Author: Francois

Sonny Rollins Alfie (Impulse 1966)

- Francois 2 Comments

Alfie, the Sonny Rollins soundtrack of the prize-winning English movie starring Michael Caine, deserves to be ranked alongside Saxophone Colossus and A Night At The Village Vanguard as one of the tenor saxophonist’s major achievements. Largely on account of his unbelievable improvisations in Alfie’s Theme.

Sonny Rollins - Alfie

Personnel

Sonny Rollins (tenor saxophone), Bob Ashton (tenor saxophone), Phil Woods (alto saxophone), Danny Bank (baritone saxophone), J.J. Johnson (trombone A1, A2), Jimmy Cleveland (trombone A3 B1-3), Roger Kellaway (piano), Kenny Burrell (guitar), Walter Booker (bass), Frankie Dunlop (drums), Oliver Nelson (arranger, conductor)

Recorded

on January 26, 1966 at Rudy van Gelder Studio, Englewood Cliffs, New Jersey

Released

as A-9111 in 1966

Track listing

Side A:
Alfie’s Theme
He’s Younger Than You Are
Street Runner With Child
Side B:
Transition Theme For Minor Blues Or Little Malcolm Loves His Dad
On Impulse
Alfie’s Theme Differently


In the years preceding Alfie, Sonny Rollins had developed into a top-rank performer able to bid a high price for his beloved art form. A lucrative contract with RCA after the tenorist’s legendary, mysterious sabbatical ‘under the Williamsburg Bridge’ from 1959 to 1961 led to a series of five albums for the major label, starting with The Bridge, ending with The Standard Sonny Rollins. In the early and mid-sixties, Rollins, always the contemplative intellectual, self-critical to the point of exhaustion and switching between sidemen continuously, was on a constant search for new means of expression. Keeping it fresh, tryin’ or dyin’, elusive as far as style is concerned, Rollins defied a sound definition of his personality. Albums with standards and the sole bossa tune alternated with extremist free jazz outings like Our Man In Jazz in 1962 and the intriguing, endearing cooperation with Coleman Hawkins on Sonny Meets Hawk in 1963. 1965’s adventurous On Impulse preceded Alfie, which was followed up by the full-blast avantgarde effort with John Coltrane’s famous associates Elvin Jones and Jimmy Garrison plus Freddie Hubbard, East Broadway Run Down, a high-level album that, however, didn’t fully delivered on its promise. On the other hand, Alfie becomes more beautiful with every turn on the table.

Given the sensitivity and critical attitude of Rollins in regard to obtrusive sidemen, particularly pianists, it is remarkable that the large ensemble context of Alfie works so well. Oliver Nelson’s flexible, spot-on arrangements keep Rollins on his toes. If there is one let-down on this album, it is the fact that the couple of major league colleagues in the reed chairs, Phil Woods and J.J. Johnson, aren’t allowed solo space. Kenny Burrell and Roger Kellaway have ample room to make their mark, and, admittedly, make the most of it. Kellaway’s gentle touch contrasts nicely with the forceful Rollins and the pianist performs particularly well in Alfie’s Theme Differently, building on the dying notes of Rollins’ off-centre bits with zest. Burrell is peppery throughout, switching between fluently archetypical blues lines, shimmering clusters of notes and crunchy chords.

The bit of undercooled, breathy balladry of Rollins in He’s Younger Than You Are is a genuine nod to Coleman Hawkins. But before you know it, Rollins has ended the tune with a sweeping arc of majestic wails. Rollins, the rhythm king, is in evidence on Street Runner With Child, a collage of romantic solo piano, fast-paced blaxploitation flic-type flights and the recurring reference to Alfie’s Theme, is the only tune on the album that reminds us of the fact that Alfie is a soundtrack. The free playing of Rollins, mixed interestingly with a constant eye on the melody, is most evident in Alfie’s Theme Differently and Transition, while the contrast between the lithe rhythm and meandering lines of On Impulse (a title made up on impulse while Sonny was thinking about his album On Impulse also on the Impulse label the year before?) ignites a dreamy vibe.

