JazzWax

Abdullah Ibrahim: '3,' 2023

When I interviewed pianist Abdullah Ibrahim by phone in South Africa in 2011, he told me how much he looked forward to the arrival of the ice cream truck growing up in Cape Town in the late 1940s. But ice cream was only part of the joy. The truck blared recordings by Louis Jordan and his Tympany Five, music that first exposed him to American jazz. [Photo above of Abdullah Ibrahim]

His other big inspirations were the recordings by pianists Jimmy Yancey, Albert Ammons and Meade Lux Lewis. "They inspired me to woodshed boogie-woogie, developing left-hand independence and synchronizing it with traditional rhythms, leaving my right hand free to fly anywhere," he told me.

Earlier this year, the 89-year-old South African pianist released his 72nd album, a double-CD simply entitled 3 (Gearbox). Volume 1 of this three-part album opens with a direct-to-tape suite recorded in an empty Barbican Hall in London in July 2023. Abdullah was joined by Cleave Guyton Jr. on flute, piccolo and clarinet, and Noah Jackson on bass and cello.

Volume 2 was recorded later that evening during a concert performance by the trio at Barbican Hall. This volume is divided into two parts on the album. The three parts together are quite an audio journey by one of the world's great jazz pianists leading an unusual trio. [Photo above of Cleave Guyton Jr.]

What's most remarkable about the album is its peacefulness and beauty. Abdullah, by nature, is a poetic soul, and his soft, cerebral playing reflects his quiet side. Adding to the album's pastoral feel are Guyton Jr.'s flute and piccolo and the velvety quality of Jackson's bass and cello. [Photo above of Noah Jackson]

It's a shame Abdullah's music isn't more widely known and played here. As a composer, his melodies and playing style combine classical and jazz, fusing the two like a perfect sandwich. Also interesting is that his subdued approach and tenor don't change much, from playing in an empty concert hall to one filled with an audience. He's measured and at ease.

Throughout the album, he is introspective and gentle, whether playing originals or jazz standards, such as Duke Ellinton's In a Sentimental Mood, John Coltrane's Giant Steps and Thelonious Monk's Skippy. It's like listening to one big cup of tea.

Abdullah's 3 will have a tranquilizing effect on you. Just put it on and let the music play. You'll hear South African storytelling through the music and will feel yourself unwinding in the process. Once again, Abdullah proves that jazz is more than syncopation. It's a product of improvisation and the release of emotion through notes artfully played.

To read my interview with Abdullah Ibrahim, go here.

JazzWax tracks: You'll find Abdullah Ibrahim's 3 (Gearbox) here.

You'll also find the album at YouTube here.

JazzWax clips: Here's The Wedding...

And here's Krotoa - Crystal Clear...

Art Pepper: 'Smack Up,' 1960

Recorded over two days in October 1960 for Los Angeles's Contemporary Records, Art Pepper's Smack Up featured six compositions by saxophonists, five of whom had recorded their songs for the label years earlier.

It's unclear whether Pepper was compelled to do this by Contemporary or the idea was suggested to him. It's doubtful he came up with the concept on his own. The alto saxophonist was joined by trumpeter Jack Sheldon, pianist Pete Jolly, bassist Jimmy Bond and drummer Frank Butler. [Photo above of Art Pepper by (c)Ray Avery/CTSImages]

The title track by Harold Land was first recorded on Land's Contemporary album Grooveyard in 1958. The meaning of Smack Up, according to Nat Hentoff's Grooveyard liner notes, was the first thing Land thought of when he came up with the composition's first phrase. Smack Up, as in "smacked upside the head." On Pepper's album, the title track was taken considerably faster than Land's original.

The second track, Las Cuevas De Mario, was a Pepper composition for this album and played in 5/4 time. It's strongly reminiscent of Miles Davis's All Blues, which was played in 6/8 on Kind of Blue (1959). Pepper wouldn't record the song again until 1977, on his Friday Night at the Village Vanguard and Saturday Night at the Vanguard. Both albums were on Contemporary, which would remain in business until 1984, when the catalog was sold to Fantasy. [Photo above of Jack Sheldon by (c)Ray Avery/CTSImages]

Buddy Collette's jaunty swinger A Bit of Basie was first recorded by Collette on a Howard Rumsey live date recorded by Contemporary at the Lighthouse in Hermosa Beach in 1956. The song has a breezy West Coast charm and gives you a clear sense of how tight this quintet was, with Jolly taking an extended, fluid piano solo followed by Bond's snappy bass. [Photo above of Buddy Collette]

How Can You Lose?, by Benny Carter, was recorded on his Jazz Giant album for Contemporary (1957). The mid-tempo blues ballad, with a Love Is Just Around the Corner feel, features Pepper playing high on the alto saxophone's register.

Duane Tatro's Maybe Next Year is a gorgeous ballad that's little heard today. It appeared first on his highly regarded Jazz for Moderns in 1956. Tatro would go on to compose action music for more than two dozen TV movies and series in the 1960s and '70s.

The closer, Tears Inside, is by Ornette Coleman, from his Tomorrow Is the Question album for Contemporary. As Hentoff points out in his notes, "With all due respect to Ornette, the character of this track basically is determined by the soloists and their blowing rather than by the 50-odd seconds of theme." 

Smack Up holds up well, even though Pepper's improvisation in places seems hesitant, repeating phrases over and over as if trying to figure what to do next. Then he springs into action smoothly, as if elbowed forward by an unseen force. [Photo above of Art Pepper in 1960]

Best of all, Smack Up has just been released by Concord's Craft Recordings label. The lacquers were cut from the original master tapes by Bernie Grundman and then pressed on 180-gram vinyl at Quality Record Pressings. The LP sounds fresh and alive.

JazzWax tracks: You'll find the newly issued vinyl pressing of Smack Up (Craft) here. 

I'm told that a high-resolution digital version of the album is forthcoming.

JazzWax clip: Here's the title track from the new Craft release of Smack Up...

