Review

Joe Dukes The Soulful Drums Of Joe Dukes (Prestige 1964)

- Francois 3 Comments

Joe Dukes is one of the quintessential organ combo drummers in the history of jazz. A master of the greasy, syncopated backbeat, Dukes was a precursor to many of today’s top-notch drummers like Steve Jordan, who owe debt to Dukes when they get down to the nitty-gritty of jazz funk drumming.

Joe Dukes - Soulful Drums

Personnel

Joe Dukes (drums), Brother Jack McDuff (organ), Red Holloway (tenor saxophone), George Benson (drums)

Recorded

on May 14, 1964 in NYC

Released

as PR 7324 in 1964

Track listing

Side A
Soulful Drums
Two Bass Hit
Greasy Drums
Side B
Moohah The DJ
Moanin’ Bench
My Three Sons


Dukes was born in Memphis, Tennessee. He spent the major part of his career in organist Jack McDuff’s quartet. It included the new brilliant kid on the block George Benson and smoky tenorist Red Holloway and is, arguably, McDuff’s hottest group of all time. Prestige boss Bob Weinstock was equally impressed. Weinstock and McDuff agreed on granting each member a leadership date. Red Holloway’s Cookin’ Together and George Benson’s The New Boss Guitar were followed by The Soulful Drums Of Joe Dukes. It’s the only album of Joe Dukes as a leader. There are no known recordings involving Dukes after 1970. Dukes passed away in 1992.

Dukes isn’t involved in an ego trip but instead limits himself to solo’s backed by the band. When displayed in basic, slow blues riffs like Soulful Drums and Moohah The DJ, these solo’s are more gutsy than suave and have a good groove. There’s a great moment at about three minutes into Soulful Drums, (listen here) when the quartet veirs into double time like a wild bunch of libertine torpedos.

The highlights of the album concern Dukes’ usual business of effective, hi-voltage group support. Dukes goes charmingly berserk on the uptempo, Afro-Cuban-ish My Three Sons. (Does tune scribler McDuff refer to His Three Beloved Bandmembers?) Everything a funky organ combo needs is laid out by Dukes: a ‘pocket’ of a rock solid hi-hat and bass kick as a touchstone for the organist and group; announcements of new solo’s and choruses and different tune sections by a variation of effective fills and turnarounds; and an inspired amount of pushing and pulling of the soloists. The great thing about Joe Dukes is that he not only displays elemental organ jazz drumming, but adds alluring extras like (Art Blakey-like) single-stroke rolls. Clearly, the man had jazz drum history running through his blood. In My Three Sons, George Benson’s quicksilver runs are crazy! At the start of his career, Benson is eager as a fox on the loose, trying to meaningfully incorporate all his fast-fingered blues chops in a jazz context.

Good organ jazz drumming usually suggests big band experience. I’m not sure if Dukes had played in big bands, but certainly Joe Dukes’ voicings and explosive style, locked in with McDuff’s big sound, bring forth a big band atmosphere with Dizzy Gillespie’s classic Two Bass Hit. Another highlight, Two Bass Hit’s stew pot boils over, while Benson and McDuff subsequently contribute cracklin’ and sharp-as-a-tack solo’s. Greasy Drums (listen here) is a fine groove jam. Moanin’ Bench is pure, slow-dragging gospel-soul, a Ray Charles-Atlantic-era type of thing. Brother McDuff sermonizes with obvious authority.

Joe Dukes’ art of organ jazz drumming can be found on numerous McDuff albums. Live! (Prestige, 1963) and Hot Barbecue (Prestige, 1965) are essential. Dukes also recorded with Hank Crawford, Lou Donaldson and Lonnie Smith. Smith’s Live At Club Mozambique (Blue Note, 1970/1995) is another album on which Dukes is particularly stunning. Note on the liner notes of The Soulful Drums: isn’t it a bit weird that, on an album dedicated to the group’s drummer, most of the back cover info deals with the career history of Brother Jack McDuff? Assumingly, listeners would’ve liked to hear more about the relatively unknown Joe Dukes. I would’ve liked to have more biographical info!