Rollins in a great mood. It’s getting even better, because, without the shadow of a doubt, Alfie’s Theme is the albums’s hors d’oeuvre. The large ensemble transports the catchy line to the terrain where Ray Charles drove his tunes home to in the fifties. Drive. Propulsion. Courtesy of Oliver Nelson’s fleshy, well-timed horn sections and the probing rhythm tandem of bassist Walter Booker and drummer Frankie Dunlop. Burrell and Kellaway flourish, but Sonny Rollins is the star of the show, performing one of his all-time great solo’s. In a structured exploration of the basic theme, Rollins grabs the melody by its sleeve. Then he pauses deliberately for a while, like a girl that’s playing hard to get, indulges in a rumble of percussive blocks of short-ringing notes, lingers on new notes like a guest savoring a star restaurant dessert, wanders off into the avantgarde jungle, subsequently swings back into bop mode, alternating double timing, honks and forceful wails, moving into scales with the flick of a, highly skilled, tongue and continues to blow confidently over the sounds of the repeated brass and reed statements. Rollins explores every corner of the melody, rhythm-wise, harmony-wise, returning to it almost every few bars and all the while displaying his big, imposing sound. Rounding off the proceedings in style, Rollins ends his solo with an explosive note.

Lots of proteines in the meal of Sonny, which after all, maybe, wasn’t a high-brow dinner but a reinvigorating eggs and sausage and a side of toast, coffee and a roll, hashbrowns over easy, chili in a bowl, with burgers and fries (now, what kinda pie?)… Full stomach tenor! Sonny Rollins at his best, speaking eloquently to both mind and soul. And as a natural consequence, a peak moment in jazz.

Knight Rider

- Francois Leave a comment
Photography: Map Boon
Photography: Map Boon

ERIC INEKE – A lack of taste and decency from the officials may have prevented the Ajax stadium being christened Johan Cruijff Stadium a year after the passing of Holland’s soccer genius, they sure know how to treat their jazz luminaries. On his 70th birthday on Saturday, April 1, which was celebrated with a concert at The Bimhuis, drummer Eric Ineke, who during a fulfilling career of almost fifty years cooperated with legends like Dexter Gordon, Johnny Griffin and Dizzy Gillespie, was knighted as Ridder in de Orde van Oranje-Nassau for his outstanding contributions to the Dutch jazz realm by the deputy mayor Simone Kukenheim. An otherwise less formal evening, hosted by Cees Schrama and Frank Jochemsen, was divided into a series of concise sets by Dutch powerhouse line-ups including Tineke Postma, Rein de Graaff, Marius and Peter Beets, driven by Ineke’s trademark propulsive style in the tradition of Elvin Jones and Philly Joe Jones. Ineke’s regular hard bop quintet Eric Ineke’s JazzXpress performed twice and during the second set was supplemented with alto saxophonist Tineke Postma. De Graaff and Ineke, buddies-in-soul since the late sixties, played freely around the beat in standards like How Deep Is The Ocean, tight-knit as usual. Ineke also responded enthusiastically to Postma, answering her adventurous structural improvisations with like-minded, horn-like phrases on snare and tom. Horns-a-plenty: tenor saxophonists Sjoerd Dijkhuizen and Simon Rigter provided mature and tasteful tenor tales. The young trumpeter Gidon Nunes Vaz is a rapidly developing musician with a beautiful tone and a style best likened to forebears as Kenny Dorham. Pianist Peter Beets, just back in town from a concert of Paul McCartney compositions with Roger Kellaway in New York, clearly relishes fiery, Oscar Peterson-type takes on tunes as Con Alma. The trio with Peter Beets also accompanied promising singer and organizer of the show, Jurjen Donkers. While the first set of the JazzXpress focused fluently on Dexter Gordon tunes as Fried Bananas and The Panther, the second set harked back to the glory days of mid-sixties, avant-leaning hard bop that was being made on the Blue Note and Impulse labels. It was an absolute gas, Jarmo Hoogendijk’s Waltz For Woody and Ray Brown’s Lined With A Groove being stunning high points. Pianist Rob van Bavel tapped into his seemingly limitless reservoir of inventive voicings and impressionistic lines. During the final jam on Rhythm-A-Ning, all participants present on stage, Ineke’s hard, alert swing was still in check. The audience was delighted and the knighted 70-year old Ineke was in good spirits.

