Blue Mitchell

Mel Rhyne

Mel Rhyne Organ-izing (Jazzland 1960)

- Francois 2 Comments

Like a jubilant child eager to play with its long-awaited Santa Claus presents, I gave my recent purchase, Melvin Rhyne’s sought-after solo album from 1960, Organ-Izing, an immediate spin. The organist, best known for his work with guitar legend Wes Montgomery, delivers a tasteful, laid-back blowing session.

Mel Rhyne

Personnel

Melvin Rhyne (organ), Johnny Griffin (tenor saxophone), Blue Mitchell (trumpet), Gene Harris (piano), Andrew Simpkins (bass), Albert Heath (drums)

Recorded

on March 31, 1960 in NYC

Released

as as JLP 16 in 1960

Track listing

Side A:
Things Ain’t What They Used To Be
Blue Farouq
Side B:
Barefoot Sunday Blues
Shoo Shoo Baby


Rhyne was a native of Indianapolis, like Montgomery, who asked him to join his trio in 1959. The organist backed the groundbreaking guitarist on four splendid Riverside albums: Wes Montgomery Trio (1959), Boss Guitar (1963), Portrait Of Wes (1963) and Guitar On The Go (1959/1963). His articulate backing – Rhyne started out as a pianist – matched perfectly with Montgomery’s tasteful style, a coherent mix of melodic single lines, octaves and block chords. Rhyne’s sound on his solo album comes closest to that of the Wes Montgomery Trio album. It has that, as Dutch organist and Rhyne admirer, Arno Krijger, said to me in this interview, unique ‘plucky, percussive sound’. It’s a vibrato-less sound that enabled Rhyne to craft cleanly spun, logical, laid-back lines.

Organ-izing was released on Jazzland, a subsidiary of Riverside. The assembled crew includes two top-rate Riverside artists of the time, Johnny Griffin and Blue Mitchell: guys you can count on for a session of this kind. Griffin is his usual fast-fingered self, grounded in bebop and blues, and peppers his playing with humorous asides. Blue Mitchell stretches out ebulliently on, among others, his own attractive blues line, Blue Farouq.

The album consists of four tunes of the same medium tempo and four beat rhythm, which becomes a bit monotonous after a while. Then again, Rhyne is a mid-tempo maestro. He showed it with Montgomery, deepening considerably, for instance, the groove of Missile Blues on the Portrait Of Wes-album. Medium tempo suits his carefully crafted stories. Rhyne eschews uproaring climaxes and instead creates free-flowing endings, shying away from easy effects. He’s like a minimalist writer. But not just somebody. Rhyne’s the Raymond Carver of the Hammond B3. While reading (listening), one keeps contemplating on the enormously clever usage of deceptively simple language for maximum effect: words and sentences (notes, phrases) carved in stone for the ages.

The unusual combination of piano and organ is uncluttered, largely due to Rhyne’s understated style. Pianist Gene Harris of The Three Sounds trades choruses with Rhyne on all tunes except Shoo Shoo Baby, a feat which underscores the relaxed atmosphere of the proceedings. During such a spontaneous event, one (Harris) cutting short the evolving story of the other (Rhyne) in the mid-slow-draggin’ take on the classic riff Things Ain’t What They Used To Be is part of the charm. Unfazed, Rhyne supports a swinging Harris bit and continues with a solo that’s a lesson in soul and dynamics.

At the end of the decade, Rhyne quit the music business and moved to Wisconsin. He started recording again in the nineties and 00’s, mainly for Criss Cross. Rhyne passed away on March 5, 2013.

Lou Donaldson - Midnight Creeper

Lou Donaldson Midnight Creeper (Blue Note 1968)

- Francois 1 Comment

Of the popular jazz funk dates alto saxophonist Lou Donaldson did in the late sixties, Midnight Creeper is one of the best. It’s a driving date involving a mellow-blowing leader among a bunch of talented sidemen that were becoming successful leaders in their own right.

Lou Donaldson - Midnight Creeper

Personnel

Lou Donaldson (alto saxophone), Blue Mitchell (trumpet), George Benson (guitar), Lonnie Smith (organ), Idris Muhammad (drums)

Recorded

on March 15, 1968 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as BST 84280 in 1968

Track listing

Side A:
Midnight Creeper
Love Power
Elizabeth
Side B:
Bag Of Jewels
Dapper Dan


Veteran Donaldson, who was influenced, as many or most were, by Charlie Parker and whose cooperations with Thelonious Monk, Art Blakey and Jimmy Smith date back to the late forties and early/mid-fifties, had a good hand in picking new breed cats in his mid-sixties soul jazz and late-sixties/early seventies jazz funk heyday. To name but a few: Grant Green, Big John Patton, Ben Dixon, Charles Earland, Melvin Sparks. The group of Midnight Creeper is of similar high standard.

One only has to take a listen to Bag Of Jewels to appreciate the rapport of George Benson & Co. The artistic merit of a simple vamp like this one, written by organist Lonnie Smith, lies in the protagonists’ groove-ability. The drive of the rhythm section of drummer Idris Muhammad (formerly Leo Morris) and Lonnie Smith is tremendous. The twangy chords of George Benson add body to the bottom. Lonnie Smith is a wholesale dealer in juicy funk and enigmatic surprises. Smith, on this album, shows that he had become one of the most original organists of his time.