That said, praised be Weinstock for providing us with Dukes’ delicious, greasy organ jazz goody.

Sonny Criss Jazz U.S.A. (Imperial 1956)

- Francois 2 Comments

The sessions of Sonny Criss for the Imperial label deserve at least as much attention as his better known Prestige albums of the sixties. They show an alto saxophonist of tremendous power and authority. The uptempo standards on Jazz U.S.A. are particularly overwhelming.

SonnyCriss - JazzUSA

Personnel

Sonny Criss (alto saxophone), Barney Kessel (guitar), Kenny Drew (piano), Bill Woodson (bass), Chuck Thomson (drums)

Recorded

on January 26, February 24 and March 23, 1956 in Los Angeles, California

Released

as Imperial 9006 in 1956

Track listing

Side A
Willow Weep For Me
These Foolish Things
Blue Friday
Sunday
More Than You Know
Easy Living
Side B
Alabamy Bound
Something’s Gotta Give
West Coast Blues
Criss-Cross
Ham’s Blues
Sweet Georgia Brown


Sonny Criss was born in Memphis, Tennessee in 1927 and relocated to Los Angeles at the age of fifteen. Arguably, the bebop virtuoso’s stay on the West Coast in favor of jazz mecca New York hindered his career. Occasionally, Criss played in Paris, to much acclaim, and cogniscenti and colleagues knew where Criss was at. He took to bebop as early as 1947, playing with Howard McGhee, Wardell Gray and Charlie Parker. Touring with Norman Granz’ Jazz At The Philharmonic brought Criss wider recognition in the California area. In 1955, Criss joined the group of drummer/bandleader Buddy Rich. The three albums that Criss recorded for Imperial in 1956, Jazz U.S.A., Go Man! and Plays Cole Porter (the latter two including Sonny Clark) were first class. But it was an ill-fated cooperation. Imperial was an r&b and country label that released, among others, New Orleans r&b artists Fats Domino, Irma Thomas and Smiley Lewis, and country singers like Slim Whitman. Obviously, jazz promotion wasn’t high on their to-do list.

The Prestige albums of the late sixties found Criss laying a thick layer of hard (driving) bop on standards, blues and pop hits of the day. Criss also recorded a couple of solid albums for Muse and Impulse in the mid-seventies. Tragically, in 1977, Sonny Criss committed suicide at the age of 50. The reasons for Criss’ fatal self-infliction by a gunshot remained a mystery for years, until jazz historian Ted Gioia contacted his mother, who revealed that the suffering of stomach cancer had become unbearable for Criss.

Criss modelled himself after Charlie Parker (better said, had the chops to model himself after Bird), but developed an unquestionable personal style. The tone of Criss has a compelling vibrato, in contrast to Bird’s more stripped-down sound. Like Parker, Criss is a virtuoso who doesn’t let his technical prowess overrule the message of his music. He’s got an alluring romantic streak in his playing. Precise, driving phrasing, abundant blues feeling and a cocksure beat are striking aspects of his style.

Criss tears apart standards with deceptive ease. He plunges himself headlong in the uptempo, swing warhorse Sweet Georgia Brown, topping off ear-catching, punchy lines with salient articulation. Kenny Dorham’s Blue Friday has a swing feeling, contrasted by Criss’ agile, multi-note phrases that he brings about with the finesse of a boxer that stings like a bee and dances like a fly. It’s not brute force that drives you into the corner, but a series of dazzling stabs that leaves one breathless, amazed, admiring.

The group, including an elegantly comping Kenny Drew, rises to the occasion on these uptempo tunes. The mid-tempo tunes are more commonplace, certainly as far as the rhythm section is concerned. The combination of Criss and Barney Kessel leads to the album’s (uptempo) highlights, like Sunday, the before-mentioned Sweet Georgia Brown and Criss original Criss-Cross. And Criss and Kessel deliver a flawless unisono theme of Alabamy Bound at breakneck speed, with Kessel lowering an octave at the tag. Kessel’s solo is fleet and vigorating, bebop-swing in full flight.

