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.

LP-733

Ahmad Jamal – Naked City Theme

Released 1964

Recording and Session Information

Ahmad Jamal, piano; Jamil Sulieman (Nasser), bass; Chuck Lampkin, drums
Jazz Workshop, San Francisco, 1963-1964

12880 Whisper not
12881 Naked City theme
12882 One for Miles
12883 Haitian market place
12981 Beautiful love
12982 Surrealism
12983 Minor adjustment
12984 Johnny one note
12985 Have you met Miss Jones?
12986 I believe in you
13301 Minor moods
13302 Keep on keepin' on
13303 Stolen moments
13563 Lollipops and roses

Track Listing

Naked City Theme	B. May & M. Raskin	December 10 1963
Minor Moods	A. Jamal	June 26-28 1964
Haitian Market Place	R. Evans	December 10 1963
Beautiful Love	V. Youing & W. King	Early 1964
One For Miles	A. Jamal	December 10 1963
Lollipops And Roses	T. Velona	June 26-28 1964

Liner Notes

THIS IS AHMAD JAMAL'S first new album in two years. It was recorded live, last June, at the Jazz Workshop in San Francisco — that West Coast city which seems to generate so much excellent jazz nowadays. Most musicians will agree that the jazz experience is heightened by playing to real people. Real San Francisco people seem to be even better, as other jazz musicians who have played there will attest.

The Jamal story is heart-warming. Only a handful of modern jazzmen have achieved the genuine commercial success that he has. That kind of success (enormous record sales and sellout personal appearances) must have surprised him, since he had not consciously sought it. Only rarely would he leave his Chicago workshop, where he had numerous local admirers. Jamal was, and is, essentially, a first-rate pianist — a fact known to fellow jazz musicians who heard him in Chicago long ago, before he gained widespread recognition.

Now, of course, everyone knows Ahmad Jamal's celebrated style. On its surface, his playing is gentle, warm and lyrical, and charms even a non-jazz audience. Yet everyone listening must have felt the relentless beat, because it was always there — rolling along like ocean waves.

Although Jamal seems to prefer subtlety and indirection, in reality he is strongly percussive and places accents much like a drummer. On this album, his percussiveness is strongly evidenced. Earlier records, however, had the interplay of rhythmic accents between him and the other musicians more subdued — now it constantly erupts!

Not that there is a "new" Jamal — all that was so attractive before is still here — only the emphasis has shifted. This shift is due, in no small part, to his new sidemen: drummer Chuck Lampkin and bassist Jamil Sulieman. Lampkin, formerly with Dizzy Gillespie, has a crisp sound and a hard-swinging beat. Sulieman's sound, deeply vibrant, is cleanly articulated and he has that "walking" beat. Both men are capable of producing the varying dynamics and shadings that Ahmad's conception demands.

One thing more! Here is a tightly-knit group. Each tune, subjected to any number of possible attacks, is spun out with increasing ingenuity and excitement. Within this diversity. always there is thc unity of a trio performance, rather than simple piano-with-rhythm backing.

The six compositions selected for this album were chosen from numerous inspired performances given the nights of June 26, 27, and 28, 1964.

NAKED CITY THEME: The title song of this album, written by Billy May, is a pretty melody languidly played in the first chorus by Ahmad, over an ever-rolling tom-tom beat. Clanging cymbals and hammered chords from the piano are then added in increasing volume and intensity, and a striking alteration to the interior pulse occurs toward the end of the piece.

MINOR MOODS: Here is Ahmad as composer; this time with an attractive jazz waltz. Following some warm chord progressions by the leader, dig Sulieman's bass solo! After which a crackling solo by Lampkin is heard — but note also his crisp drumming throughout.

HATTIAN MARKET PLACE: From the pen of Richard Evans, (a former bassist with the trio) exotic styling by Jamal is here evidenced. Caribbean rhythms are now the basic pattern, but the feeling is sizzling, hot jazz. Hard to keep still while listening to this one!

BEAUTIFUL LOVE: Victor Young's writing, and here is the romantic mood of Ahmad, beautifully played. You will note though, that beat is always there.

ONE FOR MILES (guess who?): Ahmad, the composer, again. This one is straight-ahead, hard-swinging jazz! Brilliant solos by Ahmad and Sulieman, big-band drum accents by Lampkin, and sly, witty touches from one and all are contained here. Swings for days!

