Hank Crawford - The Soul Clinic

Hank Crawford The Soul Clinic (Atlantic 1962)

Hank Crawford’s landmark 1962 album The Soul Clinic boasts the saxophonist’s unique, ‘singing’ tone, the swinginest (Ray Charles) band in the land and a mind-boggling trumpet solo by the unknown Philip Gilbeau to boot. Bingo.

Hank Crawford - The Soul Clinic

Personnel

Hank Crawford (alto saxophone, piano), David “Fathead” Newman (tenor saxophone), Phil Gilbeau (trumpet), John Hunt (trumpet), Leroy “Hog” Cooper (baritone saxophone), Edgar Willis (bass), Bruno Carr (drums), Milt Turner (drums)

Recorded

on October 7, 1960, February 24 & May 2, 1961 at Atlantic Recording Studio, NYC

Released

as SD 1372 in 1962

Track listing

Side A:
Please Send Me Someone To Love
Easy Living
Playmates
What A Difference A Day Makes
Side B:
Me And My Baby
Lorelei’s Lament
Blue Stone


Pick a winner: Crawford’s More Soul, The Soul Clinic or From The Heart. Good luck. Not that it matters, saxophonist Hank Crawford’s first three albums for Atlantic are equally impressive. It depends on your mood. Bennie “Hank” Crawford, who played alto and baritone saxophone in the Ray Charles band and served as its musical director from 1958 to 1963, went on and recorded more excellent albums for Atlantic in the sixties like True Blue and Mr. Blues Plays Lady Soul and churned out hip, down-home tunes as Skunky Green and Whispering Grass. Between his Atlantic period and the latter stages of his career spent at the Milestone label with the likes of Houston Person and organist Jimmy McGriff, Crawford switched to a more polished approach on the CTI imprint Kudu. Kudu highlights are We Got A Good Thing Going On and Wildflower.

Well, highlights… Sales-and-solo-wise for sure. Wildflower climbed the charts. Crawford’s highly personal style remained largely intact. But production-wise, get a break. His Kudu albums might be your cup of tea but it’s a bottle of snake piss for the Flophouse Floor Manager. Producer Creed Taylor devised a smart formula, which he should be given credit for, but those albums lack exactly what makes the Atlantic albums jewels to be treasured for the ages: the sound of Crawford’s seven-piece band which did much to steer Ray Charles to unforgettable heights.

That sound wasn’t devised out of thin air. The albums feature steady members of the Ray Charles band, a tight-knit group if ever there was one. Crawford coming aboard in 1958 gave the Ray Charles group a big boost, first by his indelible sax playing, soon after by his arranging skills. Consequently, the indirect impact of Crawford on popular music cannot be overstated. The sound of two trumpets, alto, tenor and baritone that Crawford arranged has lingered on in the memories of music lovers as the Ray Charles period to-go-to and became the trademark Crawford sound in the sixties. Effectively, the sound of a modern blues band, one of the last in a line that had been developed onwards from the forties by Illinois Jacquet, Louis Jordan, Arnett Cobb and Bull Moose Jackson. Irresistable outfits.

Up until the 1960 and 1961 sessions of The Soul Clinic, Crawford had appeared on iconic Ray Charles hit singles on Atlantic such as What I’d Say and LP’s as the illustrious Ray Charles At Newport. Crawford shared many duties with David “Fathead” Newman, who went a bit further back with Ray Charles to 1957’s recordings like Doodlin’. Crawford, Newman, trumpeter John Hunt, drummer Milt Turner and bassist Edgar Willis cooperated on the What I’d Say LP, as well as the live album In Person. (minus Turner) Genius Hits The Road includes Crawford, Newman, baritone saxophonist Leroy “Hog” Cooper, Hunt and Turner. Thus, these guys had played, lived and breathed together both in the studio and on the road.

Trumpeter Philip Gilbeau was a newbie in this bunch, who would get his chance to stretch out on Ray Charles’ Impulse album Genius + Soul = Jazz. Drummer Bruno Carr would be part of Ray Charles’ working band on and off in the early sixties. The career of the unknown Carr reveals some interesting associations with, among others, Crawford, Newman, Nat Adderley, Herbie Mann, Dave Pike and Roy Ayers. Finally, Crawford and other members of this line up are also featured on David “Fathead” Newman’s Atlantic albums Fathead: Ray Charles Presents David “Fathead” Newman and Fathead Comes On. The reason why I go at length to explain the various connections between these musicians is because I feel that the colleagues of Crawford, Newman and Ray Charles are unsung heroes of r&b and soul jazz. Take a deep breath, look at the titles of the before-mentioned albums and singles and let it sink in for a while… Got it?

The way the group builds up a tune is extraordinary. Perhaps by shaking their hips, drummer Bruno Carr and bassist Edgar Willis faultlessly guess the exact amount of small change residing in each other’s side pockets. Locked tight. Fish, hook and line. Ever so slightly, like for instance in the Crawford composition Blue Stone, Carr and Willis stoke up the fire once Crawford’s tenor is getting ready to gain momentum. Much of the album’s charm is brought about by the sonorous arrangements of Crawford. The warm-blooded, transparant production of Tom Dowd chips in magnificently. Except Please Send Me Someone To Love, that includes piano comping by Crawford, the album’s repertoire is piano-less. That worked out beautifully, creating room for the lucid voices of the group’s hard-working gentlemen from the South.