The medium tempo West Coast Blues, a Sonny Criss tune (not to be confused with Wes Montgomery’s tune), is distinctive for the vigorous embellishment of Criss of a generic 12 bar blues pattern. The ballad These Foolish Things has been played to the bone. Criss skilfully embellishes it with twisty-turny phrases, snake-charming the melody with a blend of skill and infectious energy that still inspires awe after all these years.

Donald Byrd A New Perspective (Blue Note 1963)

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Besides honing his craft as one of the premier hard bop trumpet players of the day, Donald Byrd had other things on his mind, chief among them the exploration of new forms. A New Perspective, Byrd’s intriguing, daring dive into spiritual music, doesn’t bring the gospel in broad slices but instead presents it with delicate, hymnal strokes, with pathos lingering in the background.

Donald Byrd - A New Perspective

Personnel

Donald Byrd (trumpet), Hank Mobley (tenor saxophone), Herbie Hancock (piano), Donald Best (vibes), Kenny Burrell (guitar), Butch Warren (bass), Lex Humphries (drums), Duke Pearson (arranger), Coleridge-Taylor Perkinson (choir direction)

Recorded

on January 12, 1963 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as BLP 4124 in 1963

Track listing

Side A:
Elijah
Beast Of Burden
Side B:
Cristo Redentor
The Black Disciple
Chant


In hindsight, of course, everything sticks. Firstly, the jubilant Pentecostal Feeling from Byrd’s adventurous album Free Forms pointed in the direction of A New Perspective’s spiritual concept. Free Forms was recorded a year earlier on December 11, 1961, but the album was shelved until release in 1966. Quite amazing that such a high quality session was sent to Blue Note’s dungeons. However, Blue Note sometimes shelved sessions from their most prolific artists to avert market overflow.

Secondly, A New Perspective takes its logical place in a career that was highly diverse. Byrd not only recorded prolifically as a leader (and as co-leader with bariton saxophonist Pepper Adams) but was extremely productive as a sideman, courtesy of Byrd’s immaculate chops, versatility and a big hunk of funk. The list is endless. Check out some of the world-class albums Byrd appeared on: Kenny Clarke – Bohemia After Dark (1955), Art Blakey – The Jazz Messengers (1956), John Coltrane – Black Pearls (1958), Sonny Clark – My Conception (1959), Hank Mobley – The Turnaround (1963), Herbie Hancock – My Point Of View (1963), Dexter Gordon – One Flight Up (1963). Then, solo-wise, onwards from 1969’s Fancy Free Byrd explored fusion and r&b, which culminated in the 1973 hit album Black Byrd. A career move Byrd was as much derided as applauded for. In any case, it was an unusually succesful turn of events for a jazz musician. Finally, everybody remembers Byrd’s equally succesful cooperation with hiphop artist Guru on 1993/1995’s Jazzmatazz Vol. 1 & 2.

The story of how it took me years to finally shake off my resentment towards the clean, smooth choir of A New Perspective is not something I’m going to bore you with. More preoccupied with introspection than with the act of driving out demons, more cultivated than red-headed, Byrd’s pieces may not possess the grittiness that’s usually associated with the black gospel, they have a charm all off their own. Mellow doowop voices flavour Beast Of Burden, a piece with a lopin’ tempo that includes an understated, minor blues-drenched solo by Byrd. Hank Mobley’s relaxed, smokin’ solo is a gem. The angelic choir of Cristo Redentor exudes high drama and brings about the soothing feeling of a dirge. The opener Elijah is upbeat and includes a Hit The Road Jack-type bass cadenza, but Byrd is in a restraintive, pensive mood.

After the propulsive hard bop mover, The Black Disciple, follows the mid-tempo Chant. Byrd sounds joyful, employing a more open ‘round’-toned approach. Herbie Hancock, who was mentored by Byrd at the start of the decade and whose recording debut took place on Byrd’s 1961 album Royal Flush, spins beautiful, long lines. Hancock’s impressionistic playing, completed with lithe, sparse blues phrases, contributes greatly to A New Perspective’s characteristic mood. A cerebral mood that grows on you.