Jim Rotondi: 'Finesse'

One of the first pairings of a jazz soloist with a big band and strings dates back to December 1947, and the event was largely an accident. At the time, Clef Records owner and producer Norman Granz was on a recording tear, trying to wax as much jazz as possible in advance of a threatened January 1, 1948 recording ban by the musicians union.

Granz rented out an empty Carnegie Hall to record a batch of top artists, including alto saxophonist Charlie Parker. While Neal Hefti was conducting a rehearsal of two original orchestral compositions and arrangements, Parker wandered out with his horn and started playing a solo on the first one. Granz immediately loved what he heard and wanted Hefti to retool the arrangement to work in Parker. But there wasn't time. [Photo above of Neal Hefti in the late 1940s, by William P. Gottlieb]

So Hefti had an idea. They'd play the composition through twice—once as planned and a second time with Parker joining. Granz liked the idea, and Hefti renamed the song Repetition, since that's exactly what happened. Parker with strings was so effective that Granz recorded him in the studio with strings in 1949, 1950 and 1952, and backed by a big band on several occasions. Dizzy Gillespie, of course, recorded with strings arranged by Johnny Richards in 1946, but those were fairly straight readings by Gillespie of the chosen songs. [Photo above of Charlie Parker conducting strings in the early 1950s]

In the spirit of this turning point in jazz and all of the "with strings" albums that followed, trumpeter Jim Rotondi has just released Finesse (Cellar). Eleven of the 13 songs are originals by Jim, with two by Jakob Helling—Before Curtis and Prelude for 14 Strings and Flute. Jakob also arranged all of the songs. [Photo above of Jim Rotondi]

The tracks:

1. Ruth
2. Dark Blue
3. Ladybug
4. Designated Hitter
5. Falset
6. Before Curtis
7. For Curtis
8. Going to the Sun
9. Prelude for 14 Strings and Flute
10. Interlude
11. In Graz
12. Happy Feet
13. Miller Time 

Jim solos on every track except the Jakob originals mentioned above. For some odd reason, the album's packagers neglected to include Jim's name in the personnel listing on the CD jacket or in the list of each song's soloists. Jim confirmed his role.

Recorded in 2021 at Konzerthaus Wien in Vienna, where Jim resides and teaches now, the album features the Austrian Notes and Tones Jazz Orchestra led by Jakob, with guest soloists Dick Oatts on soprano saxophone and Steve Davis on trombone. Jim's trumpet is beautiful all the way through, and his original compositions are spectacular. The Austrian musicians are tender and brash in all the right places, and Jakob's arrangements are splendid. [Photo above of Jakob Helling conducting]

Another great production by co-executive producer Cory Weeds, who was joined by co-executive producer Frank Rotondi, Jim's brother.

JazzWax tracks: You'll find Jim Rotondi's Finesse (Cellar) here.

JazzWax tracks: Here's Dark Blue...

Here's In Graz...

And here's Miller Time...

Classic Don Byas Sessions 1944-1946

Don Byas was a shadow. Too often in the 1940s, the tenor saxophonist was thought of by fans and critics as a close clone of tenor saxophone avatar Coleman Hawkins. In truth, Byas was a distinctive player in the same league as Hawkins and other saxophone greats Lester Young and Ben Webster. His thick, biting tone and gift for flawless, weaving improvisation made him a sought-after player for his pronounced sound and ability to take domineering solos.

The problem for Byas is he didn't have that something extra Hawk, Webster and Prez possessed that helped them stand out in a crowded field. Hawk's bossy presence, Webster's airiness and Prez's cool were powerful, signature essences. With the emergence of improvisational jazz in 1939 and jazz individualism, you either had that essence or you didn't, and Byas, unfortunately, found himself in Hawk's lane. [Photo above of Coleman Hawkins]

Byas spent many years anxiously trying to prove himself and carve out a space for himself. He couldn't quite figure out why he wasn't considered their equal given his acknowledged prowess. As Sonny Stitt said, "Years ago the game was vicious, cut-throat. Can you imagine Lester Young, Coleman Hawkins, Chu Berry, Don Byas and Ben Webster on the same little jam session? And guess who won the fight? That’s what it was—a saxophone duel. Don Byas walked off with everything.” [Photo above of Don Byas]

It's easy to understand Byas's frustration and confusion. He was prolific, a tireless worker and a superb musician, but he also couldn't shake his image as a Hawkins disciple rather than an innovator in his own right. As a result, he never became a household name, at least not in the U.S.

Was this unfair? It's hard to say, but it really doesn't matter. As the new 10-CD Classic Don Byas Sessions 1944-1946 from Mosaic Records demonstrates, Byas had a complete understanding of improvisation, both on uptempo numbers and sultry ballads. He was stunning on his own terms, but it's also clear that he didn't have that little something extra that turns exceptional artists into superstars.

Part of the issue, perhaps, was his pre-war vibrato that kept him from sounding fully contemporary, especially as bebop individualists swept the jazz world between 1944 and 1946. And yet when Byas solos on the boxed set, you find yourself listening intently and admiring his fluid, smokey quality. He could navigate the saxophone with slippery ease, one moment huffing up and down chords and the next just tearing off with flawless speed.

The vitality of the Mosaic box is that it provides a comprehensive portrait of an artist over two critical years during which he mostly appeared as a sideman. The sheer number of sides he recorded at a time when independent record labels were just emerging after the first musicians union recording ban ended in 1944 tells you just how reliable, proficient and inventive he was.

The two-time Grammy-winning writer, educator and tenor saxophonist Loren Schoenberg wrote the set's extensive liner notes, which are masterful and loving, going behind the history and providing a keen understanding of Byas's turmoil and place in jazz history. The music's fidelity also is extraordinary: Lacquer transfers, sound restoration and mastering were produced by Grammy-winner Andreas Meyer and 78 transfers by Nancy Conforti and Andreas Meyer. At all stages of production, 24-bit technology was utilized.

