LP-736

Budd Johnson – Ya! Ya!

Released 1964

Recording and Session Information

Budd Johnson, tenor saxophone; Al Williams, organ; Richard Davis, bass; Belton Evans, drums
Sound Makers Studio, New York, January 20 1964

12933 When hearts are young
12934 The revolution
12935 Big Al
12936 Exotique
12937 Where it's at

Budd Johnson, tenor saxophone; Al Williams, organ; George Duvivier, bass; Belton Evans, drums

12938 Come rain or come shine
12939 Ya ya
12940 Tag along with me
12941 Chloe [Song of the swamp]

Track Listing

Ya! Ya!	Budd Johnson	January 20, 21 1964
Come Rain Or Come Shine	Johnny Mercer & Harold Arlen	January 20, 21 1964
Big Al	Budd Johnson	January 20, 21 1964
Exotique	Esmond Edmonds	January 20, 21 1964
The Revolution	Budd Johnson	January 20, 21 1964
Tag Along With Me	Budd Johnson	January 20, 21 1964
Chloe	N. Moret & Gus Kahn	January 20, 21 1964
When Hearts Are Young	Romberg, Goodman, Wood	January 20, 21 1964
Where It's At	E. Herbert	January 20, 21 1964

Liner Notes

THE music we today call JAZZ has many facets, many styles, many young striving blowers and fortunately, quite a large corp of creative unhampered instrumental giants.

The featured tenor saxophonist of this album is one of these creative giants. Budd Johnson's career has spanned virtually all of the many styles that have controlled Jazz for one period or another. He has been and is still master of them all. Up till now, the most important segment of the medium that had Budd Johnson as an active practitioner was the pre and early Bebop era. His playing and arranging helped the big swing-entrapped Earl Hines band to begin an important musical change — a change that has never been improved upon (because everything that came after it was based upon it)!

Much of the frantic "free form bag" now extant is merely another feverish attempt to get away from the Bebop forms. The most successful ventures in this direction are being accomplished by the more mature players. Budd Johnson is one of these.

His previous Argo album, "French Cookin'", (721), had him backed by a conventional bass, piano, guitar, drums, plus an augmented Latin percussion section. This album gives Budd a little more blowing room with less of an arranged framework. Here he is accompanied and aided by Al Williams, organ; Belton Evans, drums; and alternating bassists George Duvivier and Richard Davis.

From the opening "work song" type bass figure followed by the squiggly-wiggly type organ figure you can readily feel the non-frantic blues-walking groove on the album's opening title tune, "Ya! Ya After stating the captivating theme Budd lays out till the organ solo swings him in with his own intense message.

"Come Rain Or Come Shine", has always been a beautiful blowing ballad. Budd treats the first chorus tenderly, then doubles it up for his 'blowing' segment. The bridge of the initial chorus is played especially pretty, theatre organ style, by Al Williams.

Bass and drum set the tempo for "Big Al" with Budd coming in blowing with no apparent theme in front. As the tune moves along, however, a very definite set of chord patterns assert themselves until the organ and tenor are playing a two-part invention.

The final selection on Side 1, "Exotique", is just that. Its unhurried theme and feeling remind me of Illinois Jacquet's Argo hit, "Bonita". Budd's style here is sort of "hot, clipped and urgent". Richard Davis' 'orientale' bowed solo in quarter tones is certainly a shocker the first time you hear the record. But as you listen to it repeatedly, it grows into an irresistible statement of great beauty.

Undoubtedly a paraphrase on the "free form bag" mentioned earlier, side two's opening tune is titled, "The Revolution". And also, as we said before, it seems that the most successful ventures into this type of playing are being executed by the more mature musicians. This tune is written utilizing the general interval sounds made by most of those involved with the form. How can you have written free form? I suppose the same way we've evolved "written jazz". Anyhow, Budd jumps into his free solo with a groan and proceeds to develop within the tune's structure, a fine feeling and meaning. All revolutions should be as painless!

"Tag Along With Me", is just that, a series of tags used as the central sounding board for the improvisations, instead of as an ending to a tune. This device lends itself most happily to bouyant type ideas and has been made most famous by the tandem team of Gene Ammons and Sonny Stitt. Lester Young, in the '40's began using this style for endings in a more restrained manner, and Budd Johnson on this one really evokes the "Prez" image.

"Chloe", is given a slow bongo beat treatment in a sort of bounce style, with Budd making the major call for this lost swamp girl.

A bright and happy coutrast to the preceding tune follows, "by the name of" "When Hearts Are Young". Al Williams' organ is thoughtfully restrained as Budd builds in a flowing singing manner a solo that sounds as if it should go on forever. It almost does, but is finally faded out with the band still playing.

