Grant Green

The real thing

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GRANT GREEN AND JACK KINSELLA –

Jack Kinsella

We heard from guitarist Jack Kinsella, a fine straightforward jazz guitarist from The Hague, The Netherlands, who also plays in the positively charming country band The Good, The Bad & The English. Kinsella uploaded a couple of rare tunes from The Real Thing session from tenor saxophonist Houston Person featuring guitarist Grant Green and organist Brother Jack McDuff.

Of course, all participants are the grooviest, but as a guitarist, of course Kinsella is specifically interested in ‘hero’ Grant Green, also a Flophouse Favorite as everybody who trespasses the premises frank and free is well aware of. In the early 1970’s, Grant Green had moved from New York City to Detroit. The most prolific artist of Blue Note in the early 1960’s, even eclipsing chart magnet Jimmy Smith as far as number of sessions is concerned, he gradually vanished from the scene in the mid-1960’s, largely due to his addiction to narcotics.

Green returned at the end of the decade, inspired by his feature on organist Reuben Wilson’s Love Bug and, with strong support of Francis Wolff, set up a new career as jazz funk guitarist. Green made a series of great albums, revered nowadays as jazz funk classics by aficionados (though there always has been a strong segment that considered him a sell-out to real jazz at this point) and good sellers. Although Green remained quite frustrated at not having reached the kind of fame like Kenny Burrell, Barney Kessel and Wes Montgomery, who had passed away in 1968 after a run of extremely successful commercial albums.

Green was recently divorced and bought a house in Detroit. Motor City had always been a place where black people, secured of regular jobs in the automobile factories, owned more homes in general than elsewhere in the USA. Motown had left to Los Angeles but people still appreciated good ‘n’ groovy black music. One of the centerpieces of action was Watt’s Club Mozambique. How great the atmosphere and music was at this club can be heard on organist Lonnie Smith’s Live At Club Mozambique (recorded in 1970) and Green’s Live At Club Mozambique, (recorded in 1971 and also featuring Person and Muhammad) both ‘previously unreleased’ Blue Note albums from, respectively, 1995 and 2006.

Houston Person - The Real Thing
Grant Green - Live At Club Mozambique
Grant Green

Green was a regular musician on the stand of Club Mozambique. Another album, The Real Thing, by the great tenor saxophonist Houston Person, a double LP, was recorded in March 1973 and released the same year on Eastbound. It featured, in different line-ups, trumpeter Marcus Belgrave, organists Brother Jack McDuff and Sonny Phillips, bassist (and Motown ‘Funk Brother’ legend) James Jamerson, drummers Idris Muhammad and Hank Brown and singers Etta Jones and Spanky Wilson. A solid album of pop, funk, blues and ballads. Listen to The Ohio Players’s Pain here.

Green appeared on five tracks on the official release. Kinsella found a bonus track on a compilation CD, Lester Leaps In, listen here. Great to hear Green, McDuff and Person in a straight-ahead mode. Next, Kinsella uploaded the funky Grazy Legs from the CD version, better quality than the vinyl rip, listen here.

Kinsella also mentions an upload from Big John Patton’s Blue John album featuring Grant Green from 1963, only released on CD in Japan in 2004, five bonus tracks including Green’s Jean de Fleur, five months before Green’s recording on his seminal Idle Moments, listen here.

Green is beautiful.

George Braith Laughing Soul (Prestige 1966)

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From Blue Note to Prestige: the short career of the enigmatic George Braith.

George Braith - Laughing Soul

Personnel

George Braith (alto & soprano saxophone), Big John Patton (organ), Grant Green (guitar), Eddie Diehl (rhythm guitar), Victor Sproles (bass), Ben Dixon (drums), Richard Landrum (congas)

Recorded

on March 1, 1966 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as PRLP 7474 in 1966

Track listing

Side A:
Hot Sauce
Chop Sticks
Chunky Cheeks
Crenshaw West
Please Let Me Do It
Side B:
Coolodge
With Malice Toward None
Little Flame
Cantelope Woman


In case you may need the accompanying soundtrack to your longing for Spring, dearie blossoms, bouncy squirrels, happy faces in the crowd instead of cold, gusty winds and dark and dreary skies, go to George Braith’s Laughing Soul. Coming season’s perfect pick. It’s juicy, uplifting and applies a variety of contagious rhythms that transforms the most wanted stuffed shirt into Jennifer Lopez’s lean and lanky nephew.

Long life, short recording career. Braith, 83 years old, born in New York City from West-Indian parents, was a sight to see and hear from the start, playing two horns at once just like Roland Kirk. Inventor of instruments like the Braithophone, which was constructed from a straight alto and soprano saxophone, Braith was featured on organist John Patton’s Blue John in 1963 on Blue Note and subsequently recorded two albums as a leader for label boss Alfred Lion: Soul Stream and Extension, featuring ace guitarist Grant Green.