During Eric Ineke’s Birthday Jam, the new Challenge Records release Let There Be Life, Love And Laughter: Eric Ineke Meets The Tenor Players was presented. An overview of Ineke’s cooperations over the years with tenor saxophonists like Dexter Gordon, Johnny Griffin, Lucky Thompson, George Coleman, Clifford Jordan, Grant Stewart and John Ruocco. Find the album here.

Photography: Map Boon

Hank Mobley To One So Sweet Stay That Way: Hank Mobley In Holland (Dutch Jazz Archive 2017)

- Francois 2 Comments

To One So Sweet Stay That Way: Hank Mobley In Holland reveals a tenor saxophonist who may not display the kind of brilliance of his golden years in the late fifties and early sixties, but nevertheless remains a singular class act, especially in, surprise, a big band context.

Hank Mobley - To One So Sweet Stay That Way: Hank Mobley In Holland

Personnel

Tracks 1-3: Hank Mobley (tenor saxophone), Pim Jacobs (piano), Wim Overgaauw (guitar), Ruud Jacobs (bass), Han Bennink (drums) Tracks 4 & 5: Hank Mobley (tenor saxophone), Ferdinand Povel & Sander Sprong (tenor saxophone), Piet Noordijk & Herman Schoonderwalt (alto saxophone), Joop Mastenbroek (baritone saxophone), Frans Mijts, Gerard Engelsma, Eddie Engels, John Bannet & Fons Diercks (trumpet), Rudy Bosch, Cees Smal, Bertil Voller & Erik van Lier (trombone), Frans Elsen (piano), Joop Scholten (guitar), Rob Langereis (bass), Evert Overweg (drums) Tracks 6-10: Hank Mobley (tenor saxophone), Rob Agerbeek (piano), Hans van Rossem (bass), Cees See (drums)

Recorded

Recorded on March 20 at Theater Bellevue, Amsterdam (tracks 1-3), March 28 at VARA Studio, Hilversum (tracks 4 &5) and March 29, 1968 at Jazzclub B14, Rotterdam (tracks 6-10

Released

as NJA 1604 in 2017

Track listing

Summertime
Sonny’s Tune
Airegin
I Didn’t Know What Time It Was
Twenty-Four And More
Blues By Five
Like Someone In Love
Veird Blues
Three-Way Split
Autumn Leaves


Expert jazz sleuthing. The Dutch Jazz Archive unearthed ten live and studio cuts from the quintessential hard bop tenorist’s sojourn in the Netherlands in 1968. I think to myself, what a wonderful hard bop world! Mobley was a heroin addict and when he was kicking the habit resorted to booze. The classic pit fall in an all too typical jazz tragedy. Convicted twice, risking a long prison sentence due to the American three-strikes-and-you’re-out-system, Mobley had good reason to bug out for the dug out. What better way than to cross the great pond. Contrary to belief, Mobley arrived in The Netherlands instead of the U.K., touring France afterwards, where he recorded The Flip, and, subsequently, the U.K. and Denmark. The package of the CD includes great photographs and detailed liner notes including memories of collaborators pianist Rob Agerbeek and bass player Ruud Jacobs. Mobley played live with Agerbeek’s one-off trio in Rotterdam’s club B14 on March 29, with the Pim Jacobs Trio including Ruud Jacobs and guitarist Wim Overgaauw at the Bellevue Theatre on March 20, and, another studio session, with the Hobby Orkest on March 28, an orchestra of Dutch luminaries that gathered irregularly, including Dutch bop veterans and talents Piet Noordijk, Ferdinand Povel and Frans Elsen.

In his indispensable book on the sidemen of Art Blakey’s Jazz Messengers, Hard Bop Academy, Alan Goldsher offers a hip baseball analogy to illustrate the brilliance of Hank Mobley, labeling him as a five-tool player, a rare breed of all-round excellence. Mobley ‘had killer chops. He had a silky tone. He could tell the hell out of a story. He was a smokin’ composer. And he could swing you into the ground. Five tools. Six, if you count the fact that he looked great on a record cover.’ How true. Mobley’s a legend that carved out a niche during the era of the towering giants Sonny Rollins and John Coltrane. The ultimate ‘musician’s musician’ – Leonard Feather’s famous appreciation of Mobley as ‘the middleweight champion of the tenor saxophone’ stems from 1960 – Mobley’s unspectacular style, unassuming personality and the fact that he never led a stable outfit perhaps prevented widespread public recognition. By 1968, media coverage of the ‘new thing’ and stars like Miles Davis overpowered attention for a more conventional player like Mobley. Short on publicity but a saint for European mainstream jazz aficionados. Sound and style-wise, Mobley’s tone, still relatively soft and, as Mobley himself defined it, ’round’, had more bite to it, while his slightly dragging beat and relaxed phrasing are ever-present. Mobley retained a good portion of his innate sense of logic and continuity but at the same time concentrated on staccato lines and had shopped at John Coltrane’s store of harmonic finesse. No summer sale there, top quality stuff all-year round.