The closer is a statement of definiteness with no argument permitted, "Where It's At". It's just a strong moving blues in a gutter groove. Like here's the whole message right now!

I don't really believe this is the most important Jazz album ever made. Nor do I believe Budd Johnson thinks this. The claim here is that it is the latest recorded example of the continuing creativeness and melodic inventiveness of one of the under-rated saxophone giants of yesterday, TODAY, and undoubtedly, tomorrow. Those who have been championing the talents of Budd Johnson for quite a while are singularly impressed with his current work and are convinced that the greatest part of his career is only now just beginning.

It's all right here in the grooves of this album for you to hear and appreciate. Don't disappoint your inner ear.

JOE SEGAL

LP-735

Illinois Jacquet – Desert Winds

Released 1964

Recording and Session Information

Illinois Jacquet, alto, tenor saxophone; Tommy Flanagan, piano; Kenny Burrell, guitar; Wendell Marshall, bass; Ray Lucas, drums; Willie Rodriguez, percussion
RVG, Englewood, New York, February 13 1964

13006 Star eyes
13007 Blues for the early bird
13008 Canadian sunset
13009 When my dreamboat comes home
13010 Lester leaps in
13011 You're my thrill
13012 Desert winds

Track Listing

When My Dreamboat Comes Home	Dave Franklin & Cliff Friend	February 13 1964
Desert Winds	Esmond Edwards	February 13 1964
Star Eyes	Don Raye & Gene DePaul	February 13 1964
Blues For The Early Bird	Illinois Jacquet	February 13 1964
Lester Leaps In	Lester Young	February 13 1964
You're My Thrill	Ned Washington & Burton Lane	February 13 1964
Canadian Sunset	Eddie Heywood	February 13 1964

Liner Notes

I HAD never met Illinois Jacquet prior to this recording session, though I have been an admirer of his tenor saxophone sound for years. Please allow me to introduce you to the men involved in the production of this album and allow me to take you to the session with me.

You are holding the product of many years of experience in a number of different fields, all closely related, in that each is necessary for the production of record albums in general and this album in particular.

The talents of the recording engineer are very necessary in the production of the final product and Rudy Van Gelder is one of the best. Rudy's studio is located in New Jersey, just across the George Washington Bridge from New York City. The setting of the studio is suburban and from the reports of musicians, very conducive to musical creation.

Illinois Jacquet gives the first impression of being in command, of himself his music and hence, the situation at hand — the making of a record. My first impression was proven by the events of the afternoon. Illinois does all things in a relaxed, confident way, born of long experience and great ability. The experience has been gathered from working in the bands of Basie and Hampton and leading various small groups of his own. With the Hampton band, Illinois became very well known for his solos on Flyin' Home and his section work with both bands was fine. That he has benefited from all this is evident in the 1964 sound of Illinois Jacquet.

The actual recording session took a while to get going. By this I mean not the actual playing but "going" in a cooking sense. Rapport must be established between the musicians involved, because these men do not work together in a regular group. It takes some time to get the "feel" of the ideas each man wishes to contribute. The last Illinois Jacquet recording (Argo LP-722) has some of the same personnel but a change of only one man changes the complexton of the album.

Willie Rodriquez, besides being a latin percussionist, is a very funny man. Upon examining Willie's very barren head, I complained of the glare. To this Willie explained that he would have worn his toupee but it would have altered the studio accoustics.

The first tune of the album, When My Dreamboat Comes Home, was made for Illinois Jacquet or did he make the tune into his own? Upon reflection coupled with listening, I feel that the latter supposition is more valid. The tempo is sort of jog-along and Jacquet fits perfectly into the rhythmic slot provided by the rhythm section; with Ray Lucas and Wendall Marshall supplying a really sturdy beat as they do throughout the album. Kenny Burrell follows the opening Jacquet solo with one of his own. Kenny is tall and lean and plays guitar in a style befitting his stature. He sort of lopes along with long phrases and ideas. Tommy Flanagan follows, tasteful as ever.

Desert Winds opens with a theme statement by Illinois and Kenny Burrell, followed by a tenor solo, but not just any tenor solo. This one is by Illinois Jacquet and that is saying something. The slightly eastern flavor carries throughout the piece, back to the unison line and then out.

Star Eyes is taken pretty much as written and done in this manner, demonstrates yet another side of Illinois Jacquet. This is a beautiful song and the original is only enhanced by the very personal Jacquet treatment. The Tommy Flanagan solo further points out why Tommy is so much in demand for recording sessions and club work. If I needed a piano player I would hire Tommy Flanagan.

Blues For The Early Bird came about by Jacquet saying, "Blues!" and then they played it. Note that Illinois plays alto on this track — not tenor. He swings on both.