By the fall of 1946, when Byas toured in Europe with Don Redman's band, something clicked in Paris. That December, Byas decided to permanently remain in Paris, where he felt he was better appreciated and treated. Big jazz fish in a smaller jazz pond, and all that. Like many artists who fell in love with Paris, Paris fell in love with Byas, a city where many American expatriate artists wound up doing their finest work.

For me, Byas's Paris recordings remain superb works (go here). Which is why this new Mosaic box is so essential. Across 193 tracks, we hear Byas rise to become an authoritative figure in jazz even though he never gained the crown he sought. Listening back today without the cultural influence of jazz-magazine polls, you can hear yourself saying, "Who cares whether Byas was as special as the leading tenor saxophonists of the era? This guy was incredible." Once you've stated the obvious, what remains is a beautiful player whose emotionalism and sensuality on solos was unmatched. Paris understood him completely. [Photo above of Don Byas]

Don Byas died in Amsterdam in 1972 and is still beloved by European jazz fans today.

JazzWax tracks: You'll find the Classic Don Byas Sessions 1944-1946 (Mosaic) box here.

JazzWax clips: Here's Blue and Sentimental...

Blue And Sentimental

Here's Living My Life...

Living My Life

Here's Cherokee...

Cherokee

And here's Old Folks...

Old Folks

Hilary, Maureen and Rhoda

This week in The Wall Street Journal, I interviewed two-time Oscar-winning actress Hilary Swank for my "House Call" column in the Mansion section (go here). Hilary started with nothing. She dropped out of high school in her sophomore year and lived with her mother in their car in Los Angeles as her mother cold-called agents with hopes of getting her daughter signed. [Photo above of Hilary Swank in Ordinary Angels, courtesy of Lionsgate]

How good is her new film, Ordinary Angels? Here's Hilary in a scene with Alan Ritchson (Reacher)...

What I'm watching

Last week...

The Secret: Dare to Dream (2020)—No serial killers, aliens, former snipers with a grudge or ex-CIA agents sold out by nefarious bosses. Just a gentle film about a family helped out by a stranger with a secret connection to the widow's dead husband. I so wish the feel-good genre would return. (Netflix)

Monsieur Spade (2024)—This series checks in with Sam Spade in 1963, when the hard-bitten detective is living in the South of France and is needed after six nuns in town are murdered. (AMC)

Past recommendations...

TV series

• The Affair—(2014-2019/Hulu)
• The Americans—(2013-2018)/Prime)
• Anatomy of a Scandal—(2022/Netflix)
• Band of Brothers—(2001/Netflix) 
• Belgravia—(2020/Prime Video)
• Bosch—(2014-2021/Prime)
• Bosch: Legacy—(2022-current/Prime)
• The Crown—(Netflix)
• Cherif—(2013-2019/Prime)
• Dark Winds—(2022/AMC)
• The Diplomat—(2023/Netflix)
• Downton Abbey—(2020-2015/Prime)
• Feud (S1): Bette and Joan—(2017/Hulu)
• Feud: Capote Vs. The Swans—(2024/FX, with streaming on Hulu)
• Fisk—(2021/Netflix)
• Godless (2017/Netflix)
• Goliath—(2016-2021/Prime)
• The Gilded Age—(current/Max)
• High Water—(2022/Neflix)
• Homeland (2011-2020/Showtime)
• Jane Eyre (2006/Britbox)
• Justified—(2010-2015/Hulu)
• Life & Beth—(Seasons 1& 2, 2022-present/Hulu)
• Lincoln Lawyer—(2022-present/Netflix)
• Loudermilk—(2017-2020/Netflix)
• MI-5, the Series—(2002-2011/BritBox)
• 1923—(2022-present/Paramount+)
• 1883—(2021-2022/Prime)
• Outlander—(2014-present/Netflix)
• Pieces of Her—(2022/Netflix)
• Poldark—(2015-2019/Prime)
• Reacher—(2016-present/Netflix)
• Turn: Washington's Spies—(2014-2017/Prime)
• Unbelievable—(2019/Netflix)
• Veronica Mars—(2004 to 2019/Hulu)
• The Watcher (2022/Netflix)
• The Woman in the Wall—Due in January (Showtime)
• Yellowstone—(2018-present/Paramount Network)

Films

• The Accountant—(2016/Hulu)
• American Gangster—(2007/Max).
• Armageddon Time—(2022/Prime)
• The Ballad of Buster Scruggs—(2018/Netflix)
• The Ballad of Lefty Brown—(2017/Netflix)
• The Dig (2021/Netflix)
• Eiffel—(2021/Prime)
• Enola Holmes 1 and 2—(2022/Netflix)
• The Equalizer 1, 2 and 3—(2014-2024/Prime)
• Fury—(2014/Netflix)
• God's Country—(2022/Hulu)
• Guy Ritchie's The Covenant—(2023/Prime)
• Jack Reacher (the movie)—(2012/Paramount+) 
• Kill Chain—(2019/Max)
• Knight and Day—(2010/Roku)
• Last Night in Soho—(2021/Prime)
• Last Seen Alive—(2020/Netflix)
• Man on Fire—(2004/Max)
• MI-5—(2015/Max)
• The Mule—(2018/Netflix)
• The Night Agent—(2023/Netflix)
• Nobody—(2021/Prime)
• Ordinary Angels—(2024)
• Purple Hearts—(2022/Netflix)
• The Queen's Gambit—(2020/Netflix)
• Queenpins—(2021/Pluto TV)
• Reptile—(2023/Netflix)
• Self Reliance—(2023/Hulu)
• Seraphim Falls—(2006/Netflix)
• Somewhere in Queens—(2022/Hulu)
• The Spy—(2019/Netflix)
• Spy(les)—(2009/Prime)
• The Stranger—(2022/Netflix)
• Toscana—(2022/Netflix)
• The Two Popes—(2019/Netflix)
• Wonder Wheel—(2017/Prime)