Braith switched to Prestige in 1966. (The only other short burst of recording activity was in 2006/2007, when Braith released two albums on Excellence) Precursing the progressive oddity Musart, it’s Laughing Soul that hits bull’s eye, presenting concise, to-the-point and catchy tunes with the help of a rhythm section that defined soul jazz in the early/mid 1960’s: Grant Green, organist John Patton and drummer Ben Dixon. The band is completed by bassist Victor Sproles Jr., the rhythm guitar of Eddie Diehl and conga of Richard Landrum. The liner notes by the uncompromising Christopher Peters refer to Braith’s stint with Blue Note: “… a few record dates on which his ability to play two or three horns simultaneously became more important then what he played or what he expressed. Something or someone put the perspective out of whack; the means became the end.” Christopher evidently felt no need to branch out and look for another job.

Seriously, all tunes are killer, no filler. Vibrant and upbeat, six compositions are by Braith, two by Dixon, one by Tom McIntosh, the beautiful moody ballad With Malice Toward None. Carribean rhythm is omnipresent, notably pervading the Dixon classic Cantalope Woman, a woman whose main interest probably was the act of strollin’ on a tropical island. Typically unpretentious but nifty, unusual bar length is one of many charms of Dixon’s Latin blues. Braith’s r&b-drenched Please Let Me Do It is a sassy melody that features biting licks by Grant Green. This Gibson’s on fire.

Braith’s tight-knit band sounds joyful and inspired. It hardly matters that the leader isn’t a very strong soloist. There’s Green and Patton for compensation. Furthermore, Patton is uncommonly versatile as accompanist, adding spot-on touches to the repertoire with a variety of sounds like the flute-tone of Cantelope Woman and the churchy organ of Coolodge, an intriguing tune that seals a surprising bond between classical, vertical lines and groove and grease.

From the opening potential jukebox favorite Hot Sauce, hot little numbers as Chop Sticks and Chunky Cheeks (the art of song titles shouldn’t be underestimated) to chitlin’ circuit contender Cantelope Woman, Laughing Soul is a merry affair, bubbling with life, and definitely George Braith’s finest effort.

Laughing Soul is on out-of-print vinyl and released on CD in Japan. Only three tunes are on YouTube. Here’s Crenshaw West.

The Facts About Fats

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FATS THEUS –

Remember Fats Theus? Bet you do if you’re deeply into tenor/organ grooves. Otherwise, the tenor saxophonist has been largely under the radar. Even admirers of the CTI catalogue – his sole album Black Out was released on CTI in 1970 – often are not aware of this recording. I wrote a review of Black Out a couple of years ago. It’s a gritty record, definitely out of step with the crafty, smooth CTI approach of producer Creed Taylor.

I received a comment on the Theus review on our Instagram page from Mark Cathcart. Cathcart devotes a website – ctproduced – to the work of Creed Taylor and mentioned his latest post on Black Out. The post is made up entirely of a piece by guest writer and connoisseur Douglas Payne, who sheds light on the career of the elusive Theus and provides context to the origins of his sole leadership date which included funk jazz stalwarts of the period, guitarist Grant Green and drummer Idris Muhammad.

Fats Theus - Black Out
Billy Larkin & The Delegates - Don't Stop
Jimmy McGriff - The Worm
(From l. to r, clockwise: Fats Theus’s Black Out and his sideman dates on records by organists Billy Larkin and Jimmy McGriff)

While I highly esteem Creed Taylor for his many top-notch and important endeavors in jazz production and admire the high-level musical and unique visual concept of CTI, I have never been a big fan of the label, fatigued by its slick sound and fun package of instruments including synths, strings, bongos, triangles and what not. Different strokes for different folks.

Having said that, kudos to Cathcart for developing his document on CTI and Douglas Payne for the insightful piece on the enigmatic Fats Theus.

Bobby Hutcherson The Kicker (Blue Note 1963/99)

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It can only be attributed to the risk of market overflow that Blue Note didn’t release vibraphonist Bobby Hutcherson’s de jure debut album The Kicker in 1964, a superb date including Joe Henderson, Duke Pearson and Grant Green.