In the live setting of club B14, Mobley also focuses on suspenseful chopped lines, but simultaneously on all-too drastic twists, turns and ad-libs, therefore drifting away from a long-lined, coherent tale. He sounds a bit fatigued. The discovery of the tapes from club B14 is a blessing, but one has to ‘read through the lines’ of the rather inferior sound quality. In general, Rob Agerbeek has the upper hand, expertly mixing modern jazz with the traditional legacy of blues and boogie-woogie in Miles Davis’ Veird Blues and Mobley’s Three-Way Split, which is the liveliest tune of the performance. On the other hand, Mobley’s work in the studio on March 20, the day Mobley stepped out of the airplane with a probable jet lag, is focused and marked by Mobley’s unique sense of rhythm and suave phrasing. The Pim Jacobs Trio is excellent, the full-bodied, walkin’ bass lines of Ruud Jacobs and Wim Overgaauw’s swift phrasing and delicate clusters of chords in Sonny Rollins’ Airegin are especially imposing. The most surprising features on To One So Sweet are Mobley’s two tunes with the Hobby Orkest, the only known recording of the tenor saxophonist with a big band. The band is lively, the arrangements are smart and Mobley, one of the kings of the hard bop quintet format, is all velvet, sensuality, glowing blocks of wood in the fireplace. Marvelous! Clearly, it’s unfortunate that no one came up with the idea of recording Mobley in a big band setting earlier in his career, nor would afterwards.

A swell idea. Like the idea of The Dutch Jazz Archive to prowl public and private vaults for Mobley material, which it acted upon superbly.

To One So Sweet Stay That Way: Hank Mobley In Holland is the fourth release in the Dutch Jazz Archive’s series Treasures Of Dutch Jazz, following releases of Boy Edgar, Ben Webster and Don Byas. You can order it on the website of The Dutch Jazz Archive here.

Fats Theus Black Out (CTI 1970)

- Francois 3 Comments

A deviation from the polished jazz catalogue of Creed Taylor’s CTI label, saxophonist Fats Theus’ Black Out is a gritty funk jazz session with the overpowering presence of hard bop and funk jazz heavyweights Grant Green and Idris Muhammad.

Fats Theus - Black Out

Personnel

Fats Theus (tenor saxophone), Grant Green (guitar), Clarence Palmer (organ), Chuck Rainey (bass), Jimmy Lewis (bass), Idris Muhammad (drums)

Recorded

on July 16 & 22, 1970 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as CTI 1005 in 1970

Track listing

Side A:
Black Out
Light Sings
Bed Of Nails
Side B:
Stone Flower
Moonlight In Vermont
Check It Out


Afootnote of the soul and funk jazz era, the life story of saxophonist Arthur James “Fats” Theus remains largely obscure. Originating from the West Coast r&b scene in the fifties, as a logical outcome Arthur James “Fats” Theus cooperated with jazz organists the following decade, including Reuben Wilson. A concise discography reveals (to the knowledge of Flophouse) recordings with organist Billy Larkin And The Delegates (Hold On! – World Pacific, 1965; Ain’t That A Groove! – World Pacific, 1966), organist Jimmy McGriff (I’ve Got A New Woman – Solid State, 1968; The Worm – Solid State, 1968 and Step One – Solid State, 1969) and guitarist O’Donel Levy (Black Velvet – Groove Merchant, 1972). The blues lick The Worm, which Theus wrote for the McGriff date, was a succesful single.