Documentaries

• Aftershock: Everest and the Nepal Earthquake—(2022/Netflix)
• Carole King: Live in Central Park—(2023/PBS)
• The Comeback—(2005 and 2014/Max)
• Cunk on Earth—(2022/Neflix)
• Five Came Back—(2017/Netflix)
• The Volcano: Rescue from Whakaari—(2022/Netflix)
• 'Tis Autumn: The Search for Jackie Paris—(2007/go here)

Rudy Van Gelder. Following my review of Mike LeDonne's new album, Wonderful!, engineered by Maureen Sickler at Van Gelder Studios, I heard from Maureen:

Thanks, Marc. Nice to see credit and approval for keeping Rudy's legendary place alive and functioning. We now have a Preservation Easement in place from the New Jersey Historic Trust (photo above), to protect the building.
You haven't been out to see the National plaque yet so I've attached a photo (above).

Martin Mull. Last week following my post on twangy guitars, I heard from Mark Rabin [photo above of Martin Mull, courtesy of the Television Academy]:

Hi, Marc. Your post about twangy guitars brought to mind the Martin Mull song "Licks Off of Records" played with Glen Campbell (go here)...

I first heard Martin play it at the Boarding House in San Francisco in 1976. He toured with a full band and backup singers to support his albums, including "Martin Mull & His Fabulous Furniture in Your Living Room." I still have that and two of his other albums on vinyl.

Chiaroscuro Records, the label founded by Hank O'Neal, is now on YouTube. Go here.

Enrico Le Noci—Common Ground (Zennez). For this album, Italian guitarist Enrico Le Noci assembled a crackerjack organ combo with just the right soul-jazz feel. The quartet here features Enrico on guitar, Eric Ineke on drums, Arno Krijger on organ and Pietro Mirabassi on tenor saxophone. The songs are all originals by Enrico and are influenced by his passion for the blues. Quite an album when you consider that the quartet is comprised of three generations of jazz musicians from different parts of Europe. You'll find the album streaming at Spotify here.

Here's the group performing Pied Fries in the Netherlands...

And from the album, here's the title track...

Sonny Stitt radio. Sid Gribetz will host a five-hour radio special featuring saxophonist Sonny Stitt on Sunday, February 25, 2 to 7 p.m. (ET) on WKCR-FM's “Jazz Profiles” in New York. You can listen from anywhere in the world by going here.

And finally, here are five live organ-jazz clips:

Here's Jimmy McGriff in France in the late 1960s...

Here's Rhoda Scott in Europe in 1972...

Here's Rhoda in 1974...

Here's Shirley Scott in 1976...

And here's organist Charles Earland with fellow Hammondistas Jimmy McGriff, Dr. Lonnie Smith and Johnny "Hammond" Smith in the 1990s...

Note: You can read my interview with Rhoda Scott here.

Backgrounder: Johnny Hammond - 'Breakout'

As Johnny "Hammond" Smith became increasingly popular, he added his middle nickname to avoid being confused with guitarist Johnny Smith and organ great Jimmy Smith. He began recording as leader in 1959 and was a sideman throughout the 1960s. In 1971, Creed Taylor signed him to Kudu Records, his soul-flavored subsidiary of CTI. Smith's album Breakout (1971) was the first album released on the new label.

The LP is notable for its terrific mix of tracks and the stellar musicians who appeared on the album:

• Johnny "Hammond" Smith - organ, arranger
• Danny Moore - trumpet
• Grover Washington, Jr. - tenor saxophone, arranger
• Hank Crawford - alto saxophone
• Eric Gale - guitar
• Johnny Williams - electric bass
• Billy Cobham - drums
• Airto Moreira - percussion
• Leo Johnson - arranger (track 4)

The tracks:

1. It's Too Late (Carole King, Toni Stern)
2. Workin' on a Groovy Thing (Roger Atkins, Neil Sedaka)
3. Never Can Say Goodbye (Clifton Davis)
4. Blues Selah (Leo Johnson)
5. Breakout (Johnny "Hammond" Smith)
   

Here's Breakout without ad interruptions...

Other ad-free Backgrounders in my series:

