LP-749

Baby-Face Willette - Behind The 8 Ball

Released 1965

Recording and Session Information

Gene Barge, alto saxophone; Baby Face Willette, organ; Ben White, guitar; Jerrold Donovan, drums
Ter Mar, Chicago, November 30 1964

13576 Behind the 8-Ball
13577 Song of the universe
13578 Just a closer walk
13579 Roll 'em Pete
13580 St. James infirmary
13581 Amen
13582 Sinnin' Sam
13583 Tacos Joe

Track Listing

Behind The 8 Ball	Roosevelt Willette	November 30 1964
Song Of The Universe	Roosevelt Willette	November 30 1964
Amen	Roosevelt Willette, arr	November 30 1964
Tacos Joe	Bennie White	November 30 1964
Roll 'Em Pete	Pete Johnson, Joe Turner	November 30 1964
Just A Closer Walk	Roosevelt Willette, arr	November 30 1964
St. James Infirmary	Joe Primrose	November 30 1964
Sinnin' Sam	Nesbitt Hooper	November 30 1964

Liner Notes

IN ALL FAIRNESS to potential buyers of this new album by Baby-Face Willette, BEHIND THE 8 BALL, it should be stated that this critic is partial to jazz organists and jazz pianists. But that very partiality tends to make me far more critical in evaluations of performances or albums by artists in those two fields.

Artists in both the aforementioned categories tend to be (if you'll pardon the over-used expression) a dime-a-dozen. During my years of affiliation with show biz, daresay I've heard literally hundreds of jazz organists, ranging from the nationally known 'name' artists to the average run-of-the-mill cocktail lounge entertainer. In far too many instances, there is such a sameness of technique it is virtually impossible to distinguish one from the other, and I frankly confess I would hate to be subjected to the blindfold test that is sometimes applied to cigaret or wine sampling.

Such, I am happy to report, is not the case With Baby-Fare Willette's playing.

In fact, to be candid, this album could be summed up in three words:
It has SOUL!

To most jazz fans and record collectors such a summation is enough and they know exactly what I mean. But to less knowledgeable or new record buyers, I might use other words which would be more readily understandable. Such as — It's groovey — It swings — It has toe-tapping rhythm. Call it 'instant' rhythm reaction if you like. Or (tho it's somewhat dated by now what with the Frug, the Jerk, et cetera), I could say it has Twistin' rhythm. But however one puts it, it all boils down to one summation and that simply is that Willette is an extraordinarily gifted jazz organist. So fine that one can almost SEE his footwork on the organ while listening to this album. Even more remarkable, tho, is the 'strumming' technique that is peculiarly Willette's own. He does not hold or pound a note or chord as do so many jazz organists today.

BEHIND THE 8 BALL is Willette's second album on the ARGO label and to me, it is a distinct improvement Over his first. That's saying something! On this album he has kept Ben White on guitar and now has Jerold Donavon on drums.

Willette kicks off this album on Side 1 with the title tune, a fairly brief number, and then swings into the lengthier "Song Of the Universe". Third track is a truly swinging version of "Amen", a popular number which is bound to bring instantaneous rhythmic reaction from listeners. Guest artist Gene Barge takes a fine solo on this, the only tune on which he appears. Baby-Face concludes with an especially fine version of "Tacos Joe".

On Side 2, Willette comes on strong with "Roll 'Em Pete" and immediately gives way to some fine guitar by White. So excellent is Willette's aforementioned 'strumming' technique that at times it is almost impossible to tell whether one is hearing Willette or White; each complements the other so effectively that it is a perfect blend. Many of the passages in "Roll'Em Pete" strike me as a complete give and take, back and forth affair between Willette and White with Donavon's drum supplying perfect rhythm.

In the second number, "Just A Closer Walk", Willette offers more concrete proof (if such is needed) of the relationship between the so-called church gospels and modern jazz. For 'Just A Closer Walk" is indeed a jazz version of that well-known church hymn. But before you label that sacrilegious, let me hasten to add that Willette's talent and jazz interpretation gives it the clasp-hands-and-sway rhythm that was always basically in this beautiful tune, proving again the undeniable affinity between gospels and jazz. Other organists have attempted this demonstration but none has shown the evolution quite so strikingly as has Willette in this particular number.