Where can I find a contemporary saxophonist with the kind of one-of-a-kind sound as Hank Crawford? You tell me. Wish me luck. I’d have to take off my pince nez and borrow the looking glass of Sherlock Holmes. Highly unlikely that Hank Crawford is part of the curriculum of the contemporary conservatories. Should be elemental, Hank presents a how-to-find-your-voice course without peer. Off course, not everybody is born in Memphis, main cradle of blues and r&b. But background only doesn’t account for Crawford’s peculiar style. With every repeated listen, awe, hearthy laughter and joy builds up and builds up, until the balloon bursts and tears of joy spray all over the floor. He’s such a stubborn man, doggedly making his point! So convinced of his method and message! Crawford, heard on alto on The Soul Clinic, generally stays close to the melody, points out the bare essentials of the tune, puts it through the wringer until the last drop. Assumingly, Crawford is conscious of every word of the tunes. He tackles the themes with his probing tone and delicate vibrato. A sparse use of fluid bop runs, spicy asides, enhance the bigger picture of his blues-drenched message. Because, essentially, Crawford’s voice is the voice of a blues singer. Not exactly hollering on the fields, Crawford nevertheless unburdens his heart, slightly sweating, sensuously. The sense of hurt is there, he’s been assisting Brother Ray, which obviously must’ve had its effect. But while Brother Ray, when singing the blues, chops out his liver to bleed on the table in front of us, Crawford passes his troubles on a rusty copper plate.

Charlie Parker, the greatest alto saxophonist in the history of jazz, did a thousand things with the blues. The ambidextrous monster musician Steve Coleman, reportedly, dubbed it ‘space blues’. On the other side of the spectrum, Hank Crawford focuses on the core of the blues. But how!

The repertoire is evenly divided between merrily bouncing swingers like the Crawford original Playmates and Horace Silver’s Me And My Baby, gorgeous ballads like Robin/Grainger’s Easy Living and the popular tune What A Difference A Day Makes, which was a hit for Dinah Washington in 1959. The latter is a vehicle for trumpeter Philip Gilbeau. As if Hank isn’t enough to drive you wild, the angels of swing sent down brother Phil Gilbeau. Brash, jubilant, linking Satchmo to crisp modern jazz, Gilbeau’s tale reveals the feelings of a man who loves his woman, which nevertheless left him stranded at a roadside diner after a heated argument. You see him standing outside at the parking lot, one heel on the springboard of his 1958 Packard, swinging a fist, a sudden act of mad laughter that can hardly conceal the yearning, the tenderness, the joy of life. This couple is bound to make up, will be back soon in a barbecue joint, ribs and fries, chili in a bowl, hashbrowns over easy, the whole shebang except candlelight… You hear him think, ‘might be steppin’ into that phonebooth, be callin’ Hank in a minute, just to say I keep-a-rollin’ with my baby…’ Hank understands. The band understands. The guys all sing that song. Not only seperately, but also as the entity that made those albums like The Soul Clinic beautiful, essential, deep blue as the ocean.

The 3 Sounds - Feelin' Good

The Three Sounds Feelin’ Good (Blue Note 1960)

Basic and bluesy mainstream jazz was the recipe of piano trio The Three Sounds, led by Gene Harris. Delicate group interplay was its forte.

The 3 Sounds - Feelin' Good

Personnel

Gene Harris (piano), Andrew Simpkins (bass), Bill Dowdy (drums)

Recorded

on June 28, 1960 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as BLP 4072 in 1960

Track listing

Side A:
When I Fall In Love
Parker’s Pad
Blues After Dark
I Got It Bad (And That Ain’t Good)
Side B:
Straight No Chaser
I Let A Song Go Out Of My Heart
It Could Happen To You
Two Bass Hit


The original line up of The Three Sounds of Gene Harris, bassist Andrew Simpkins and drummer Bill Dowdy recorded prolifically and very succesfully for Blue Note (and Limelight) between 1958 and 1965, until Dowdy dropped out to concentrate on teaching. The Three Sounds lasted till 1971 in various combinations, up to the Blue Note album The Three Sounds, which was essentially a Gene Harris album, as none of the original members were present. Highlights include the outfit’s debut Introducing The Three Sounds, their involvement with alto saxophonist Lou Donaldson, LD + 3, Black Orchid and Live At The Lighthouse. Their cooperation with Stanley Turrentine, Blue Hour, is a crowd favorite. Probably on account of Turrentine’s bluesjazz brilliance. The accompaniment is rather unremarkable.

Once pianists like Gene Harris had a song or album that did well on the charts, it was a logical step for both the label and artist to stay in that bag and see if a follow-up would sell equally well as well. Generally, soul jazz was music for Average Jimmy & Josie from the bowels of the black neighbourhood. Before having ribs at Hot Barbecue, the couple might go to the local record shop (or even barbershop or gas station) and fetch a record of their favorite artist, afterwards they might visit a bar and put a nickle in the jukebox. Jimmy & Josie musn’t be confused with the 21st century average couple, which listens to whatever Warner Bros puts on their plate. At that time, before the corporate world began to reign supreme and the inner cities desintegrated due to the introduction of crack and the subsequent criminality, couples like Jimmy & Josie not only dug r&b but also chose jukebox tunes from Gene Ammons, Willis Jackson, Jimmy Smith, Cannonball Adderley and pianists like Les McCann, Ray Bryant and Ramsey Lewis. Besides tapping their feet, they might even discuss the differences in styles. True, no jive.

Harris is not in the league of McCann, Bryant and Lewis. While they score goals, Harris warms the bench. Soul jazz at its best is brought with distinctive traits. Where, for instance, McCann brings the roar of a sermon, Bryant a brilliant left hand full of jazz tradition, Harris perseveres his blues clichés without adding anything suprising or peculiar. To be sure, Harris contributed suavely to trumpeter Nat Adderley’s Branching Out, tenorist and flutist James Clay’s Double Dose Of Soul and organist Melvin Rhyne’s Organ-Izing. In the eighties, Harris’ longest run was with the tasteful genius of the upright bass, Ray Brown, from 1984 to 1991. Once out of the soul jazz context, Harris fulfilled his potential as an excellent modern jazz pianist.