• Zoot Sims Plays Bossa Nova, go here.
• Lee Morgan: Lee-Way, go here.
• Bossa Nova for Swinging Lovers, go here.
• Leon Spencer: Louisiana Slim, go here.
• Bossa Nova Modern Quartet: Bossa Nova Jazz Samba, go here.
• Bill Evans & Luiz Eça: Piano Four Hands, go here.
• Ray Brown Trio: Don't Get Sassy, go here.
• Os Tatuis: Os Tatuis, go here.
• Waltel Branco: Mancini Tambem É Samba, go here.
• Jack Wilson Plays Brazilian Mancini, go here.
• Conjunto Copacabana Bossa: Bossa, go here.
• Ella Fitzgerald: Ella Swings Lightly, go here.
• Charles Earland: Charles Earland, go here.
• Kenny Burrell: Crash! w/ Jack McDuff, go here.
• Jack McDuff: The Heatin' System, go here.
• Horace Silver: Horace-Scope, go here.
• Antonio Carlos Jobim: Wave, go here.
• Sonny Stitt: Sonny Stitt Plays, go here.
• Sonny Stitt with Bennie Green: My Main Man, go here.
• Johnny Hodges and Earl Hines: Stride Right, go here.
• Lionel Hampton: Bossa Nova Jazz, go here.
• Johnny Hodges & Ben Webster: Cellar Session, go here.
• Bill Evans: Solo Sessions Vol. 1, go here.
• Frank Wess: Trombones & Flute, go here.
• Presenting the Buddy DeFranco & Tommy Gumina Quartet, go here.
• Ernest Ranglin: Wranglin', go here.
• Dave Pell Octet: Plays Rodgers & Hart, go here.
• Milt Buckner: Block Chords Parade, go here.
• Roberto Menescal: A Nova Bossa, go here.
• Count Basie: Have a Nice Day, go here.
• Freddie Green: Mr. Rhythm, go here.
• Leny Andrade: Leny Andrade, go here.
• Johnny Alf: Ele é Johnny Alf, go here.
• Dodo Marmarosa: Dodo's Back, go here.
• Freddie Redd: The Music From the Connection, go here.
• Nicola Stilo & Toninho Horta: Duets, go here.
• Urbie Green: Persuasive Trombone, go here.
• Johnny Richards: Something Else, go here.
• Wayne Shorter: JuJu, go here.
• Hampton Hawes: All Night Session!, go here.
• Shorty Rogers Plays Richard Rodgers, go here.
• Chet Baker: Pretty/Groovy, go here.
• Sonny Stitt: The Sensual Sound of Sonny Stitt, go here.
• Gil Mellé: New Faces, New Sounds, go here.
• Herbie Mann and Charlie Rouse: Just Wailin', go here.
• Bobby Hackett: Memorable & Mellow, go here.
• Tina Brooks: Back to the Tracks, go here.
• Sonny Rollins Plays for Bird, go here.
• Red Garland: A Garland of Red, go here.
• Grant Green: Gooden's Corner, go here.
• Eumir Deodato Plays Marcos Valle, go here.
• Horace Parlan; Movin' & Groovin', go here.
• Russ Garcia: Four Horns and a Lush Life, go here.
• Vic Lewis: Plays Bossa Nova at Home and Away, go here.
• Buddy Collette's Swinging Shepherds, go here.
• Dizzy Gillespie: Gillespiana, go here.
• Nelson Riddle: Communication, go here.
• Nelson Riddle: Changing Colors, go here.
• Elmo Hope: Complete Trios, 1953-1966, go here.
• Buddy Collette: Man of Many Parts, go here.
• The Herbie Mann-Sam Most Quintet, go here.
• Shorty Rogers: Cool and Crazy, go here.
• The Return of Art Pepper, go here.
• Benny Golson and the Philadelphians, go here.
• Moacir Santos: Coisas, go here.
• Eddie "Lockjaw" Davis: Lock, the Fox, go here.
• Tony Bennett: The Movie Song Album, go here.
• Thad Jones/Mel Lewis: Consummation, go here.
• James Moody: Return From Overbrook, go here.
• Barry Galbraith: Guitar and the Wind, go here.
• Count Basie: With Quincy Jones and Neal Hefti, go here.
• Johnny Richards: Walk Softly, Run Wild!, go here.
• Dave Pike: Bossa Nova Carnival, go here.
• Clare Fischer: Só Danço Samba, go here.
• Reggie Johnson: First Edition, go here.
• John Graas: French Horn Jazz, go here.
• Eddie Lockjaw Davis & Johnny Griffin: Tough Tenor Favorites, go here.
• Bill Perkins: Bossa Nova With Strings Attached, go here.
• Incredible Jazz Guitar of Wes Montgomery, go here.
• Pepper Adams Quintet, go here.
• Sonny Rollins Plus 4, go here.
• Coleman Hawkins: Desafinado, go here.
• Sammy Davis Jr. Sings and Laurindo Almeida Plays, go here.
• Paul Quinichette: Moods, go here.
• Jimmy Forrest: Forrest Fire!, go here.
• Brazilian Jazz Quartet: Coffee and Jazz, go here.
• Art Blakey!!! Jazz Messengers!!!, go here.
• Sidney Bechet/Martial Solal, go here.
• John Carisi: The New Jazz Sound Of "Show Boat," go here.
• The Marty Paich Quartet, Featuring Art Pepper, go here.
• João Gilberto, 1998, go here.
• Bobby Timmons: Soul Time, go here.
• Gerry Mulligan: Jeru, go here.
• Ray Bryant: Alone With the Blues, go here.
• Leon Spencer Jr.: Bad Walking Woman, go here.
• Jimmy McGriff: Step 1, go here.

Backgrounder: Jimmy McGriff - 'Step 1'

Philadelphian Jimmy McGriff began as a pianist but fell in love with the organ after hearing Richard "Groove" Holmes play the Hammond B3 at his sister's wedding. He bought his first organ in 1956, spent six months at New York's Juilliard School of Music and then studied the organ privately with Milt Buckner, Jimmy Smith and Sonny Gatewood. He began leading an organ combo in 1960.

Step 1 was recorded for producer Sonny Lester at Capitol Records in 1970.

The lineup:

• Jimmy McGriff - organ
• Blue Mitchell − trumpet
• Danny Turner − alto saxophone
• Arthur 'Fats' Theus − electric tenor saxophone
• Bob Ashton − baritone saxophone
• Larry Frazier − guitar
• Jesse Kilpatrick Jr. − drums
• Unidentified Female vocalists − background vocals (tracks 1 and 2)

The tracks:

1. Step One
2. South Wes
3. Easter Parade
4. Jimmy's Blues
5. For Once in My Life
6. Motoring Along

Here's Step 1 without ad interruptions...

Other ad-free Backgrounders in my series:

• Zoot Sims Plays Bossa Nova, go here.
• Lee Morgan: Lee-Way, go here.
• Bossa Nova for Swinging Lovers, go here.
• Leon Spencer: Louisiana Slim, go here.
• Bossa Nova Modern Quartet: Bossa Nova Jazz Samba, go here.
• Bill Evans & Luiz Eça: Piano Four Hands, go here.
• Ray Brown Trio: Don't Get Sassy, go here.
• Os Tatuis: Os Tatuis, go here.
• Waltel Branco: Mancini Tambem É Samba, go here.
• Jack Wilson Plays Brazilian Mancini, go here.
• Conjunto Copacabana Bossa: Bossa, go here.
• Ella Fitzgerald: Ella Swings Lightly, go here.
• Charles Earland: Charles Earland, go here.
• Kenny Burrell: Crash! w/ Jack McDuff, go here.
• Jack McDuff: The Heatin' System, go here.
• Horace Silver: Horace-Scope, go here.
• Antonio Carlos Jobim: Wave, go here.
• Sonny Stitt: Sonny Stitt Plays, go here.
• Sonny Stitt with Bennie Green: My Main Man, go here.
• Johnny Hodges and Earl Hines: Stride Right, go here.
• Lionel Hampton: Bossa Nova Jazz, go here.
• Johnny Hodges & Ben Webster: Cellar Session, go here.
• Bill Evans: Solo Sessions Vol. 1, go here.
• Frank Wess: Trombones & Flute, go here.
• Presenting the Buddy DeFranco & Tommy Gumina Quartet, go here.
• Ernest Ranglin: Wranglin', go here.
• Dave Pell Octet: Plays Rodgers & Hart, go here.
• Milt Buckner: Block Chords Parade, go here.
• Roberto Menescal: A Nova Bossa, go here.
• Count Basie: Have a Nice Day, go here.
• Freddie Green: Mr. Rhythm, go here.
• Leny Andrade: Leny Andrade, go here.
• Johnny Alf: Ele é Johnny Alf, go here.
• Dodo Marmarosa: Dodo's Back, go here.
• Freddie Redd: The Music From the Connection, go here.
• Nicola Stilo & Toninho Horta: Duets, go here.
• Urbie Green: Persuasive Trombone, go here.
• Johnny Richards: Something Else, go here.
• Wayne Shorter: JuJu, go here.
• Hampton Hawes: All Night Session!, go here.
• Shorty Rogers Plays Richard Rodgers, go here.
• Chet Baker: Pretty/Groovy, go here.
• Sonny Stitt: The Sensual Sound of Sonny Stitt, go here.
• Gil Mellé: New Faces, New Sounds, go here.
• Herbie Mann and Charlie Rouse: Just Wailin', go here.
• Bobby Hackett: Memorable & Mellow, go here.
• Tina Brooks: Back to the Tracks, go here.
• Sonny Rollins Plays for Bird, go here.
• Red Garland: A Garland of Red, go here.
• Grant Green: Gooden's Corner, go here.
• Eumir Deodato Plays Marcos Valle, go here.
• Horace Parlan; Movin' & Groovin', go here.
• Russ Garcia: Four Horns and a Lush Life, go here.
• Vic Lewis: Plays Bossa Nova at Home and Away, go here.
• Buddy Collette's Swinging Shepherds, go here.
• Dizzy Gillespie: Gillespiana, go here.
• Nelson Riddle: Communication, go here.
• Nelson Riddle: Changing Colors, go here.
• Elmo Hope: Complete Trios, 1953-1966, go here.
• Buddy Collette: Man of Many Parts, go here.
• The Herbie Mann-Sam Most Quintet, go here.
• Shorty Rogers: Cool and Crazy, go here.
• The Return of Art Pepper, go here.
• Benny Golson and the Philadelphians, go here.
• Moacir Santos: Coisas, go here.
• Eddie "Lockjaw" Davis: Lock, the Fox, go here.
• Tony Bennett: The Movie Song Album, go here.
• Thad Jones/Mel Lewis: Consummation, go here.
• James Moody: Return From Overbrook, go here.
• Barry Galbraith: Guitar and the Wind, go here.
• Count Basie: With Quincy Jones and Neal Hefti, go here.
• Johnny Richards: Walk Softly, Run Wild!, go here.
• Dave Pike: Bossa Nova Carnival, go here.
• Clare Fischer: Só Danço Samba, go here.
• Reggie Johnson: First Edition, go here.
• John Graas: French Horn Jazz, go here.
• Eddie Lockjaw Davis & Johnny Griffin: Tough Tenor Favorites, go here.
• Bill Perkins: Bossa Nova With Strings Attached, go here.
• Incredible Jazz Guitar of Wes Montgomery, go here.
• Pepper Adams Quintet, go here.
• Sonny Rollins Plus 4, go here.
• Coleman Hawkins: Desafinado, go here.
• Sammy Davis Jr. Sings and Laurindo Almeida Plays, go here.
• Paul Quinichette: Moods, go here.
• Jimmy Forrest: Forrest Fire!, go here.
• Brazilian Jazz Quartet: Coffee and Jazz, go here.
• Art Blakey!!! Jazz Messengers!!!, go here.
• Sidney Bechet/Martial Solal, go here.
• John Carisi: The New Jazz Sound Of "Show Boat," go here.
• The Marty Paich Quartet, Featuring Art Pepper, go here.
• João Gilberto, 1998, go here.
• Bobby Timmons: Soul Time, go here.
• Gerry Mulligan: Jeru, go here.
• Ray Bryant: Alone With the Blues, go here.
• Leon Spencer Jr.: Bad Walking Woman, go here.

Backgrounder: Leon Spencer - 'Bad Walking Woman'

After reviewing Wonderful!, Mike LeDonne's new organ jazz album yesterday, I was drawn to my favorites from the late 1960s and early 1970s. To give you a feel of this jazz period, I thought I'd select a few lesser-known gems. Today, I'm featuring Leon Spencer Jr.'s Bad Walking Woman. Recorded in 1972, this LP was Spencer's third studio album as a leader.

The compositions, all by Spencer:

• Hip Shaker
• Down on Dowling Street
• In Search of Love
• If You Were Me and I Were You
• Bad Walking Woman
• When My Love Has Gone
• When Dreams Start to Fade 

The album featured Spencer (above) and the best of Prestige's soul-groove stars, with terrific arrangements by Billy VerPlanck:

• Leon Spencer Jr. – organ, vocals
• Virgil Jones – trumpet (track 5)
• Hubert Laws – flute, piccolo flute (tracks 3, 4, 6 & 7)
• Buzz Brauer – flute, English horn, oboe (tracks 3, 4, 6 & 7)
• Sonny Fortune – alto saxophone (track 5)
• Dave Hubbard – tenor saxophone (tracks 1 & 5)
• Melvin Sparks (tracks 1, 2, 4 & 5), Joe Beck (tracks 3, 6 & 7) – guitar
• Idris Muhammad – drums
• Buddy Caldwell – congas (tracks 4, 5 & 6)
• Billy VerPlanck – arranger (tracks 3, 4, 6 & 7)
• Unidentified string section – (tracks 3, 4, 6 & 7)

Here's the complete Bad Walking Woman without ad interruptions...