Jimmy Smith The Cat (Verve 1964)

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During the sixties organ star Jimmy Smith, who single-handedly turned the Hammond B3 organ into a viable modern jazz instrument in the mid-late fifties, recorded a string of generally very popular big band albums under the guidance of Verve’s succesful producer Creed Taylor.

Jimmy Smith - The Cat

Personnel

Jimmy Smith (organ), Kenny Burrell (guitar), George Duvivier (bass), Grady Tate (drums), Lalo Schifrin (arranger, conductor) and a big band including Thad Jones, Jimmy Cleveland, Ernie Royal and Snooky Young

Recorded

on April 27-29 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as V-8587 in 1964

Track listing

Side A
Theme From ‘Joy House’
The Cat (From The MGM Motion Picture ‘Joy House’)
Basin Street Blues
Main Title From ‘The Carpetbaggers’
Side B
Chicago Serenade
St. Louis Blues
Delon’s Blues
Blues In The Night


The first tentative effort, Bashin’ (side B was dedicated to trio work only) was an immediate smash hit. The best of those albums, like Hobo Flats, Any Number Can Win and Who’s Afraid Of Virginia Woolf involved meaty brass and reed support that stirred up the organist’s inimitable bebop and blues runs to fiery heights. A couple of albums suffered from mediocre, overproduced arrangements and the organist’s wish to put his ‘singing’ abilities in the limelight. Stay away from 1968’s Stay Loose would be my advice, unless you need to chase away the neighbour’s pet alligator.

1964’s The Cat finds Smith at the height of his popularity. The title track is what you’d call a mod classic. Meaning a bunch of English geeks got hip to it in the eighties and started spinning it in the big city’s burgeoning underground clubs, to much acclaim. Understandably, since The Cat’s a blast from start to finish, an uptempo swinger with a firm backbeat and full-bodied, sweeping Lalo Schifrin arrangements which are cut through by boiling Smith phrases.

Old warhorse Basin Street Blues is another highlight, taken at a brisk pace with funky Chicago blues support by drummer Grady Tate and sparse orchestral blasts. Theme From ‘Joy House’ and Main Title From ‘The Carpetbaggers’ are uptempo gems as well, more satisfying in the end than solid but more commonplace slow blues tunes like Delon’s Blues and Blues In The Night.

The Cat is part of the proof that, when in the right surroundings, Jimmy Smith raised the mixing of organ and orchestra to another level.

Benny Golson The Other Side Of Benny Golson (Riverside 1958)

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Benny Golson’s extraordinary writing skills often overshadow his gifts as a tenor saxophonist. As early as 1958, Riverside considered this fact and chose to highlight his tenor work naming Golson’s third album The Other Side Of Benny Golson. Not surprisingly though, the compositions are killer bee as well. Two birds killed by one stone.

The Other Side Of Benny Golson

Personnel

Benny Golson (tenor saxophone), Curtis Fuller (trombone), Barry Harris (piano), Jimmy Meritt (bass), Philly Joe Jones (drums)

Recorded

on November 12, 1958 at Nola’s Penthouse Sound Studio, NYC

Released

as RLP 12-290 in 1958

Track listing

Side A:
Strut Time
Jubilation
Symbols
Side B:
Are You Real?
Cry A Blue Tear
This Night


The significance of Golson, who turned 87 on January 27, can’t be overstated. Having learned the trade from pianist and renowned tunesmith Tadd Dameron in the early fifties, Golson developed into a striking composer. Many of Golson’s compositions became standards: I Remember Clifford, Stablemates, Killer Joe, Along Came Betty, Blues March. The latter two ended up on Art Blakey And The Jazz Messengers’ classic album Moanin’. Golson, beside playing tenor, organised that band, creating a line-up of Philadelphia pals including future trumpet star Lee Morgan. He streamlined Blakey’s profile and business and as such formed the blueprint of succes for the fledgling Art Blakey. Golson’ Jazztet (Personel varied apart from key member Art Farmer; the quintessential line-up included Curtis Fuller) broadened the jazz horizon with sophisticated yet swinging stuff. They re-united in 1982. By then, Golson had been off the jazz scene for nearly 15 years. Following the footsteps of Quincy Jones and J.J. Johnson, Golson spent the latter part of the sixties as well as the seventies in Hollywood, scoring films and series.