Feelin’ Good must be added to the list of top-rank Three Sounds albums. At its best, the trio responds to each other’s archetypical blues and r&b accents like trapeze artists that have practised their tricks longer than Nurejev did his ballet moves. Extremely tight-knit. This groove is most apparent in the mid-and uptempo tunes like Two Bass Hit, Thelonious Monk’s Straight No Chaser and Parker’s Pad, a Harris original that brings to mind Things Ain’t What They Used To Be. These tunes slowly but surely pick up steam and climax not so much with abandon but a confident bounce that suggests a longing to gently nudge the audience into the hands of the angels rather than the lap of God with fire and brimstone. Excellent trio interaction. At its worst, Harris placidly mumbles his way through a ballad, leaving one cold with series of forgettable, formulaic phrases. A bummer sandwiched between the songs that make up a set of flawlessly executed, unambitious, groovy soul jazz.

Gene Ammons - Bad! Bossa Nova

Gene Ammons Bad! Bossa Nova (Prestige 1962)

Throughout his spectacular career, tenor saxophonist Gene Ammons had several big hits, both singles and albums. One of those albums, Bad! Bossa Nova, paved the way for soulful players intent on exploring Latin music.

Gene Ammons - Bad! Bossa Nova

Personnel

Gene Ammons (tenor saxophone), Hank Jones (piano), Bucky Pizzarelli (acoustic guitar), Kenny Burrell (acoustic guitar), Norman Edge (bass), Oliver Jackson (drums), Al Hayes (bongo)

Recorded

on September 9, 1962 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as PR 7257 in 1962

Track listing

Side A:
Pagan Love Song
Ca’ Purange
Anna
Side B:
Cae, Cae
Moito Mato Grosso
Yellow Bird


After organist Jimmy Smith, who was second to none as far as popularity and record sales was concerned, Gene Ammons was another very succesful artist of the soul jazz era. Ammons started out in the bands of King Kolax and Billy Eckstine in the mid-forties, the latter a playing ground for the burgeoning bebop generation of Charlie Parker, Dizzy Gillespie, Miles Davis, Wardell Gray, Fats Navarro and Art Blakey. And Ammons, who knew his share of bebop. During his tenure with Eckstine, Ammons’ colleagues in the reed chair were Dexter Gordon, Leo Parker and Sonny Stitt. As a leader, Ammons gained a lot of public acclaim with the jumpin’ blues theme Red Top in 1947. The tenor saxophonist subsequently struck gold with the ballad My Foolish Heart in 1950, one of the tunes in the borderland of r&b and jazz (the distinction wasn’t as evident then as it is now) that many jazz artists of the day specialized in. During the years 1950-52, Ammons made up an explosive sax battle team with Sonny Stitt, whom he would keep recording with on and off through the sixties.

Ammons, the Chicago-born son of boogiewoogie master Albert Ammons, wasn’t about to slow down, if only by long, intermittent stints in jail for possession of drugs. Ammons has recorded for Savoy, VeeJay, Argo, but was part of the Prestige roster early on, an association that would continue throughout his career. His ‘HiFi’ jam albums of the late fifties with the likes of John Coltrane, Jackie McLean, Mal Waldron and Art Taylor were attractive but curtailed the playing time of the big-toned tenorist. His style would come fully to the fore on the big-selling Boss Tenor in 1960, which spawned another jukebox hit, Canadian Sunset, as was Exactly Like You from 1961’s Jug album. The fruitful period 1960-1962 secured Ammons’s top ranking in soul jazz history. Bad! Bossa Nova is the last in line, since Ammons was convicted again, now also for selling drugs. It looked like the authorities wanted to set an example by sentencing the black jazz musician to seven years in jail. A great tragedy for Ammons and an utter disgrace which black people, unfortunately, have been all too familiar with. His comeback on Prestige in 1969 would be very successful. But his conditions worsened and Ammons passed away in 1974 at the age of forty-nine.

Unabashed emotion. A big sound that fills the (bar-)room. Excuse me? A soccer stadium! Great storytelling abilities. A tough tenor that wails with the best of ‘m but with controlled power. A prime balladeer. And a great entertainer. The title of Bad! Bossa Nova sounds about right. Bad it is. Ammons wholeheartedly funkifies the set of Latin-tinged tunes. If it doesn’t exactly consign Stan Getz/Charlie Byrd’s Jazz Samba album, containing the hit Desafinado, released half a year earlier, to the litter bin, after a back-to-back spin Getz/Byrd’s album certainly comes across as shopping mall muzak. Both albums were big sellers, Jazz Samba foremost, but Bad! Bossa Nova sold large quantities in black neighbourhoods. A couple of years later, while Ammons was doing time, it was re-issued by Prestige as Jungle Soul and again sold extremely well!