Black Out is one of the earliest CTI sessions (CTI was an imprint of A&M and went independent in 1970) and cousin to the late sixties/early seventies funk jazz sessions on Prestige and Blue Note. Green had made his comeback on Blue Note after his first prolific stint from 1960 to 1965, this time in funk jazz vein, the first being Carryin’ On in 1969. That album also included the organist who’s present on Black Out, Clarence Palmer. Muhammad was a Blue Note and Prestige staple. Green and Muhammad carry the album. The grit and sleaze is in Muhammad’s bones and his funky beat is hypnotic. Green fine-tunes the basic changes with red-hot, articulate phrasing. Theus, albeit clearly operating in their shadow, occasionally does away with his formulaic phrases and jumps from one corner of a tune’s fabric to the other, notably on the title track. Theus embellishes the funky bossa tune Stone Flower with mean staccato phrases and whirling arpeggios.

Theus employs a smooth, high-pitched sound one usually doesn’t associate with late sixties funk jazz. Sound and style-wise, comparing Theus’ leadership date with the saxophonist’s side dates has intriguing results. On the three crackerjack McGriff albums, the Billy Larkin affairs as well as O’Donel Levy’s easy listening funk album Black Velvet, by and large, Theus consistently uses his slightly metallic sound. One is led to consider for a minute that the saxophonist plays the electric Varitone sax, following the footsteps of Eddie Harris and Sonny Stitt. At any rate it has become evident that it’s the signature tone of Fats Theus. Style-wise, Theus fluently adjusts to the bluesy and funky surroundings, yet also throws in a number of excellent, bop-inflected phrases, notably on Easter Parade of McGriff’s big city blues fest Step One LP.

Uplifting funk galore, perhaps Light Sings is the highlight on Black Out. Palmer plays with gusto without being overbearing, Muhammad’s driving beat and propulsive single strokes cause a stir, Green’s liquid silver notes sizzle, his phrases bite and bark. Black Out was Green’s sole appearence on CTI. Much greasier than the slick A&M/CTI albums that star guitarist George Benson was turning in at that time.

Just Friends

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ERIC INEKE – On Saturday, April 1, drummer Eric Ineke will be celebrating his 70th birthday with a Super Jam at the Bimhuis in Amsterdam. There will be performances by Ineke and other Dutch luminaries such as Rein de Graaff, Ruud Jacobs, Peter Beets and Tineke Postma. Find info and tickets here.

During a long and fulfilling career, Ineke, foremost European modern jazz drummer in the tradition of Elvin Jones, Philly Joe Jones, Billy Higgins and Louis Hayes, has collaborated with countless American legends like Dexter Gordon, Dizzy Gillespie, Lucky Thompson, Hank Mobley, Freddie Hubbard and Johnny Griffin and sustained long-time associations with Ferdinand Povel, Dick Vennik, Ben van de Dungen & Jarmo Hoogendijk, Benjamin Herman and Dave Liebman. For nearly four decades, Ineke has been playing with the Rein de Graaff Trio. Ineke has been leading his own hard bop quintet, Eric Ineke’s JazzXpress, for eleven years now.

Eric Ineke, 70's
Eric-Ineke-hires

Carl Perkins Introducing Carl Perkins (Dootone 1956)

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The career of pianist Carl Perkins was cut short in 1958 by a drug overdose. Sounds familiar? Introducing Carl Perkins is his only album as a leader.

Carl Perkins - Introducing Carl Perkins

Personnel

Carl Perkins (piano), Leroy Vinegar (bass), Lawrence Marable (drums)

Recorded

in 1955 in Los Angeles

Released

DL-211 in 1956

Track listing

Side A:
Way Across Town
You Don’t Know What Love Is
The Lady Is A Tramp
Marblehead
Woody ‘N’ You
Westside
Side B:
Just Friends
It Could Happen To You
Why Do I Care
Lilacs In The Rain
Carl’s Blues


Born in Indianapolis, Perkins had long stints in the borderland of r&b and jazz with Tiny Bradshaw and Big Jay McNeely, and played with guitarist Oscar Moore, before moving to Los Angeles in the early fifties. Perkins became first pick for incoming leading figures like Miles Davis, Dizzy Gillespie, Max Roach, Illinois Jacquet, Clifford Brown and Frank Morgan and recorded with West Coast residents as Curtis Counce (the bassist’s quintet included Harold Land), Art Pepper (I especially dig Perkins on Pepper’s The Art Of Pepper: The Complete Aladdin Recordings I, II & III) and Dexter Gordon, who lived on the West Coast intermittingly between 1947 and 1959 (Dexter Blows Hot And Cool).