Elegant compositions, fascinating voicings, surging but also quaintly cerebral lines: pure Benny Golson. It’s all there on The Other Side Of Benny Golson, the first recorded collaboration between Golson and Curtis Fuller. Golson sounds simultaneously smooth and gutsy and has a way of choosing interesting, odd notes all the time, cooking in understated fashion. For all his inventive composing and blowing, both feet of Golson stand firmly in the soil of tradition. The breathy sound that Golson displays, notably in his original ballad Cry A Blue Tear, reflects his admiration for swing giants like Ben Webster. Golson’s phrasing would’ve been an asset in Ellington’s orchestra.

The beautiful, often dreamy colors that Golson creates with the intriguing tenor-trombone combination account for much of the enjoyment of this album. Fuller smoothly weaves in and out of the theme of Are You Real?, another instant classic of Golson. How Golson cooks in his own way is evident in Strut Time, a lively stop-time tune in which Golson continually stacks one canny idea upon the other. Original stuff. Symptoms is an equally alluring melody, the musical equivalent of fog that hangs over a lake at the dawn’s early light. It includes a poetic trombone solo by Curtis Fuller. Then Golson opts for a contrast, stoking up the fire with fast flurries of notes, elements that Golson incorporates matter-of-factly into his sophisticated style as a tenorist.

Red Garland High Pressure (Prestige 1957/62)

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The Red Garland sessions of November 15 and December 13, 1957 spawned a number of Prestige releases. Initially, only All Mornin’ Long was released. Soul Junction came out in 1963 and High Pressure a year earlier, in 1962. High Pressure is a top-notch blowing session, memorable for Red Garland’s influential piano playing and our understanding of the rapid, exciting evolution of John Coltrane.

Red Garland - High Pressure

Personnel

Red Garland (piano), John Coltrane (tenor saxophone), Donald Byrd (trumpet), George Joyner (bass), Art Taylor (drums)

Recorded

on November 15 and December 13, 1957 at Van Gelder Studio, Hackensack, New Jersey

Released

as PRLP 7209 in 1962

Track listing

Side A:
Soft Winds
Solitude
Side B:
Undecided
What Is There To Say
Two Bass Hit


At the time, Red Garland and John Coltrane were colleagues in Miles Davis’ group, which included Philly Joe Jones and Paul Chambers. It was Davis’ first great quintet that recorded the landmark hardbop albums Miles, Workin’, Cookin’, Relaxin’ and Steamin’. These albums were scheduled to let Davis fullfill his contract with Prestige, whereafter the group could record Davis’ Columbia album ‘Round About Midnight. Red Garland was fired by Davis, who alledgedly had enough of Garland’s narcotics abuse and erratic behavior, but Garland returned for the session of Milestones. There was a musical conflict during the recording of Straight, No Chaser and Garland walked out for good.

Soft Winds, taken at a brisk medium tempo, is essential Red Garland. Garland’s solo is a sumptuous blend of bop and blues, distinctive for Garland’s trademark block chord technique and extended, imaginative right hand lines. Never a dull moment in a five minute solo, of which the groove that Garland sustains through locked-hands playing on the three minute mark is especially enticing. Coltrane fires off phrases that attack the mind like lightning bolts hit a roof top antennae. His famous (and back then, infamous) ‘sheets of sound’ are backed powerfully by five note bombs of Garland and Art Taylor. Donald Byrd contributes a nicely contrasting, buoyant bit. The band trades fours before returning to the robustly swinging theme.

Of the two ballads Solitude and What is There To Say, Solitude stands out. The tempo remains slow throughout this rendition, double timing is avoided. It is the hardest way to play a ballad and, arguably, the greatest way. One has to show what he’s got, naked, no trickery. The band does a badass job, both interactively and solo-wise.

Garland stays close to the swing feeling of Robin & Shavers’ 1938 tune Undecided while adorning it with intricate, rollicking phrases. The group blasts through it like a quintet of Joint Strike Fighters.