Highlights are Ca’ Purange and Cae, Cae. Ca’ Purange (Jungle Soul), a simple recurring Latin figure, is a perfect canvas for Ammons’ bold strokes. His tone fills the sky, sparse, long lines and staccato honks stoke up the fire, which threatens to overrun the swamps, where Gene Ammons’ greasy, hypnotic soul groove is pulling you in anyway. A dense rhythm section including Kenny Burrell as acoustic rhythm guitarist lays down a colorful groove for Ammons, with guitarist Bucky Pizzarelli, also on acoustic guitar, occasionally chiming in with spicy licks. Hank Jones is an extra treat. The masterful pianist delivers deliciously swinging, delicate miniatures, pulling out all the happy-go-lucky stops with locked-hands technique and notes tumbling over each other like kittens reaching for the milk at the nipples of pussy mom in Cae Cae particularly. Hank Jones, early bebopper, modern jazz giant probably best known for his role on Cannonball Adderley’s Something Else, knows how to play popular music, having operated in the shadowlands of jazz and r&b in the early fifties, notably on organ. Gene “Jug” Ammons is a true master of blending sophistication with entertainment which Bad! Bossa Nova makes abundantly clear.

Ferry Knijn Fotografie 2015

Song For My Kids

Charming, talkative Peter Guidi guides us through his adventuresome career as flutist, saxophonist, bandleader and educator. “I teach my students the rudiments, thereafter it’s up to them. It’s essential to follow your heart and play what you believe in. Because the audience can hear that.”

Teach your children well, sang Stephen Stills. That’s exactly what Peter Guidi has been doing for thirty years now. Well, more than well. The Scottish-Italian, Amsterdam-based Guidi, like one of his all-time heroes Cannonball Adderley, a likable, outgoing gentleman, displays boundless, devoted enthusiasm for nurturing young jazz talent. Don’t come around suggesting to Guidi the popular view that jazz is dead or bereft of a promising future. His slightly curled hair shakes back and forth, his eyes widen: “Are you kidding?! Not when you’re hearing all those youngsters in my orchestras. They play with their heart and soul. With joy and guts. Even with a not yet fully-developed technique they regularly catch me by surprise. Their purity is heart-warming. I send them on stage as early as possible, let them make a lot of flying hours. You can’t learn jazz from a book. You know what Einstein said, and he’s a pretty smart fellow: ‘The only true knowledge is experience, everything else is merely information’. Who’s gonna argue with that? Not only do I feel that jazz is alive, there is the bigger picture. Some of those boys and girls have become friends for life because they share a passion.”

“Jazz provides a great lesson in life. Especially during these times of ‘me, me, me…’ I-this, I-that, the faces in front of the computer screens… Without communication and interaction with other people, life isn’t worth much. Practicing technique to become the fastest gun in the West, alone in your room, makes no sense. Playing together does. Playing jazz involves mutual respect, listening skills, sharing. Furthermore, and this makes it so beautiful, it involves the growth of a personal voice. You have to tell your own story. But, again, within the framework of the group.“

“I’ve had parents come up to me and tell me that their son or daughter, whether he or she has pursued a career in music or not, has grown as a human being. They learn to work as a team and improvise. And life is all about improvisation. We don’t know what the heck is going to happen tomorrow! Some time ago, I encountered a lady who had been in my Jazz Juniors band. She has a very hectic, important job and told me that she always thinks about my lessons in stressful situations, that her motto had become: use your imagination, improvise! You know how good it felt to hear that? Wow!”

Guidi’s accomplishments in the Dutch jazz educational landscape are unmatched. He’s sort of a Dutch equivalent of educational legends in the classic age of jazz, like Captain Walter Dyett from DuSable High School in Chicago, who showed the way to Nat King Cole, Gene Ammons, Johnny Griffin, Clifford Jordan, Richard Davis and many others. Guidi built up the Jazz Department of the Muziekschool Amsterdam from scratch in the mid eighties, running numerous prize-winning youth orchestras in the process and kickstarted the careers of countless major talents such as Joris Roelofs, Lars Dietrich, Ben van Gelder, Gidon Nunez Vas, Gideon Tazelaar and Daniel Keller. Guidi has always taught using an unbeatable method he calls ‘the three F’s’: Firm, Fair and Funny. Strict but sincere, with some humor thrown in to illustrate important points. “And never bullshit. Kids can smell bullshit a mile away! If you find yourself at a loss in an educational situation, just say so. Say, ‘well, I don’t really know, but I’ll get back to you with an answer next week.’ They accept that and like you for it because it is honest.”

An optimist at heart, Guidi nevertheless expresses worry about the prospects of contemporary students. “Long term engagements have become practically out of the question. Most young players play one-offs. And later when they’re not young talents anymore, a different reality sets in. The club wants you, but your next performance will be two years later! It’s heartbreaking because the amount of talent today is amazing. What’s my advice to young players? Follow your heart, follow your dreams, always. But at the same time, keep one foot on the ground. In the conservatory, everybody digs Coltrane and Chris Potter but outside few people even know who Louis Armstrong is, let alone Charlie Parker or Lee Morgan. So? The world is your oyster, you have many choices and opportunities. You can of course diversify and do commercial stuff to help you financially, but if you want to dedicate your time exclusively to jazz, then try to get a teaching job or go study something else as well. All of these young jazz students have the talent, dedication and creativity to become anything he or she wants to be. If they studied the equivalent amount of time with the same amount of effort and discipline they could become brain surgeons. That shows you how hard they work. But at the end of it medical students have a career ahead of them whereas jazz students don’t know where the next gig is coming from.”

“What kind of jazz do I teach? Mostly hard bop! It has groove, blues, great chord sequences, instantly recognizable melodies, energy and integrity. My youngest students are nine, ten years old. They’re little jazz barometers, so to speak. I’ve been doing this a long time, I have a pretty good idea of their mindset. Often without any interference on my part, these kids request to play pieces like Work Song, Moanin’, Sister Sadie, Blues March, The Sidewinder, Song For My Father, Sugar! Tunes that are not too complex where you can improvise using pentatonics or a blues scale. Chronologically, bebop comes first of course, but in educational terms, it’s better to start with hard bop. And earlier some catchy blues like C-Jam Blues. It gives them security and convinces them to jump off the diving board. Not to be afraid of ‘wrong’ notes. Duke Ellington said: ‘There’s no such thing as a wrong note. If you play it long enough, it turns into a right note.’ The blues reflects that wise statement. ‘Wrong’ blue notes are ingrained. They are what make it sound blue.”