Following Smith, the rest of the soloists – Blue Mitchell, George Benson and Lou Donaldson – bring a lot of jazz finesse to the otherwise basic vamp. Worth mentioning are Blue Mitchell’s skilled work and buoyant style, Benson’s clever yet spicy build-up from low to high register, Muhammad’s stimulating way of announcing soloists with crackling press rolls and, finally, Donaldson’s deceptively casual, logically evolving tale.

The signature tune, Midnight Creeper, is an easy-going groove, a mellow boogaloo. The title and bounce suggest the nocturnal journey of a greasy cat, but for me that lazy gait ignites visions of old geezers in the park, scuffling around a chess board and glancing from under their Panama hats to attractive women passing by. That, of course, is one of the beauties of music, that it creates a variety of feelings.

Donaldson shines brightly on ballads, and Elisabeth is no exception. Not only does Donaldson have chops in abundance, his tone is warm and penetrating and the way Donaldson wraps his arms around the melody is breathtaking.

The funky beat of Love Power is irresistable. It has a kind of Bo Diddley twist as well. Lou Donaldson’s comments bring about a playful, calypso feeling. George Benson delivers a skilled r&b section, including bent strings and slurs. In short, the cover of Teddy Vann’s tune – recorded by The Sandpebbles in 1967 – is a spicy stew.

The album Midnight Creeper is an appetizing melting pot as well. Lou Donaldson’s commercial jazz funk albums, even if not all of them are up to par with Midnight Creeper, include classic groove tunes that, I’ve always felt, have the vital function of keeping jazz accessible for newcomers into the jazz realm. At least it worked like that for me as well as a number of teenage buddies in the mid-nineties. Donaldson reminded us of the blues and soul music we were passionately involved with. Midnight Creeper and Lou Donaldson’s other boogaloo gems spelled: wow, this is jazz as well! We’re enjoying the ‘far out’ Coltrane and Monk, but let’s get low, down & dirty for a change! Yeah, let’s just.

MRL 315 front

Blue Mitchell Blue Mitchell (Mainstream 1971)

- Francois 2 Comments

In 1970 Blue Mitchell was a trumpeter in the Ray Charles Orchestra. Nothwithstanding the fact that playing with the man who was respected among musicians in the sixties for reminding them of the roots of jazz was a valuable experience, it was a decision primarily driven by financial needs. Who could blame him? Jazz life was (is) a scuffle. In the early to mid-seventies Mitchell would continue commercial endeavors, working with the father of British blues, John Mayall, while simultaneously record for the Mainstream label. Blue Mitchell (in popular language also known as Soul Village but not catalogued as such) is his debut on Mainstream. It’s one of the better releases in Mainstream’s book, as Mitchell keeps up the energy of his career-high Riverside and Blue Note recordings of the early and mid-sixties, while adapting adequately to early seventies production methods.

MRL 315 front

Personnel

Blue Mitchell (trumpet), Jimmy Forrest (tenor sax), Walter Bishop Jr. (piano, electric piano), Larry Gales (bass), Doug Sides (drums)

Recorded

March 1971 in NYC

Released

as MRL 315 in 1971

Track listing

Side A:
Soul Village
Blues For Thelma
Queen Bee
Side B:
Are You Real
Mi Hermano


The danceable quality of Blue Mitchell is immediately apparent. Three-fifth of the repertoire is reserved for tunes that are influenced by Carribean and West-Indian rhythm. Mi Hermano, Queen Bee and Benny Golson’s Are You Real are contagious songs with big-sounding two-horn themes, in which Mitchell displays his abundant style and round tone, employing a wide spectrum of notes. By concentrating on exotic styles, Mitchell emphasizes and stays true to the lineage of Carribean influence on jazz that took off through the innovations of the bebop clique of the fourties. Mitchell feels at home in these surroundings and had recorded these types of compositions before. Fungii Mama (from The Thing To Do) is a swinging and succesful case in point.

The order of soloing is the same on all five tunes: Mitchell first, then Forrest and Walter Bishop Jr. The styles of Mitchell and Forrest blend well with one another; they’re both very lively, yet Forrest’s style is rougher and drenched in swing, as Mitchell’s style is a fair mix of bop and blues. The entrance of veteran Jimmy Forrest in Mi Hermano, who, curiously, had to be pulled out of retirement for the job in Mitchell’s group, is a real kick in the gut. Soul Village and Blues For Thelma are dynamic hard bop compositions; tension-building figures in the former’s theme and a groovy, walking bass figure in the latter’s theme give these tunes an edge. They stimulate the soloists to express themselves eloquently.

Essentially, Blue Mitchell is a hard bop recording dressed up for a new age. The sound of drums, electric bass and, occasionally, electric piano, is early seventies, but thematically Blue Mitchell belongs to the era in which the trumpeter shone brightly on many a fine session. One must admit that the alternative title of Soul Village isn’t such a bad choice after all.