BEHIND THE 8 BALL is an album I would wholeheartedly recommend you add to your collection. Also would I recommend to some of the fine jazz spots in San Francisco (certainly a jazz-orientated city) that they give serious thought to booking Baby-Face Willette and his group in this city in the near future.

—GENE ROBERTSON
"On The Beam"
SAN FRANCISCO SUN REPORTER

LP-748

Budd Johnson with Joe Newman - Off The Wall

Released 1965

Recording and Session Information

Joe Newman, trumpet; Budd Johnson, tenor saxophone; Albert Dailey, piano; Richard Davis, bass; Grady Tate, drums
RCA Recording Studios, New York, December 3 1964

13602 Off the wall
13603 Ill wind
13604 The folks who live on the hill
13605 Playing my hunch

Joe Newman, trumpet; Budd Johnson, tenor saxophone; Albert Dailey, piano; George Duvivier, bass; Grady Tate, drums

13606 Strange music
13607 Love is the sweetest thing
13608 Baubles, bangles and beads

Track Listing

Off The Wall	Budd Johnson	December 3 1964
The Folks Who Live On The Hill	Jerome Kern / Oscar Hammerstein II	December 3 1964
Love Is The Sweetest Thing	Ray Noble	December 3 1964
Strange Music	Robert Wright / George Forrest	December 3 1964
Baubles, Bangles And Beads	Borodine/Forrest/Wright	December 3 1964
Ill Wind	Harold Arlen / Ted Koehler	December 3 1964
Playin' My Hunch	Budd Johsnson	December 3 1964

Liner Notes

JAZZ, native American Music not quite seventy years old in any Of the forms familiar to our ears, has developed fairly rapidly and in many diverse styles during its relatively short existence. Because of the short time it took to develop today's Jazz Music, there are still with us a great number of players representing all the various styles involved.

One of the more durable of these master musicians is Albert "Budd" Johnson from Dallas, Texas. Although Budd doesn't go back quite as far as Jazz' beginnings (he's only 55), he has, and still does encompass, all of the fully-developed styles. His experience has covered New Orleans, Swing, BeBop, and the contemporary amalgamation of these forms which is called many things: post-Bop, Mainstream, Modern Jazz, etc. Whatever you may call it, and however you may prefer it, Budd Johnson can play it. In one of his previous ARGO albums, "Ya! Ya (Argo LP-736), he even successfully ventured into the musical world of the "free form" with a tune aptly titled "The Revolution"

A listing of some of Budd's bosses and fellow sidemen throughout the years makes for impressive reading: Teddy Wilson, Louis Armstrong, Earl Hines, Dizzy Gillespie, Cab Calloway, Count Basie, Benny Goodman, Quincy Jones, all with varied approaches to Jazz, and all who featured Budd's tenor saxophone and arranging talents. Yes, Budd Johnson is a prolific composer and arranger, and it was mainly he who shaped the sound of the "new" Earl Hines big band in the early '40s that gave rise to the fabulous Billy Eckstine all-star aggregation and later the original Dizzy Gillespie big band of the middle and late '40s. It was Budd who arranged for Charlie Parker to take his 'tenor chair' when he left Hines and he was largely responsible for bringing into the band such luminaries as trombonist Bennie Green and trumpeters Dizzy Gillespie, Bennie Harris and Gail Brockman. His personal style is closely related to that of the late great Lester Young. Budd's approach, however, is harder with more pronounced vibrato, and at times the tenor world's other great influence, Coleman Hawkins, shows through.

Budd's team-mate on this relaxed outing, Joe Newman, is a trumpeter of great taste whose style also fits into most any category you would care to hear. Since leaving the big Count Basie band, Joe has concentrated on small combo gigs in and around New York, with much studio and recording work as a supplement. He obviously prefers small band work, and it is in that context that he first became well-known to the Jazz world. Joe worked with Illinois Jacquet's fine band of the mid '40s, which featured Russell Jacquet on trumpet also, as well as such fine innovators as J. J. Johnson and Leo Parker. Joe's style has influenced a number of trumpeters, including Leonard Hawkins (who was heard with Dexter Gordon), Jesse Drakes (who played with Lester young), and the very fine musician who passed away recently, Nick Travis.