Before Guidi found his educational destiny in the capital of The Netherlands, the young man’s unorthodox path led him from Glasgow, to Jersey to Milan. As a kid in Glasgow he listened to Sinatra and opera in the Scottish-Italian household and was held spellbound by the slow-dragging bass voice of the legendary Voice Of America Jazz Hour radio presenter Willis Coniver. Soon playing clarinet for his beloved mother and whistling bebop tunes almost 24/7, on Jersey Guidi set his mind on obtaining a saxophone from the only music store on the island and, once he purchased it with the money earned working in his father’s restaurant, had the opportunity via the Jersey Jazz Club to jam with the likes of Johnny Griffin, Art Taylor, Ronnie Scott and flutist Harold McNair. At the age of eighteen he was the chauffeur of Ronnie Scott, who wanted to drive to the sole booking office on the island to bet on the horses as soon as he got off the airplane. A professional in Milan and London, the hard road of making a jazz living became apparent, the pleasures of living and breathing with legends like Eddie ‘Lockjaw’ Davis, Sonny Stitt and Dexter Gordon as well. And then, Amsterdam. The liberal city which he loves like no other town in the world and has been calling his home for over three decades. “Opportunity knocked. I was asked for a teaching job in the Muziekschool Amsterdam. I had a lot of experience as a musician playing at major festivals and also in small jazz clubs some no more than holes in the ground. That experience allowed me to pass on some practical knowledge. I learned a lot too because you can’t really learn how to teach except by doing it.”

Perhaps the DIY attitude necessary to find your way on an outpost like Jersey during the winter season accounts for Guidi’s level-headed, entrepreneurial spirit. “Yes. And also the typical immigrant attitude of my family. Be your own boss, like my father said. Well, I became my own boss once I moved to Milan. I played in soul bands. I still love soul music. I did South-American stuff with real Argentine and Brazilian bands playing extended stints in top Saint Moritz hotels. The only down side with the Argentine band was wearing a poncho, spurs, one of those belts with coins on it. That might look cool when you play guitar, but sax? I looked and felt like a complete idiot! But with those earnings I bought a soprano saxophone. There was no Real Book or Aebersold method back then you understand! No Jazz Conservatory. You had to learn by playing on stage. If you wanted to learn Cherokee, you had to ask somebody to write down the chord changes for you. And trust your ears.”

“Milan was great. That was my conservatory. The two best clubs were Capolinea and Due. I started out as a jack-of-all-trades. As well as playing I arranged replacements when somebody skipped a gig, translated contracts. Soon, I became a translator for many of those incoming legends who played at Capolinea. It was a great opportunity to be around those guys. Dexter Gordon, Buddy Rich, Tony Scott, Elvin Jones, Sonny Stitt, Harry ‘Sweets’ Edison, Eddie ‘Lockjaw’ Davis… A great saxophonist, ‘Lockjaw’. Inimitable phrasing, powerful stories. Fantastic balladeer. When ‘Lockjaw’ Davis had a few drinks he played slow. Not as slow as Ben Webster when he was drunk, but medium slow. On the other hand, Sonny Stitt… He played Koko loaded. Really fast! And spot on! Reportedly, when asked how he managed to play when drunk, Stitt replied, ‘I practice drunk’! Some attribute that quote to Zoot Sims, but no matter who said it it’s a great story either way. Another priceless memory is seeing Gerry Mulligan perform. At the end of the night after the club closed he played with Tony Scott, both playing baritone, in the restaurant of the Capolinea jazz club. The drummer played brushes on an overturned spaghetti pan! Can you believe it?! Two in the morning and they played an unforgettable version of Body & Soul. I was soaking in all these great things that were happening to me. I translated for the Club and got paid with experience, so to speak.”

“Playing with Jimmy McGriff was exciting as well. Not only because McGriff is one of the great soul jazz organists, and a very sophisticated one at that, but also because it showed me how real jazz is – how it can communicate to an audience. I was in New York with Frank Grasso, to play and gain experience. We ended up in New Jersey at a small club. It was kind of a sleazy joint. There were some dangerous-looking people outside. But when I mentioned this to the owner he said not to worry and showed me a shotgun he kept under the bar.Welcome to America! McGriff liked us and invited us for a gig in Hartford, Connecticut. I said, ‘wow, that’s fantastic. I love your music. But… on one condition.’ ‘And that is?’, asked McGriff. I said: ‘That I don’t have to carry your Hammond B3 organ around!’ McGriff laughed. The reason was I almost got killed once carrying a Hammond organ up the stairs of the Pipers Club in Rome. McGriff’s van was like a bordello. A flophouse! Portable bar, lace all over, velvet, red wine-coloured curtains. The gig was great. Vintage soul jazz. The all-black crowd of army veterans and their families was having a wonderful time, shaking and dancing to our music.”

Guidi, a well-set man who walks slightly bent forward like an archeologist on Roman grounds and whose ironic and naughty grin brings to mind the elder Michael Caine, always stresses the value of entertainment in jazz. That’s why he’s such a big fan of Cannonball Adderley. “Ah, those live albums like Cannonball Adderley Quintet In San Francisco and At The Lighthouse. The atmosphere is so positive that you wanna be there! Cannonball is pure promotion for jazz! A great ambassador and communicator. I always tell my students to pick any one of Cannonball’s albums, especially from the late fifties and early sixties. If those don’t lure you to a jazz club, I don’t know what will! In this respect, I should also mention albums like Art Blakey And The Jazz Messengers’ Live At The Café Bohemia and Live At The Jazz Corner Of The World. And Free For All, also from Blakey. Not a live recording but the bible of hard bop! What controlled power, everyone in the band is cooking. Tubbs In New York, from the English tenor saxophonist Tubby Hayes, is another cooker.”