As a consequence of polio, Perkins (like another unsung hero of jazz piano, the recently deceased Horace Parlan) suffered from a disabled arm, the left in his case, earning him the nickname “The Crab”. Perkins put his disability to good use, leveling the arm horizontally and pushing bass notes on the keyboard with his elbow for an extra treat of harmonic and percussive depth, broadening his canvas with orchestral strokes. Perkins is a bluesy player who favors dense chords that keep rollicking right hand lines, occasionally high up the keys, firmly on the beat.

Introducing Carl Perkins represents the major features of his personality, from the jaunty bopswing lines of Way Over Town to the linear approach and old-timey blues licks that tumble over each other of Marblehead and The Lady Is A Tramp, to the evenly paced staccato lines and short-ringing notes that bounce off the fat chords of Just Friends, and the dramatic readings of ballads like You Don’t Know What Love Is and It Could Happen To You, which are a bit too flowery and sentimental for my taste. An all-round package which prompts me to conclude that, if one divides it, the part of the medium tempo tunes as Why Do I Care, Marblehead and Woody ‘N’ You is, ultimately, the long suit of Perkins, or indeed certainly his trio on this date, since the accompaniment of bassist Leroy Vinegar and drummer Lawrence Marable is crisp, responsive and tight-knit.

One album as a leader is a meagre legacy for a talent like Carl Perkins, but that’s the way it went, and more of that jazz.

Remembering And Recommending Horace Parlan

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HORACE PARLAN – Horace Parlan passed away on February 23, 2017 in Naestved, Denmark at the age of 86. Parlan suffered from polio as a child. With his right hand crippled, as a consequence Parlan’s playing style in a gospel-drenched hard bop and post bop vein was a rare combination of sparse, rollicking left hand lines and inventive, three-fingered right hand voicings. Check out Parlan’s singular style on a 1986 concert in Köln, Germany with the typically good-natured Dizzy Gillespie and a particularly eloquent Clifford Jordan. Parlan settled down in Denmark in 1972 and eventually became a Danish citizen.

Best known for his cooperation with Charles Mingus on Mingus Ah Um and Blues & Roots and appearance on Dexter Gordon’s Doin’ Alright, Parlan was featured on a series of other fine recordings in the sixties of, among others, Stanley Turrentine, Roland Kirk, Booker Ervin and Lou Donaldson. Parlan’s unlikely pairing with Archie Shepp on 1977’s gospel-themed album Goin’ Home was a big succes, acted upon by 1980’s Trouble In Mind but not surpassed. As the legend goes, during the recording of the album both musicians shed more than a number of tears. Parlan recorded prolifically as a leader for Blue Note, often with bassist George Tucker and drummer Al Harewood, a tight-knit trio that came to be known as Us Three. Parlan’s Steeplechase albums from the seventies are particularly exciting.

BBC World Service visited the pianist in 2015 for their radio broadcast series The Documentary. A widower in a nursing home, the blind, fragile and shaky-voiced Parlan has retired from playing and talks us through his career. It’s a touching portrait.

Check out a thorough obit in The Washington Post here.

Find essential Parlan below, in chronological order. RIP Horace Parlan.

Charles Mingus - Mingus Ah Um
Horace Parlan Quintet - Speakin' My Piece
Stanley Turrentine - Up At Minton's

(Charles Mingus – Mingus Ah Um, Columbia 1959; Horace Parlan – Speakin’ My Piece, Blue Note 1960; Stanley Turrentine – Up At Minton’s, Blue Note 1960)

Dexter Gordon - Doin' Alright
Horace Parlan - Up & Down
Horace Parlan - No Blues

(Dexter Gordon – Doin’ Alright, Blue Note 1961; Horace Parlan – Up & Down, Blue Note 1961; Horace Parlan – No Blues, Steeplechase 1975)

Horace Parlan - Frank-ly Speaking
Archie Shepp & Horace Parlan - Goin' Home
Horace Parlan - Relaxin' With Horace

*(Horace Parlan – Frank-ly Speaking, Steeplechase 1977; Archie Shepp & Horace Parlan – Goin’ Home, Steeplechase 1977; Horace Parlan – Relaxin’ With Horace, Stunt 2004)