Bobby Hutcherson - The Kicker

Personnel

Bobby Hutcherson (vibraphone), Joe Henderson (tenor saxophone), Grant Green (guitar B1-3), Duke Pearson (piano), Bob Cranshaw (bass), Joe Chambers (drums)

Recorded

on December 29, 1963 at Englewood Cliffs, New Jersey

Released

BST 21437 in 1999

Track listing

Side A:
If Ever I Would Leave You
Mirrors
For Duke P.
Side B:
The Kicker
Step Lightly
Bedouin


HHutcherson & Henderson. Sounds like the misfits of the insurance business have joined forces in a run-down office on the outskirts of town. But the late Bobby Hutcherson and Joe Henderson are regarded as towering figures of mainstream and avant-leaning jazz now, and as burgeoning class acts back then at the tail end of 1963, when they were really hitting their stride. Hutcherson had built a reputation first on the West Coast, subsequently in NYC, he had played on front-line beauties as Jackie McLean’s One Step Beyond and Grachan Monchur’s Evolution. Henderson had recorded two albums as a leader, Page One and Our Thing. The Kicker was left on the shelves, seeing release as late as 1999. It is puzzling why Lion and the Wolff decided against release. They probably figured they had enough quality sessions to promote. Perhaps Joe Henderson was the kind of perfectionist disgruntled by the rough edges around a phrase or two. It doesn’t have to perfect, Joe. Coming with your package of supple, soaring post bop, we just might come to like that extra bite.

Regardless, there’s a pairing of talent attuned to each other’s needs and shining brightly during a set of original compositions and one standard, a sprightly mid-tempo take of Lerner and Loewe’s If Ever I Would Leave You. The crystalline, ringing vibes of the versatile modernist Bobby Hutcherson. Joe Henderson, already a strong-willed counterpart of a yes-man. Duke Pearson, inspiring accompanist, weaver of mellifluous lines. Grant Green, featured on side B’s three tracks, the prolific in-house guitarist of the Blue Note label, a class act in both hardboppin’ and modal contexts. Around that time, November 4 and 15 to be exact, 1963, Green, Henderson, Pearson and bassist Bob Cranshaw had cooperated on one of Grant Green’s career highs, Idle Moments. The mutual understanding is evident.

Hutcherson was a major contributor to Eric Dolphy’s free jazz classic Out To Lunch on February 5, 1964. He would venture into more front-line territories soon, recording his de facto debut Dialogue, and subsequently, the avant-garde LP side of Joe Chambers tunes on Components and the Happenings album with Herbie Hancock in 1965. A travel into uncharted territory. A balancing act of simplicity of expression and complex context. New vistas for vibraphonists ever since, the guys spellbound by Hutcherson’s siren-like cadenzas, the move into dark-hued corners of the mind, the zing of his angelic sound.

Already apparent on The Kicker is Hutcherson’s alert ear for group dynamics and controlled, conversationalist approach to the development of his expertly meandering lines. The great mood piece by Joe Chambers, Mirrors, suits Hutcherson to a tee. Throughout the set, which also consists of Henderson’s The Kicker and Step Lightly, Hutcherson’s For Duke P. and Pearson’s Bedouin, the rhythm section flawlessly and in uplifting fashion underscores Hutcherson’s vibe abacadabra and Henderson’s playful imagery. Henderson’s notes form fine-tuned blue and odd clusters, placed with a keen, floating sense of timing.

Though the title track, The Kicker, doesn’t thrive on the background riffs that propel the soloists into action as convincing as the classic take of Horace Silver on the Song For My Father album (including Henderson) and Henderson’s own version in 1967, it is a smokin’ affair, benefiting from the addition of Green in the ensemble and the guitarist’s propulsive, vivacious statements. Perhaps the moving, succulent phrases of Hutcherson and Henderson during Step Lightly should be attributed to the presence of Green, blues master at heart.

Surely Dialogue made up for a more distinct debut. But The Kicker remains a winner, having earned its rightful place among the hard bop cookies that rolled off the assembly line of the Blue Note label in the early sixties.

The Last Time He Saw Paris

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Grant Green

GRANT GREEN –

Reader Toine Metselaar sent this footage of guitarist Grant Green on YouTube. Supposedly, it’s recorded in a TV studio in Paris in 1969. A most welcome addition to the familiar footage of Green, Barney Kessel and Kenny Burrell, performing for the Jazz Scene television show at Ronnie Scott’s, London on December 26, 1969. Both performances are with the rhythm section of Larry Ridley and Don Lamont.

By 1969, Green had had some rough years. The most prolific recording artist of Blue Note in the early and mid sixties, Green – one of those supreme musician’s musicians – nonetheless failed to gain broad public recognition and was at a low ebb. Struggling with drug addiction, Green had also spent some time in jail. However, in December 1969 Green was back on the Blue Note roster. Convinced by his friend, organist Reuben Wilson to focus on funk and popular tunes, Green was featured firstly on Wilson’s superb, well-received Love Bug album including Lee Morgan, George Coleman and Idris Muhammad, and then released his Blue Note comeback album as a leader, Carryin’ On. Love Bug was recorded on March 21, Carryin’ On on October 3. Preceding those albums, Green was also featured on two soul jazz albums of the Prestige label: Rusty Bryant’s Rusty Bryant Returns (February 17) and organist Charles Kynard’s Soul Brotherhood. (March 10) Thus, Green was back at Rudy van Gelder’s famed Englewood Cliffs studio, and desperately seeking recognition.