“We shouldn’t forget that jazz always has had one foot in art, one foot in entertainment. That was made obvious by Louis Armstrong, Duke Ellington, Count Basie, Dizzy Gillespie, Gene Ammons, Erroll Garner… too many to mention. Cannonball scored an enormous hit single with Jive Samba. A jukebox favorite for jazz fans, particularly in the black community. The message is that you don’t have to compromise, but always recognize that you are playing for an audience. The audience is smart, you know. People listen with their hearts. So if you want to touch them it helps to say something on stage. Even if it’s just a couple of words: communicate with the audience. Not everybody has the natural flair of Cannonball, but at least take notice of the audience. I don’t appreciate artists who don’t seem to care about the spectators and are playing just for themselves. Cecil Taylor did that. I respect a lot of free players for their excellence and vision, but at least try to explain something to the bewildered public. I saw Cecil Taylor empty a piazza at an open air jazz festival in Italy within ten minutes! I’d rather hear the indomitable Dexter Gordon telling the lyrics to What’s New to the audience before playing the theme. He did that with many tunes, he knew all the words to the songs. Chords are the roots of the plant, melody is the flower. But the lyrics constitute the perfume.

“In addition to Cannonball’s charm, I’ve always loved his style. He’s a joyful player. You get the idea Cannonball was happy where he was. The flowers are blooming in the fields, bubbles are in the air. A whole different ball game than John Coltrane, whom I greatly revere as well. Two different sides of spirituality’s coin. Coltrane was always searching, never happy where he was. My favorite Coltrane albums? That’s easy. There are two albums that say, ‘here I am’. One is Giant Steps, with its harmonic daring and power. The other is Crescent where tracks like Crescent and Wise One define an arrival point for the deeply spiritual Coltrane. And the concise Bessie’s Blues is a gas. There’s nothing simpler than that blues theme. The essence of the blues. Just triads. But what he does with them… So pure, so simple, yet so deeply involved. Coltrane keeps ‘singing’ throughout. That’s something his imitators usually miss. They pick up on his harmonic theory and technique but they lack that spiritual cry. Really, do you know a more sincere quartet than Coltrane’s famous group with McCoy Tyner, Jimmy Garrison and Elvin Jones? They’re so pure, like kids.”

Typical of Peter Guidi’s life story that an a-typical jazz instrument like the flute turned out to become his main jazz instrument. Guidi’s an incomparable flute historian that can tell you all about pioneers like the classical flutist Gazzeloni and the Cuban Alberto Socarras, who was one of the first to be recorded playing flute with a jazz band. Generally speaking the foundation of the modern jazz flute started with players such as Frank Wess in the Count Basie Orchestra and developed through the wonderful works of Sam Most, Eric Dolphy, Roland Kirk, James Moody, Herbie Mann and many others. “After hearing James Moody with the Dizzy Gillespie band, I wanted a flute. I love its lyrical, mystical quality. Aristotle already commented on the flute: ‘The flute is not an instrument that has a good moral effect. It’s too exciting.’ It only came into prominence once microphones came into the picture, providing the necessary volume to hold its own against reed and brass. Regardless of its relatively short jazz history, there have been, and are, so many fine players. The general public has likely heard of Herbie Mann. Although he did a lot of great bossa-nova material, I prefer players like Sam Most. Back then, you were either for Mann or Most. It’s like the Stones and Beatles. Fans of Herbie Mann would shout, ‘Mann Is The Most!’. Fans of Sam Most would reciprocate: ‘Most Is The Man!’”

Lest we forget, Guidi is a monster flutist himself who polished an excellent bop and mainstream jazz style while experimenting expertly with both the quarter tone flute and bass flute, vocalising, multiphonics, microtones and other modern techniques. Both as a leader and as a guest soloist, Guidi performed prolifically. “Not anymore, alas. The flute still stands beside my desk, I write a lot of compositions and I am planning a new CD release. But I don’t have a quartet anymore. Hey, until last year I led eight student ensembles and big bands, you understand? Busy! I must admit though, that I really miss performing in a quartet situation. But today there are so few places left to play.”

“So, anyway. What was your question? Haha!”

Peter Guidi

Peter Guidi (Glasgow, 1949) teaches at the jazz department of the Amsterdamse Muziekschool, where he is head of the jazz department. He is the bandleader of numerous youth orchestras such as Jazz Kidz, Jazz Juniors, Jazz Focus Big Band and Jazzmania Big Band, all of which have won a total of eighty-seven Dutch and international prizes. Mr. Guidi, associated with countless educational projects beside the Amsterdamse Muziekschool, was knighted as Ridder In De Orde Van Oranje-Nassau for his outstanding contributions to the Dutch jazz community in 2010. An acclaimed saxophonist and flutist, Guidi has performed and recorded prolifically, both in The Netherlands and at international festivals such as Umbria Jazz, Jazz Jamboree Warsaw and North Sea Jazz Festival. Peter Guidi lives in Amsterdam. His Jubilee Big Band will celebrate the 30th Anniversary of the Muziekschool’s jazz department, the 25th Anniversary of the Jazzmania Big Band and the 20th Anniversary of the Jazzfocus Big Band with a performance at North Sea Jazz Festival on July 8, 2017.

