LP-750

Ramsey Lewis Trio & Jean DuShon - You Better Believe Me

Released 1965

Recording and Session Information

Ronald Wilson, alto saxophone, flute; Ramsey Lewis, piano; Roland Faulkner, guitar; Eldee Young, bass; Redd Holt, drums; Jean DuShon, vocals
Universal Recording Studio, Chicago, December 19 1964

13637 Who can I turn to? [When nobody needs me]
13638 Night time is the right time
13639 Something you got
13640 He was too good to me
13641 Goodbye lover, hello friend
13642 You'd better believe me

Ramsey Lewis, piano; Eldee Young, bass,cello; Cleveland Eaton, bass; Redd Holt, drums
Universal Recording Studio, Chicago, January 14 1965

13667 Corcovado [Quiet nights]
13668 Tain't nobody's business if I do
13669 Let it be me
13670 It had better be tonight
13671 My coloring book
13672 I'm beginning to see the light

Track Listing

You'd Better Believe Me	Buddy Johnson	December 19 1964
Who Can I Turn To	Bricusse / Newley	December 19 1964
Night Time	Joe Bailey	December 19 1964
Something You Got	Chriss Kenner	December 19 1964
He Was Too Good To Me	Rodgers / Hart	December 19 1964
Goodbye Lover, Hello Friend	Norman Newell / Micharl Carr	December 19 1964
Corcovado (Quiet Nights)	Antonio Carlos Jobin / Gene Lees	January 14 1965
Ain't Nobody's Business	William York	January 14 1965
Let It Be Me	Becaud/Delance/Curtis	January 14 1965
It Had Better Be Tonight	Mancini/Mercer/Stasera	January 14 1965
My Coloring Book	John Kander/Fred Ebb	January 14 1965
I'm Beginning To See The Light	Hodges/George/Ellington/James	January 14 1965

Liner Notes

IF YOU want a good album, don't buy this one, because it's great — and "YOU BETTER BELIEVE ME"! The combination of the swinging Ramsey Lewis Trio and remarkable Jean DuShon — augmented on some tracks with flute, guitar aed sax — marks a departure for the Trio and a new high in listening pleasure for you.

Jean DuShon is making her second recorded appearance on ARGO. Her first album, which rapidly drew rave reviews and many plays from disc jockeys throughout the country, was recorded bast summer. This album can only help to add to the well-deserved praise and recognition that her first ARGO effort won for her.

Youngest of twelve children, whose parents died when she was only five, Jean attended the Detroit Conservatory of Music and began her professional career at the age of 15. In 1960, she made that legendary trip to New York with the Lloyd Price Band and since then has sung with the Cootie Williams group and the ever-popular Fats Domino aggregation. Finally, only a few months ago, she cut herself loose and began making solo appearances after gaining the valuable musical experience that only singing in front of a band can give a vocalist.

As for Jean's singing ability, just try on "Who Can I Turn To" size. There can be no doubt after the first few bars that Jean has an unusu depth and quality to her voice — and that she doesn't employ the gimmicks that have come to be standard equipment with almost every female vocalist singing today. Jean possesses an almost uncanny ability to get inside the lyric and project all the emotion, all the feeling, all real meaning — and more — that the composer meant it to have.

On this, her second ARGO outing, Jean also does a mose competent job of letting you know immediatelv that she can't be type-cast as just a ballad singer. She adequately proves this on the swinging "Something You Got" which is only recommended to the listener when all doors and windows are locked and the right person is there to share Jean's mood with you. "You'd Better Believe Me" certainly can't hurt you either, for that matter, and Jean's emotionally-packed "He Was Too Good To Me" pours a whole new supply of fuel into this great "torch" tune. If you've survived all of this emotionally, don't miss Jean's "Night Time" and a rather swing rendition of "Goodbye Lover, Hello Friend". Jean in the parlance of the trade, is "too much" and a most welcome addition to a world full of women who either rely on vocal tricks or who try to sound like someone they aren't and can never hope to be.

Backing up Jean on this album is the fabulous Ramsey Lewis Trio — and what words can describe them adequately. I think that Ramsey said it best himself several ARGO albums ago when he wrote that "After fourteen years of playing together, our trio is very close to achieving something that every group of musicians strives for. That is, to be able to think and play as one."

Ramsey, Red Holt on drums, and Eldee Young on bass and cello, have reached a point of perfection rarely touched by any jazz instrumental group. Having played together for so many years, their performance as a group is sometimes beyond belief. Their individual solos — be it funk, progressive or commercial jazz — continue to reach new heights of swinging excellence. Perhaps the best way to express it is for you to take your own hands and tightly intertwine your fingers — for that's the way they think, play, and perforrn, closely knit and almost as one.

If you've been hiding in a cave or for some reason havcn't heard this group before, treat yourself to the Trio's fresh approach to "Quiet Nights". Their rendition of this current favorite gives the tune a whole new flavor, a brand new feeling. Then there is the swinging romp through "It Had Better Be Tonight" which can only leave you breathless at best. When you hear "My Coloring Book", "Let It Be Me", or "Ain't Nobody's Business", you know that Ramsey, Red and Eldee are not only performing great music — they are enjoying themselves to the fullest.

Finally, you are again treated to another of those unique musical experiences as Eldee Young embraces his cello for a revival of that great oldie, "I'm Beginning To see The Light".

If vou haven't seen "the light" by the time you've reached this point with the Ramsey Lewis Trio, you're in big trouble. Ramsey, Red, Eldee and something new and great called Jean DuShon have said it all right here in this album. I think you'll their message.

-CHUCK TAYLOR

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