LP-737

Oliver Nelson - Fantabulous

Released 1964

Recording and Session Information

Art Hoyle, Eugene (Snooky) Young, trumpet; Ray Wiegand, trombone; Tony Studd, bass trombone; Phil Woods, clarinet, alto saxophone; Bob Ashton, clarinet, tenor saxophone; Kenny Soderblom, flute, tenor saxophone; Oliver Nelson, tenor saxophone, arranger, conductor; Jerome Richardson (baritone saxophone,flute, alto-flute; Patti Bown, piano; Ben Tucker, bass Grady Tate, drums
Universal Recording Studio, Chicago, March 19 1964

13071 Teenie's blues
13072 Daylie's double
13073 Three plus one
13074 A bientot
13075 Hobo flats
13076 Take me with you
13077 Post no bills
13078 Laz-ie Kate

Track Listing

Hobo Flats	Oliver Nelson	March 19 1964
Post No Bills	Oliver Nelson	March 19 1964
A Bientot	Billy Taylor	March 19 1964
Three Plus One	Oliver Nelson	March 19 1964
Take Me With You	Willie Jean Tate & Oliver Nelson	March 19 1964
Daylie's Double	Audrey Nelson	March 19 1964
Teenie's Blues	Oliver Nelson	March 19 1964
Laz-ie Kate	Oliver Nelson	March 19 1964

Liner Notes

OLIVER NELSON hit the jazz world like a tornado about four years ago and he's been gaining momentum ever since. Although relatively unknown when he moved to New York City from his native St. Louis, Oliver shortly established himself as one of the most sought-after reedmen in town and was constantly in demand for recording sessions, concert orchestras, stage bands and jazz club dates. On these jobs he would play alto, tenor, baritone saxophone or clarinet as the occasion required; but on one job I recall, he played third trumpet in Reuben Phillips' band at the Apollo Theatre!

For all his facility with various instruments, Oliver best likes to express himself on the tenor sax and does most of his solo work on that instrument. His style is an interesting blending of the Coltrane-modern school and the straight-ahead, it's-got-to-swing philosophy.

As this album demonstrates, Oliver plays a "lotta" tenor sax. However, most of his current reputation as a musician is based not on his performance as an instrumentalist, but on his abilities as a composer and arranger. After his first few arranging assignments the word spread that a fresh and important talent was on the scene and Oliver was soon swamped with assignments. He wrote for Brook Benton, Benny Goodman, Ray Charles, Jimmy Smith, Art Farmer, Maynard Ferguson and as the expression many more."

The Nelson tunes and arrangements are highly regarded by musicians because they are always challenging and interesting. His harmonies are fresh and often surprising and he makes effective use of shifting rhythmic patterns and the interplay of orchestral sections.

But other arrangers are capable of intriguing their fellow musicians. Oliver's work is valuable because it has also succeeded in pleasing the general public — the untrained listeners who want to be entertained and not educated—and I think Oliver achieves this by always having his arrangements swing in a forthright way. The swing isn't implied, it's there!

This album was recorded in Chicago with the band that Oliver Nelson brought from New York for a concert presented by jazz DJ, Daddy-O Daylie, (Two exceptions are the Chicagoans, Arthur Hoyle and Kenny Soderblom.)

As is normally the case with Nelson's music, the challenges presented made the musicians function at top effciency and there was a festive, enthusiastic atmosphere in the studio.

In addition to Oliver's excellent tenor work, this LP has several fine solos by members of the orchestra. Patti Bown has some wonderfully "aggressive" solos on HOBO FLATS, POST NO BILLS, DAYLIE'S DOUBLE and TEENIES BLUES. Jerome Richardson's "growl" flute solo on POST NO BILLS is a high-point in the LP and Phil Woods' alto solos on POST NO BILLS and THREE PLUS ONE are as brilliant and arresting as a view of the Northern Lights.

I won't attempt a tune by tune summary of the album, but in addition to the solo highlights I've already mentioned, I'd like to emphasize the following:

Nelson's "vocal" tenor exploration of Billy Taylor's A BIEN TOT and his own TAKE ME WITH YOU points up why the tenor saxophone has been called the instrument that most closely resembles the human voice.

The Ravel-like building of the band behind Oliver's tenor soliloquy in TAKE ME WITH YOU

Let it be noted that DAY LIE'S DOUBLE (named for the above mentioned Daddy-O Daylie) was composed by Oliver's talented wife, Audrey.

THREE PLUS ONE — a socko, curtain-raiser type of tune, reminiscent of the type of things the swing era bands used to open their sets with; is a virtuoso arrangement that would have taken most merely competent musicians days to master, but the super-pros in the band gobbled it up.

The beautiful Ellingtonish mood of LAZIE KATE...

The wild things that happen in the arrangement of TEENIES BLUES.

Chicago trumpeter Hoyle's fiery solos on THREE PLUS ONE.

This then is some of the latest work of Oliver Nelson, who has been called "fantastic" and "fabulous". We call him 'FANTABULOUS"

Esmond Edwards

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