Two Bass Hit, the Gillespie/Lewis composition, is also the opposite of lame, including a fiery opening (the theme is stated by the trio only) and contributions from the soloists that are evidence of mutual understanding and suggest that there was a relaxed studio atmosphere.

Two and a half months later, Two Bass Hit was recorded for the beforementioned Columbia album of Miles Davis, Milestones. That band (including Cannonball Adderley alongside a no less imposing, more subdued and structured Coltrane) delivers a crispy, coherent and slightly amended take. In which, lest we forget, the wayward leader didn’t contribute a solo.

The association of Red Garland with Miles Davis ended on a sour note. However, sessions like High Pressure make abundantly clear why Davis wanted to play with Garland in the first place.

YouTube: Soft Winds

Sonny Clark Leapin’ And Lopin’ (Blue Note 1961)

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Find me a bummer moment in Sonny Clark’s discography and I’ll buy you a drink. But I won’t because it’s a fruitless search. One of the essential hard bop pianists, Clark had taste written all over him. His swan song as a leader, Leapin’ And Lopin’, includes some of his most enduring tunes and classiest performances.

Sonny Clark - Leapin' And Lopin'

Personnel

Sonny Clark (piano), Tommy Turrentine (trumpet), Charlie Rouse (tenor saxophone), Ike Quebec (tenor saxophone A2), Butch Warren (bass), Billy Higgins (drums)

Recorded

on November 13, 1961 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as BLP 4091 in 1962

Track listing

Side A
Something Special
Deep In A Dream
Melody In C
Side B
Eric Walks
Voodoo
Midnight Mambo


Does it top 1958’s Cool Struttin’, Clark’s best known (and best-selling) album? A foolish question, perhaps. Brilliant Clark moments weren’t reserved for his leadership dates only but occured just as frequently when he appeared as a sideman for the myriad of fellow legends of the day, particularly for Blue Note, where Clark was a more than welcome pianist in his heyday of 1958-62.

Take his tremendously swinging and inspiring accompaniment and soloing on Dexter Gordon’s masterpieces Go and A Swingin’ Affair. Or that fabulous solo on Airegin from the sessions that would be released posthumously (for both of them) as Grant Green albums Nigeria (Airegin spelled backwards) and Oleo, wherein both musicians really get down with it. It’s a typical Clark mix of elegance and raw power.

I guess it’s this mix, steeped in the blues, that has kept luring musicians and incrowd into the Sonny Clark realm both during his lifetime and for decades thereafter. Clark, one of the most infamous jazz casualties, died from an overdose in New York City on January 13, 1963. To name but a few admirers, note that Bill Evans composed a touching tribute to Clark in 1963, the anagram NYC’S No Lark, and that John Zorn recorded Clark or ‘Clarkian’ tunes for years. 1985’s Voodoo is a well-known album of Zorn’s The Sonny Clark Memorial Quartet.

Also very attractive are Clark’s long, fluent lines that often stretch over bars extensively. Like those your hear in Leapin’ And Lopin’s third cut, Melody For C, a shuffle that swings both smoothly and intensely, all the while showing enough eccentricity to make you laugh and leap sideways.

In the uptempo Something Special, a very attractive melody that, not unlike a Horace Silver tune, benefits from effective use of stop time, Clark leaves plenty of space as an accompanist for Charlie Rouse and Tommy Turrentine to freely swing their way through the changes. The manner in which Rouse starts his solo, building on the melody, suggests the influence of Thelonious Monk, whose outfit Rouse had been part of since 1959. Voodoo is jazzified blues at its very best: intricate enhancements on the blues form coupled with heartfelt blowing. It’s the one track that would fit right in on Cool Struttin’.

The abovementioned tracks are accompanied by Deep Dream, a ballad that combines wry wit with pathos (including Ike Quebec’s breathy tenor), bassist Butch Warren’s quirky, intricate Eric Walks and Midnight Mambo, a buoyant Tommy Turrentine composition. They round off the most diverse album in the brilliant pianist’s book.