Lester Leaps In is, a tribute to "Pres", in the title and in the playing style. Illinois Jacquet leans toward Lester Young in style derivation and it is especially evident on this tune. This is a real screamer and I told Esmond Edwards thaf as soon as this one is released I would use it to lead off my show. You can hear why. It is very important to start a radio show off each night with music which will hold the interest, of the listener. This one starts strongly, builds strength in the middle and conclådes with power. Kenny Burrell plays some very polished rhythm guitar, illustrating his ability to fill other than a solo role Jacquet is all over the horn, up, down and around but not as a showboat. He is using his command of the horn to communicate his ideas to the listener. If you are reading these words while you are in a record store and have yet to sample the sound contained herein or hereon, ask the man to play Lester Leaps In for you. From this time on you will be an Illinois Jacquet admirer like so many others before you.

When Jacquet recorded You're My Thrill, he stopped the show. Everyone in the studio went over to congratulate him on his poignant, sensitive rendition of the lovely old tune. A lot of people have forgotten how lyrical this man can be with his horn.

Eddie Heywood's Canadian Sunset never had it so good. The same beat is present that propelled the first tune on side one. We started this way and we end this way — all the way around then back home.

So from a Canadian Sunset to a New York one, the session ended. I bade adieu to all the musicians, to Esmond Edwards and to Rudy Van Gelder. I lingered with Illinois to invite him to the show for an interview. Possibly the word "interview" is not quite the proper word choice. I think it could better be called a "talk". I feel I can say this because I now know the man and his music much better than I did before this recording session. You know him better also.

Willie Rodriquez yolunteered to drive me back to Manhattan and we recrossed the Hudson. I enjoyed the day and you will surely be pleased with the product Of this day. Enjoy yourself!

R. D. HARLAN
Radio Station WNCN—FM
New York City

LP-734

Lou Donaldson – Possum Head

Released 1964

Recording and Session Information

Bill Hardman, trumpet; Lou Donaldson, alto saxophone; John Patton, organ; Ray Crawford, guitar; Ben Dixon, drums; Cleopas "Mopedido" Morris, conga
United Recording Studio, Los Angeles, January 28 1964

12963 Possum head
12964 Secret love
12965 Frenesi
12966 Man with a horn
12967 Persimmon tree
12968 Midnight soul
12969 Bye bye, blackbird
12970 Laura

Track Listing

Possum Head	Lou Donaldson	January 28 1964
Secret Love	Fain & Webster	January 28 1964
Midnight Soul	Lou Donaldson	January 28 1964
Bye Bye Blackbird	Henderson & Dixon	January 28 1964
Laura	D. Raskin	January 28 1964
Persimmon Tree	Lou Donaldson	January 28 1964
Frenesi	A. Dominguez & L. Whitcup	January 28 1964
Man With A Horn	DeLange & Lake	January 28 1964

Liner Notes

ACCORDING to Doctor Alyce Gullatte, "The possum's growth is a mysterious saga of development. There is no animal to whom wit and cunning have been more attributed than to the opossum, more affectionately known as the possum. From the very beginning his existence and survival have been dependent upon his making the right move. in the right direction. at the right time. It is small wonder then that the term 'to play possum' implies the utilization of survival techniques that have become a part of the 'possum personality', such as cunning, finesse and possum sense".

Lou Donaldson is affectionately called "Possum Head" because of his musical cunning, finesse, possum sense and according to some — a physical resemblance. "Playing Possum", however, means to play dead and where Lou is concerned, nothing could be further from reality. By his "musical cunning" and "possum sense", Lou has managed to look and keep very much alive in the fiercely competitive jazz jungle for about fifteen years.

With the exception of guest artists Ray Crawford and "Mopedido" the personnel on this album represents the group that Lou Donaldson has kept working on a very regular basis for the past two years. They work because they play a "commercial" brand of jazz that their audiences find easy to relate to and enjoy.

The music in this album is indicative of the music that Lou plays for his audiences in clubs throughout the country. He can excite a crowd to spontaneous shouts with a heavily rhythm-and-blues flavored number and then lull them into reverie with the likes of the tender ballad Laura.

Throughout this album there is a high level of individual performance. Lou plays with even more than his usual dexterity and assurance and Bill Hardman, Ray Crawford and John Patton contribute excellent solos and ensemble support. Ben Dixon gives a rock steady foundation to the rhythm and conga drummer, "Mopedido" gives an extra lilt to things without being obstrusive.

When we received our advance copy of POSSUM HEAD we put it on the turntable with real anticipation, because a new Lou Donaldson, album is always a pleasant listening event. We weren't disappointed and you won't be either.

—AL CLARKE
Radio Station WOOK
Washington, D. C.