The two bass players who split this album are the same Budd used on the "Ya! Ya!" album: Richard Davis and George Duvivier. Grady Tate is the drummer. Throughout, they all display a creative professionalism that is joyful to hear, and which undoubtedly was a determining factor in their selection as rhythm accompanists, Pianist Al Dailey, Jr. is a new name to me, but acquits himself with the same aplomb as his cohorts.

Although the selections in this album are varied, there is a similarity of approach that makes them palatable for listening or dancing — that lost art among Jazz enthusiasts. The rhythmical accents and beats as used to propel the album's opener, "Off The Wall" indicate the origins of what is today known as the Twist. The neglected ballad, "The Folks Who Live On The Hill". follows, with Budd's "Prez-ishness" building to beautiful heights and an intense swing, without getting loud or screechy. Budd's arranging ability shines on "Love Is The Sweetest Thing" with his immense talent making five pieces sound an entire band through his use of harmonics and space. There is always a shape and a form to things musical when Budd Johnson puts his hand to them, as this cut demonstrates.

"Strange Music" is bossa nova'd in with trumpet and tenor reversing top positions on the bndge. Joe plays one of his few open trumpet solos here and Budd's tenor gives an urgent but unstrained feeling. Pianist Dailey plays a very pretty solo. "Baubles", I suppose, has been played more ways than most any other tune. Budd's arrangement gives it a strong, muscular feeling by use of alternating rhythms during the theme statement and behind the solos. His tenor solo does get loud on this one, and really is exciting. Newman elicits memories of the famous trumpet break on Basie's "April In Paris" and with tongue in cheek, the Count is again referred to with his famous three note ending. Why more musicians don't record or even play the beautiful "Ill Wind" is beyond me. It certainly lends itself to Jazz very well. Budd and friends evoke the feeling of a cozy night by an embered fireplace with the lightly played bossa nova rhythm matching perfectly the unhurried horn solos. Dig the lovely bass notes behind the piano solo and on into the out-chorus and fade-away.

"Playin' My Hunch" is as hard a swinger as five pieces can play. Evidently Budd's hunch was that a real 'down", swinging blues would be a good way to close this set of interpretations. Here comes that dance beat again with both horns roaring open and bright. Joe tells his tale in "wa-wa" fashion for two hip choruses, then Budd jumps in playing some hard harmonics with all Of the vigor and authority he can muster. Joe riffs behind Budd urging him on and after a short bass solo, the entire band shouts out the end of Budd's hunch, and the album.

Budd Johnson is one of my favorite tenor men, and if you're a reader of liner notes, I hope you'll let these influence you to become a Budd Johnson fan. If you've listened to the music already, my words are not needed to convince you, for the performances speak for themselves! Pick up on Budd Johnson for listening or dancing, or just plain relaxing. He'll fit your every mood with tasteful current sounds that excite but never bore or offend.

- Joe Segal

LP-747

Lou Donaldson - Cole Slaw

Released 1965

Recording and Session Information

Lou Donaldson, alto saxophone; Herman Foster, piano; Earl May, bass; Bruno Carr, drums; Ray Barretto, conga
RCA Recording Studios, New York, June 19 1964

13287 O sole mio
13288 Cole slaw
13289 Poinciana
13290 Soul gumbo
13291 There is no greater love
13292 People will say we're in love
13293 Li'l miss Fine
13294 Skylark

Track Listing

There Is No Greater Love	Isham Jones/Matty Symes	June 19 1964
Poinciana	Nat Simon/Buddy Bernier	June 19 1964
Cole Slaw	Jessie Stone	June 19 1964
People Will Say We'Re In Love	Rodgers/Hammerstein II	June 19 1964
Li'L Miss Fine	Lou Donaldson	June 19 1964
O Sole Mio	Arr. Lou Donaldson	June 19 1964
Skylark	Hoagy Carmichael/John H. Mercer	June 19 1964
Soul Gumbo	Lou Donaldson	June 19 1964