Selected discography:

A Weaver Of Dreams (Timeless, 1993)
Forbidden Flute (BMCD, 1999)
Beautiful Friendship (Timeless, 2000)
The Jazzmania Big Band – Further Impressions (with Benny Bailey, BMCD, 2004)
Jazz Focus Big Band – Focused, (JF, 2007)

Go to Peter Guidi’s website here.

Photography above: Ronaldus
Photography homepage: Ferry Knijn Fotografie

Walter Davis Jr. - Davis Cup

Walter Davis Jr. Davis Cup (Blue Note 1959)

A wide-ranging stunner, pianist Walter Davis Jr.’s debut as a leader in 1959, Davis Cup, deserves its rightful place among the classic hard bop albums on Blue Note at that time.

Walter Davis Jr. - Davis Cup

Personnel

Walter Davis Jr. (piano), Donald Byrd (trumpet), Jackie McLean (alto saxophone), Sam Jones (bass), Art Taylor (drums)

Recorded

on August 2, 1959 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as BLP 4018 in 1959

Track listing

Side A:
’S Make It
Loodle-Lot
Sweetness
Side B:
Rhumba Nhumba
Minor Mind
Millie’s Delight


From the immaculate six Davis-penned compositions, the hi-powered energy, the stellar line-up, the singular style of Walter Davis Jr. and, last but not least, the wicked title, Davis Cup is an allround, pure-bred hard bop package easily taken for granted in the era of classic jazz albums. In 1959, the following albums, among others, were released on Blue Note along Davis Cup: Horace Silver’s Finger Poppin’ and Blowin’ The Blues Away, Sonny Clark’s My Conception, Art Blakey & The Jazz Messenger’s At The Jazz Corner Of The World and Africaine, Donald Byrd’s Byrd In Hand, Kenny Burrell’s On View At The Five Spot and Jackie McLean’s New Soil and Swing Swang Swingin’. Pleasant company.

Not just an innocent bystander either, Mr. Davis. The Richmond, Virginia-born pianist was featured on New Soil, (and, later on, McLean’s avant-leaning Let Freedom Ring) Byrd In Hand and Africaine. Obviously, Blue Note label bosses Alfred Lion and Francis Wolff were convinced of the abilities of Davis, who went as far back as playing alongside and recording with Charlie Parker at the turn of the previous decade and was known as a major interpreter of Bud Powell. By 1959, Walter Davis Jr. had cemented a position as a delicate juggler of traditional and adventurous styles, underlined by his composer’s sense of continuity, off-kilter twists and turns that pleasantly throw you off balance, a strong percussive touch and chubby, dense, driving clusters of chords. In the slipstream of Horace Silver in the late fifties, Davis is concerned not only with gritty yet elaborate compositions, but also with providing extra motives beside the melody line, creating simultaneously complex and easy-flowing tunes in the process.

Great tunes. Most of them are mid-tempo compositions, like ’S Make It (not to be confused with Lee Morgan’s ’S Make It, which was recorded by Art Blakey & The Jazz Messengers in 1964) Loodle-Lot and Minor Mood, alternated with the ballad Sweetness and the uplifting exotica of Rhumba Nhumba. Medium tempo, minor moods, blues inflections, the lone ballad and an Afro-Cuban exercise: a typical hard bop bag. However, Davis passes his exam cum laude, not in the least as a consequence of Art Taylor and Sam Jones’ responsive, propulsive support, the swift, lyrical lines of Donald Byrd and acerbic, suspenceful contributions of Jackie McLean.

In the sixties, Davis dropped out for a while and worked as a (assumedly very skilled!) tailor before returning to the scene with a guest role on Sonny Rollins 1973 album Horn Culture. His second album as a leader was released as late as 1979, the first of a series until his passing in 1990 at the age of 57.

Louis Hayes Serenade For Horace (Blue Note 2017)

Coming full circle on Blue Note, Louis Hayes pays tribute to pianist and composer Horace Silver, whose legendary quintet the drummer was part of a long, long time ago.

Louis Hayes - Serenade For Horace

Personnel

Louis Hayes (drums), Abraham Burton (tenor saxophone), Josh Evans (trumpet), Steve Nelson (vibraphone), David Bryant (piano), Dezron Douglas (bass)

Recorded

in 2017 at Aum Studio Productions, Bakersfield and Systems Two Recording Studio, NYC

Released

as BN 06XXGSC14 on May 26, 2017

Track listing

Ecaroh
Senor Blues
Song For My Father
Hastings Street
Strollin’
Juicy Lucy
Silver’s Serenade
Lonely Woman
Summer In Central Park
St. Vitus Dance
Room 608


Once you’ve heard Louis Hayes furiously kickstart Kenny Drew into action on the pianist’s eponymous Blue Note album Undercurrent from 1960, you are under his spell. One of the hardest swinging drummers of the generation that came after pioneers Kenny Clarke and Max Roach, Louis Hayes, himself particularly influenced by Philly Joe Jones and now eighty years old, looks back on a miraculous career in the drummer’s seat behind Horace Silver, Cannonball Adderley, John Coltrane, Oscar Peterson, Dexter Gordon, Joe Henderson, Grant Green, Woody Shaw and many others. Fifty-seven years after his debut as a leader on VeeJay, Louis Hayes, Hayes dedicated his eighteenth album, Serenade To Horace, to his erstwhile bandleader Horace Silver, whom he joined in 1956 at the age on nineteen. Hayes performed on the classic albums Six Pieces Of Silver, Stylings Of Silver, Further Explorations, Finger Poppin’ and Blowin’ The Blues Away.

