album presents John's experienced trio in its most unhampered swinging recording to date. As always, before presenting any material to his vast following, John has perfected the approach and interpretation of each selection to such a degree that even a casual hearing implies that his is the definitive version.

John Young's versatility is well known in the music field. He is constantly sought for all types of live and recording dates; from preferred anonymity on rock n' roll gigs to "elite" pleasing fashion shows and club dances. All of these assignments he handles with easy professionalism. However, some of the more challenging chores he has accepted, such as regular Chicago accompanist for Nancy Wilson, or his recent rhythm section date (with his drummer, Phil Thomas) for Frank Foster's new swinging *Basie Is Our Boss, Argo 717), have placed him in the very top echelon of todays jazz artists.

During the past three years John's trio has boasted some of the finest sidemen in the business including bassmen Israel Crosby, Vic Sproles, William Yancey, his present bassist Sam Kidd, and his long time drummer Phil Thomas. His home base, bread and butter gig is a small intimate southside club known as the Kittykat. Most of his jobs backing vocalists have been at the famous Sutherland Lounge.

John's musical library, filled with standard "goodies," is also well sprinkled with contemporary fare and top show tunes. The framework of each selection is fairly easy to comprehend and needs no great explanation from me to you. However, a few highlights may help you enjoy the album even more.

Opening side one is John's composition, Blues Oreenee and a deeper swinging, more stimulating blues has never been cut! A really rocking left hand against a "peppery" right hand trill midway through with Sam Kidds hard walking bass keeping the groundwork firm, is unbeatable (no pun intended). Keep your head still on this one if you can! Sam is featured in an earthbound solo on his own composition, Search Me which closes the first side.

In between are three current show tunes, the blues oriented Joey, Joey, the furious tempered Everything's Coming Up Roses and the Bossa Novaed Living. John's touch on this last selection is light and airy and seems to float above the 4/4 swing used during the improvisatory choruses.

The always beautiful and challenging standard, Serenata has long been one of John Young's favorites, and was wisely chosen to open side two. He shows his concert style virtuosity in the opening solo statement with the rhythm section then setting the feeling with Phil on Conga all the way. John's rich full sounding chords and pleasantly surprising glissandes keep the ear tingling throughout. Inch Worm, most notably recorded by John Coltrane and Ira Sullivan, is given an unlikely bluesy intro by John Young with bell like chords following in a relaxed but definitely swinging manner. Another fine Capt. Kidd bass solo and some stacatto-ish drum breaks by Phil Thomas help Inch Worm liven his pace considerably. The only out-and-out Jazz composition of the date is Sonny Rollins' The Bridge, and the trio maintains Sonny's original intent by keeping to the difflcult pattern of an up tempoed switch from to and back again throughout the theme and all of the solos. According to John Young the Moon involved in In Other Words is made of Blue(s) cheese filled with large chunks of beautiful full locked chords. A tasty tidbit to wind up the hearty well balanced and well seasoned (peppery?) offering sterved up by the John Young cookers, supreme chefs all!

Those of you who have heard John in person may have had some misgivings about the approach and material content of his previous albums. Admittedly they were constructed and released to reach a broader audience than the faithful but outnumbered legion of true Jazz fans. This set should please all because it is the least hampered materialwise, and is the fullest free swinging LP John Young has yet recorded. Dig it! The pleasure will be yours.

JOE SEGAL