Liner Notes

THE ALTO SAXOPHONE, until Charlie Parker came along, was considered to be the exclusive property of Johnny Hodges. Ever since the era of Bird, however, more and more practitioners have sought to make this difficult instrument the one on which they've tried to express their musical opinions. There are as many styles as there are musicians, but only a handful have really stuck to the line that the genius of modern music laid down. Of that handful, two major artists have survived the many musical changes that have befuddled the lesser talents, One of them is Sonny Stitt. The other is the featured artist of this album, Lou Donaldson!

Lou Donaldson first burst upon the recorded scene in the late '40's as featured hornman with Milt Jackson on some Blue Note 78's, including the memorable "Bag's Groove". With were some very top flight musicians — John Lewis, Percy Heath, and Kenny Clarkc — indeed, the first version of the reknowned Modern Jazz Quartet. Those recordings made a lasting impression, and signalled the jazz world that Lou Donaldson was here te stay. Lou has made many fine albums on his own since that time, including his two Argo releases, "SIGNIFYIN'" #724, and "POSSUM HEAD' #734. I'm of the opinion that this one is the swinginest and most musical of them all. For Lou exhibits herein his particular talent of getting right to the meat and marrow of the selections plaed. This talent, quiet as it's kept, has permitted Lou Donaldson to be one of the musicians around. Because of this highly rhythmical and straightforward approach to Jazz, Lou has been able to reach and satisfy a much wider audience than most of his contemporaries who are more likely than not chained to a particular hit tune, gimmic sound, or far-out style. His travelling group usually includes organist John Patton and the excellent trumpeter Bill Hardman. For this album, however, Lou is accompanied and wonderfully aided by a really fine rhythm section, headed by pianist Herman Foster. Herman's comping and solo work is very outstanding, and his locked-hands style is perfect for the kind of groove laid down for this session. Bassist is Earl May, who unobtrusively but firmly keeps the melodic beat where it should be and walks mightily on several numbers. Bruno Carr proves to be a drummer of exquisite taste, regardless of the tempo or style being used. Congero Ray Barretto is added for the latin touches.

Side one opens with a tune that's great to blow — the standard "THERE IS NO GREATER LOVE". A bongo-type beat sets the groove for Lou who sings out the pretty theme, after which Foster's piano lays into the beat with May's bass walking along and really digging in behind Lou's solo. It's a real head shaker!

"POINCIANA" is latinized all the way, with the piano solo coming on in true south-of-the-border style.

"COLE SLAW", the album's title tune, was known as "Sourghum Switch" during the "swing era", and later recorded by Louis Jordan as "COLE SLAW'". Its rhythmic pattern is back-beat-ish and it has a happy dance tune feel to it.

"PEOPLE WILL SAY WE'RE IN LOVE" is in medium-up tempo with Lou jumping right into the melody with another outstanding solo, followed by a delightful piano offering with May's pulsating throughout the happy proceedings.

"L'IL MISS FINE" opens side two in the traditional Kansas City blues style that first made Charlie Parker a musician. On the second chorus Lou really gets to stomping, after which Foster gets to rockin', and the rhythm section goes right with him. Earl May's only bass solo of the set one wonderful structure and great taste.

Neapolitan nighs are not particularly brought to light with Lou's treatment of the older-than-old "O SOLE MIO", but the tune does lend itself to produce one of the finest solos he's ever recorded.

"SKYLARK", played nearly straight, exhibits the singing, straight-forward style previously mentioned as being one of Lou's oustanding assets.

And the final tune, "SOUL GUMBO", is a stompy little riff-type item that's almost "twisty".

With albums of this swinging quality, and his audience-pleasing, in-person appearances throughout the country leading the way, it fairly certain that LOU DONALDSON, as the title on another of those early 78's states, definitely remain "On The Scene" for a long time to come. His music is ageless!

Joe Segal