Other ad-free Backgrounders in my series:

• Zoot Sims Plays Bossa Nova, go here.
• Lee Morgan: Lee-Way, go here.
• Bossa Nova for Swinging Lovers, go here.
• Leon Spencer: Louisiana Slim, go here.
• Bossa Nova Modern Quartet: Bossa Nova Jazz Samba, go here.
• Bill Evans & Luiz Eça: Piano Four Hands, go here.
• Ray Brown Trio: Don't Get Sassy, go here.
• Os Tatuis: Os Tatuis, go here.
• Waltel Branco: Mancini Tambem É Samba, go here.
• Jack Wilson Plays Brazilian Mancini, go here.
• Conjunto Copacabana Bossa: Bossa, go here.
• Ella Fitzgerald: Ella Swings Lightly, go here.
• Charles Earland: Charles Earland, go here.
• Kenny Burrell: Crash! w/ Jack McDuff, go here.
• Jack McDuff: The Heatin' System, go here.
• Horace Silver: Horace-Scope, go here.
• Antonio Carlos Jobim: Wave, go here.
• Sonny Stitt: Sonny Stitt Plays, go here.
• Sonny Stitt with Bennie Green: My Main Man, go here.
• Johnny Hodges and Earl Hines: Stride Right, go here.
• Lionel Hampton: Bossa Nova Jazz, go here.
• Johnny Hodges & Ben Webster: Cellar Session, go here.
• Bill Evans: Solo Sessions Vol. 1, go here.
• Frank Wess: Trombones & Flute, go here.
• Presenting the Buddy DeFranco & Tommy Gumina Quartet, go here.
• Ernest Ranglin: Wranglin', go here.
• Dave Pell Octet: Plays Rodgers & Hart, go here.
• Milt Buckner: Block Chords Parade, go here.
• Roberto Menescal: A Nova Bossa, go here.
• Count Basie: Have a Nice Day, go here.
• Freddie Green: Mr. Rhythm, go here.
• Leny Andrade: Leny Andrade, go here.
• Johnny Alf: Ele é Johnny Alf, go here.
• Dodo Marmarosa: Dodo's Back, go here.
• Freddie Redd: The Music From the Connection, go here.
• Nicola Stilo & Toninho Horta: Duets, go here.
• Urbie Green: Persuasive Trombone, go here.
• Johnny Richards: Something Else, go here.
• Wayne Shorter: JuJu, go here.
• Hampton Hawes: All Night Session!, go here.
• Shorty Rogers Plays Richard Rodgers, go here.
• Chet Baker: Pretty/Groovy, go here.
• Sonny Stitt: The Sensual Sound of Sonny Stitt, go here.
• Gil Mellé: New Faces, New Sounds, go here.
• Herbie Mann and Charlie Rouse: Just Wailin', go here.
• Bobby Hackett: Memorable & Mellow, go here.
• Tina Brooks: Back to the Tracks, go here.
• Sonny Rollins Plays for Bird, go here.
• Red Garland: A Garland of Red, go here.
• Grant Green: Gooden's Corner, go here.
• Eumir Deodato Plays Marcos Valle, go here.
• Horace Parlan; Movin' & Groovin', go here.
• Russ Garcia: Four Horns and a Lush Life, go here.
• Vic Lewis: Plays Bossa Nova at Home and Away, go here.
• Buddy Collette's Swinging Shepherds, go here.
• Dizzy Gillespie: Gillespiana, go here.
• Nelson Riddle: Communication, go here.
• Nelson Riddle: Changing Colors, go here.
• Elmo Hope: Complete Trios, 1953-1966, go here.
• Buddy Collette: Man of Many Parts, go here.
• The Herbie Mann-Sam Most Quintet, go here.
• Shorty Rogers: Cool and Crazy, go here.
• The Return of Art Pepper, go here.
• Benny Golson and the Philadelphians, go here.
• Moacir Santos: Coisas, go here.
• Eddie "Lockjaw" Davis: Lock, the Fox, go here.
• Tony Bennett: The Movie Song Album, go here.
• Thad Jones/Mel Lewis: Consummation, go here.
• James Moody: Return From Overbrook, go here.
• Barry Galbraith: Guitar and the Wind, go here.
• Count Basie: With Quincy Jones and Neal Hefti, go here.
• Johnny Richards: Walk Softly, Run Wild!, go here.
• Dave Pike: Bossa Nova Carnival, go here.
• Clare Fischer: Só Danço Samba, go here.
• Reggie Johnson: First Edition, go here.
• John Graas: French Horn Jazz, go here.
• Eddie Lockjaw Davis & Johnny Griffin: Tough Tenor Favorites, go here.
• Bill Perkins: Bossa Nova With Strings Attached, go here.
• Incredible Jazz Guitar of Wes Montgomery, go here.
• Pepper Adams Quintet, go here.
• Sonny Rollins Plus 4, go here.
• Coleman Hawkins: Desafinado, go here.
• Sammy Davis Jr. Sings and Laurindo Almeida Plays, go here.
• Paul Quinichette: Moods, go here.
• Jimmy Forrest: Forrest Fire!, go here.
• Brazilian Jazz Quartet: Coffee and Jazz, go here.
• Art Blakey!!! Jazz Messengers!!!, go here.
• Sidney Bechet/Martial Solal, go here.
• John Carisi: The New Jazz Sound Of "Show Boat," go here.
• The Marty Paich Quartet, Featuring Art Pepper, go here.
• João Gilberto, 1998, go here.
• Bobby Timmons: Soul Time, go here.
• Gerry Mulligan: Jeru, go here.
• Ray Bryant: Alone With the Blues, go here.