LOLLIPOPS AND ROSES: Penned by Tony Velona; here is a lovely song played tenderly for the most part, with that shimmering piano tone that is Jamal's hallmark. Still, before the climax, the trio examines the piece in some other lights that are more direct, consequently, a few sparks fly!

Norval Perkins
Former jazz columnist for the Washington Afro-American

LP-732

Ramsey Lewis - Back To The Blues

Released 1964

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass, cello; Richard Evans, bass; Redd Holt, drums
Ter Mar, Chicago, January 31 1964

12971 Travel on
12972 Peace and tranquility
12973 For the love of a princess
12974 Misty days, lonely nights
12975 Why don't you do right?
12976 Sadness done come
12977 You'll love me yet
12978 All my love belongs to you
12979 Dance mystique
12980 Bach to the blues

Track Listing

For The Love Of A Princess	R. Lewis	January 31 1964
Why Don't You Do Right	L. Green	January 31 1964
Misty Days, Lonely Nights	R. Lewis	January 31 1964
Bach To The Blues	E. Edwards	January 31 1964
Travel On	E. Young	January 31 1964
Dance Mystique	R. Lewis	January 31 1964
Sadness Done Come	R. Lewis	January 31 1964
You'll Love Me Yet	R. Lewis	January 31 1964
Peace And Tranquility	E. Young	January 31 1964

Liner Notes

AFTER almost 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.

Fortunately Red, Eldee and myself have similar ideas concerning music and life in general. An individual's music is an extension of his life and the fact that we have similar tastes and goals makes it much easier for us to blend musically.

From the beginning we have striven for a true group sound, a true group image in which each participant's role is of equal importance instead of two of the members serving primarily as accompanists. Among the jazz groups that I feel have most nearly accomplished this sound are. The Modern Jan Quartet, The Bill Evans Trio and the original Miles Davis Quintet (with Coltrane, Garland and Philly Joe).

Where two or more people are involved in a performance, it is impossible for an individual to attain complete freedom of expression — some concessions must be made to the ideas of the other musicians. However. the joy and satisfaction of being an integral part of a well functioning whole is just as rewarding, if not more so.

During my course of study with Dorothy Mendelsohn in Chicago, I developed a great love for the classics. Not only did classical study develop my technique at the piano but it also served to broaden my tastes in music and the arts in general. I also arrived at the conclusion that although classical music is included in the list of creative arts; it offers the least amount of freedom for self expression for the performer. The composer has äll the freedom he desires to project what is in his heart but the performer only recreates what is on the paper. This in itself is no easy task. It takes hours and hours of training and practice to master the great composers and regardless of your instrument or musical goal, the best route to competence is a solid classical background.

To return to my original point though; satisfaction is gained in performing the classics more through technical accomplishment rather — the infant of the creative than creative, self-expression as in jazz arts. The jazz soloist must be an interpreter and composer.

Eldee, Red and myself have always tried to incorporate knowledge gained through our classical training into our work in jazz and on previous albums we have used melodies from the great composers as the basis for inprovisation. We believe, as does Esmond Edwards, that most music regardless of its origins, can be expressed in jazz terms. Errol Garner has recorded "I Want To Be A Rug Cutter" and the works of "serious" composers like, Delibes, Villalobos and Rodrigo have been used as the basis for jan expression, How about Curtis Fuller's exciting arrangement of "Three Blind Mice" as recorded by Art Blakley's Jazz Messengers!

Five of the tunes in this album are based on classical themes. "For The Love Of A Princess" is based on a theme of Rimsky-Korsakov, Days, Lonely Nights" is from Rachmaninoff, "Bach To The Blues" owes a debt to J. S. Bach, "Dance Mystique" is a Tchaikovsky derivative and "You'll Love Me Yet" is from Brahms. The other four tunes have their roots in the blues.

This is not an offering of third-stream, main-stream, progressive, commercial or "funky" jazz. This is music that Red, Eldee and I love to play and also make a living at. (To borrow a phrase of Chicago DJ "Daddy-O Daylie".) We sincerely hope you will enjoy a few moments of pleasurable listening to Bach...and the blues.

RAMSEY LEWIS