Silver’s unbeatable, intricate and eternally swinging tunes get a loving treatment by the sextet. No egomania on the part of Louis Hayes, propulsive support only. The Rudy van Gelder days may definitely be over, certainly as regards to the production of drums. Yet, for all the kit’s unspectacular sound, Hayes’ sparkling, delicate use of the ride cymbal effortlessly carries the group over the hill. Mid-tempo tunes like Ecaroh, Juicy Lucy, St. Vitus Dance, the uplifting top-notch Hayes original Hastings Street, slower ones like Strollin’, (the deliciously slow-dragging) Senor Blues, as well as uptempo, bop-inflected mover Room 608 are thoroughly injected with tasteful blues messages and exuberant strokes by tenor saxophonist Abraham Burton and trumpeter Josh Evans, while vibraphonist Steve Nelson’s airy sound and crisp phrases add depth to the repertoire. Pianist David Bryant’s sparse, carefully crafted lines act in accord with Lonely Woman’s wry sentiment.

The album spawned a single, a take on the iconic Song For My Father. It’s a cameo from singer Gregory Porter, whose sonorous, roasted marshmellow voice and suave phrasing perfectly match the endearing emotions of melody lines like ‘if there was ever a man who was generous, gracious and good, that was my dad, the man…’. A tasty intermezzo between the fine hard bop dishes of old master Hayes.

Read more about Serenade For Horace on the website of Blue Note.

Wynton Kelly - Kelly At Midnite

Wynton Kelly Kelly At Midnite (VeeJay 1960)

When thinking about Wynton Kelly, midnight is not the first allusion that comes to mind. The pianist’s style, however bluesy, predominantly brings about images of sunshine, broad daylight, wafts of salty sea air traveling through the seams of your Hawaiian shirt… But of course, the supple blue noted set of Kelly At Midnite justifies the title. Besides, it’s a perfect hang-up for a great sleeve.

Wynton Kelly - Kelly At Midnite

Personnel

Wynton Kelly (piano), Paul Chambers (bass), Philly Joe Jones (drums)

Recorded

on April 27, 1960 in NYC

Released

as VJLP 3011 in 1960

Track listing

Side A:
Temperance
Weird Lullaby
Side B:
On Stage
Skatin’
Pot Luck


1960, Hard bop in full flight, most of the musicians had embraced the rejuvenated kind of jazz that grew out of bebop, blues and gospel. However, at the same time, it functioned as an umbrella for a startling diversity of styles. Take pianists. The angular, kinetic Elmo Hope, long flowing line-specialist Sonny Clark, gently boppin’ Barry Harris and gospel-drenched, percussive Horace Parlan all blossomed on the same tree. Then there was Wynton Kelly, who possessed a conspicuous, generous bounce and a delicate sense of time, built driving stories with chapters of fragmented blues licks, boppish runs and pungent block chords. Never short on ideas. Above all, Kelly swings, swang, swung abundantly. The pianist is also hailed as one of the greatest accompanists in jazz history, who, said Philly Joe Jones, ‘puts down flowers behind a soloist.’

Jamaica, Marley territory, land of hot breeze, rowdy clubs, shady hoodlums, ganja and tax shelter and probably much more than the stereotypes that yours truly the Flophouse Floor Manager conjures up, birthplace also of Dizzy Reece and Monty Alexander, is where Kelly was born in 1931, yet his family moved to Brooklyn, New York after a few years, which found the talented youngster in the capital of jazz. A look at the career path of Kelly takes your breath away: two extended stints in the Dizzy Gillespie band. Accompanist of Dinah Washington and Billie Holiday. Part of the Miles Davis group from 1959 to ’63. An amazing discography as a sideman that includes: Johnny Griffin’s A Blowin’ Session, Sonny Rollins’ Newk’s Time, Dizzy Gillespie’s Birks’ Works, Cannonball Adderley’s Cannonball Adderley Quintet in Chicago, Blue Mitchell’s Big Six, Clark Terry’s Serenade To A Bus Seat, Miles Davis’ Kind Of Blue (on Freddie Freeloader) and Friday Night At The Blackhawk I & II, John Coltrane’s Giant Steps, James Clay & David “Fathead” Newman’s The Sound Of The Wide Open Spaces, Hank Mobley’s Soul Station and Workout, Wes Montgomery’s Full House, Cecil Payne’s Zodiac. And so on. During his tenures with Miles Davis and Wes Montgomery in the sixties, Kelly recorded as a leader for VeeJay and Riverside, mostly with the guys he knew (inside out) from those groups, Jimmy Cobb and Paul Chambers.

Kelly never hit big as a leading artist. But history has been kind, as Kelly, who perhaps grew more out of Teddy Wilson and Erroll Garner than Art Tatum and Earl Hines, is seen as a very influential player. Being influential, alas, hardly pays for a mortgage, at least not in those dark jazz ages. By 1967, ultimate sideman Kelly’s career was effectively over. Paradoxically, that year’s album Full View on Milestone is one of his best albums. Kelly passed away in 1971 following an epileptic seizure.

Here, the drum chair is held by Philly Joe Jones. Jones, who before Kelly At Midnite was featured on Kelly’s Riverside album Piano in 1958, supplies the pianist with a trademark dose of fireworks, heat and taste. His drive is matched by Paul Chambers, the young bass master, who also contributes high-level solo’s throughout. On Stage is especially enticing, the uptempo mover crackles, sizzles, boils, with Kelly’s leaping, crisp lines the icing on the cake. A typical hard bop set of blues-based, largely medium-tempo tunes and a sole ballad, Kelly At Midnite is a collection of deceptively simple snappy tales from one of those pianists that has been copied frequently but seldom matched.