Mike LeDonne: 'Wonderful!

Mike LeDonne is a badass. I thought of five different ways to say this more elegantly but I kept coming back to the same phrase. Mike, whose mastery of the Hammond B3 organ is legendary, takes the instrument's sound up a notch on his new album, Wonderful! (Cellar), by enlisting an 11-member non-denominational gospel choir. [Photo above of Mike LeDonne]

The sound I'm talking about is jazz in the late 1960s and early 1970s. Mike and I are the same age—67. In fact, I'm about a month older. The point being is that I remember and love organ jazz that emerged during this period, when Atlantic, Prestige and Kudu and their respective producers Joel Dorn, Arif Mardin, Ozzie Cadena, Creed Taylor and, most important, Bob Porter, actively sought out artists who had a hip, soulful groove going on. Now add Corey Weeds, Wonderful!'s producer, to the list. [Photo above of Bob Porter]

These period artists included soul-jazz masters such as Leon Spencer Jr., Charles Earland, Charles Kynard, Johnny "Hammond" Smith, Dr. Lonnie Smith, Grover Washington Jr., George Coleman, Hank Crawford, Harold Mabern, Jimmy McGriff, Houston Person, Virgil Jones, Melvin Sparks, Maynard Parker, Idris Muhammad, Buddy Caldwell and so many others.

On Wonderful!, Mike got it all fabulously right, which isn't easy. You need this music in your heart and head and you need the groove to nail it. Choosing great sidemen helps. Joining Mike on his journey back to this era are musicians and singers well versed in this glorious but short-lived period in jazz that surfaced between the avant-garde and fusion. His Groover Quartet features Mike LeDonne (org), Eric Alexander (ts), Peter Bernstein (g) and Joe Farnsworth (d), with guest artists Daniel Sadownick (perc., on Let Us Go and Put It Back) and Vincent Herring (as, on Let Us Go).

The gospel choir (above) was arranged by Mike with Carolyn Leonhart and features Aisha de Haas, Audrey Martells, Carolyn Leonhart, Everett Bradley, Keith Anthony Fluitt, Jamie Leonhart, Jamile, JD Walter, John James, La Tanya Hall and Tanesha Gary.

The tracks:

1. Let Us Go (Benjamin Hutto)
2. Lonnie's Lament (John Coltrane)
3. Twinkies Organ Prelude/Wonderful (Twinkie Clark/Mike LeDonne)
4. Put It Back (Charlie Stanton)
5. Bridge Over Troubled Waters (Paul Simon)
6. Ain't Nothing Like the Real Thing (Nick Ashford and Valerie Simpson)
7. Make Someone Happy (Julie Styne)
8. Genesis (Mike LeDonne)

There's a lot of church on this album, thanks to the choir and Mike's organ. Eric's saxophone is so beautiful, Joe's drums knock me out, Peter's guitar adds gorgeous coloration and the special guests Daniel and Vincent are solid. Kudos to Maureen Sickler, who engineered at the Van Gelder Recording Studio.

But most of all, a big thanks to Mike for bringing the heat and taking me on a ride back to a time when I spent way too much time and money at Sam Goody's on Third Avenue and 43d Street. There, I was in constant search of Prestige's organ jazz releases, with those deep purple and kelly green LP labels. By the way, that's a beautiful photo Mike took of his daughter, Mary, on the cover. [Photo above of Eric Alexander, courtesy of Eric Alexander]

JazzWax tracks: You'll find Mike LeDonne's Wonderful! (Cellar) here.

JazzWax clips: Here's Let Us Go...

Here's Lonnie's Lament...

Here's Make Someone Happy...

And here's Mike and the group at Van Gelder's...

Black Art Jazz Collective: 'Truth to Power'

Many jazz fans break out in a sweat when they see the word "collective" in the name of a jazz group. One assumes the music is going to be avant-garde and free form to the point of incoherence. You'll be happy to know that that the Black Art Jazz Collective's new album Truth to Power (HighNote) is warmly stormy and soulfully engaging.

This collective is a sextet that has been around since 2014 and features topnotch musicians carrying on the tradition of black jazz of the 1960s and '70s that was both spirited and socially conscious. The album includes the following musicians on different tracks: Jeremy Pelt, Josh Evans and Wallace Roney Jr. (tp), James Burton III (tp), Wayne Escoffery (saxes), Xavier Davis and Victor Gould (p,el p), Vincent Archer and Rashaan Carter (b) and Johnathan Blake and Mark Whitfield, Jr. (d). [Photo above of Wayne Escoffery]

The tracks are:

1. Black Heart (Xavier Davis)
2. The Fabricator (Jonathan Blake)
3. Truth to Power (Wayne Escoffery)
4. It's Alright (Jeremy Pelt)
5. Coming of Age (James Burton III)
6. Dsus (Victor Gould)
7. Code Switching (Burton)
8. Soliloquy (for Sidney Poitier) (Pelt)
9. Lookin' for Leroy (Escoffery)
10. Blues on Stratford Road (Blake)

The music is hard-charging (Truth to Power, Dsus, Lookin' for Leroy and Code Switching) and sensual (It's Alright and Soliloquy for Sidney Poitier). In some places the group reminds me of Art Blakey and the Jazz Messengers with Wayne Shorter and in others the Jazz Crusaders. [Photo above of Jeremy Pelt]

Overall, the Black Art Jazz Collective has its own sound that delivers a strong message. This is jazz from a black point of view as I remember it in the 1960s and '70s, which means it's deeply felt and muscular in a poetic, meaningful way. Check it out. 

JazzWax tracks: You'll find Black Art Jazz Collective's Truth to Power (HighNote) here and on streaming platforms.

JazzWax clips: Here's Lookin' for Leroy...

And here's It's Alright...