So Green’s appearance in London (it’s unclear whether Paris was broadcasted) came at the right time. It came about, however, quite by happenstance. As Sharony Andrews Green (Green’s daughter-in-law) tells in her biography of Green, Rediscovering The Forgotton Genius Of Jazz Guitar, Green wasn’t first choice: ‘He was determined to give it one last try. So he did the unthinkable. Realizing he needed an international reputation, he overcame his fear of flying and got on a plane to attend the London Jazz Expo. He shared the stage with Kenny Burrell and Barney Kessel. It was actually a fluke that he even participated. Tal Farlow had been promised as the third man, but Farlow canceled and Grant stepped in. The fact that his name wasn’t advertised on the marque outside made him play “that much harder,” Grant would tell an interviewer.’

To see Green play that much harder as the only soloist in Paris, to witness the master at work for longer than the snippet that has heretofore been available, is something many fans are extremely thankful for, yours truly included. Green, employing his unique single-note line style, horn-like approach and sizzling, singing tone, plays, among others, I Don’t Want Nobody To Give Me Nothing, (the James Brown tune that is featured on Carryin’ On, the trio setting isn’t really appropriate for funk but it’s a pleasure to see Green play it), Sonny Rollins’ Airegin and Sonnymoon For Two. And note the intense manner in which Green recovers from some loose ends in his beautiful version of a Brazilian tune (Manha de Carnival? Or?) and his fireworks intro and coda of a down-home 12-bar blues excursion.

Only after a rediscovery by break-beating aficionados in Great-Britain in the late eighties and the subsequent re-issues of his Blue Note catalogue, long after Green’s death in 1979, did fame finally came to the indomitable guitarist.

Grant Green Grantstand (Blue Note 1961)

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Grantstand ranks among guitarist Grant Green’s finest dates. A gathering of aroused spirits in Rudy van Gelder’s famed Englewood Cliffs studio.

Grant Green, Grantstand

Personnel

Grant Green (guitar), Yusef Lateef (tenor saxophone A1, B1, B2, flute A2), Brother Jack McDuff (organ), Ben Tucker (bass), Al Harewood (drums)

Recorded

on August 1, 1961 at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as BLP 4086 in 1962

Track listing

Side A:
Grantstand
My Funny Valentine
Side B:
Blues In Maude’s Flat
Old Folks


Green, the most prolific Blue Note artist of the early and mid-sixties, was just shy of his second year as a new guitar man on the NYC block. He was in great company. Tenor saxophonist and multi-horn player Yusef Lateef would join Cannonball Adderley’s group in late december of 1961, staying till 1964. Green is further assisted by organist Brother Jack McDuff, the second time they cooperated, the first being McDuff’s The Honeydripper, recorded half a year earlier on February 1 on Prestige. Drummer Al Harewood was regularly featured on straightforward Blue Note recordings, notably as a member of the in-house trio Us Three which further consisted of pianist Horace Parlan and bassist George Tucker.

Good vibrations. Sparkling shreds of fire shooting upwards, curling around the beams of the RVG Studio’s high-domed, temple-like ceiling. A set of smokin’ blues tunes alternated with a melancholy ballad and a sprightly standard. Wrap it in shiny paper, lace it up and send it to your closest jazz pal with best wishes. Grantstand, the title track, bubbles, sizzles like a copious amount of ribs on a Saturday night BBQ. Hungry men. They tackle the uptempo, catchy blues riff like wolves jumping the lamb. The band catapults Green into action and stimulates the blues-drenched, former St. Louis citizen to fire off razor-sharp lines, adding slightly slurred, repeated phrases for dramatic effect. Green provides crunchy chords and plucky bass lines behind Yusef Lateef, who excels with a relaxed, down-home and layered tale, the chapters are recited without hurry, slowly but surely gathering momentum.

And the sound of these guys! Green: sustained, shimmering, fluid gold. Lateef: resonant, full-bodied, grandaddy-puffs-on-a-cigar-sound. McDuff chimes in with the roar of the minister, spitting a sermon into the faces of the flabbergasted flock. Intriguingly, McDuff succeeds to marry the gospel with the spirit of pure-bred rock&roll.

Englewood Cliffs, New Jersey (The Three Sounds & Stanley Turrentine)
Englewood Cliffs, New Jersey (The Three Sounds & Stanley Turrentine)
Grant Green
RVG, 1924-2016
RVG, 1924-2016

A bouncy version of Old Folks and a classy take on My Funny Valentine add variety to Green’s repertory, while Blues For Maude’s Flat continues the dip into bluesland. After hours vibes. The juices are flowing, the bottle of moonshine’s nearly empty. It could very well be that Green, Lateef, and McDuff arrived in New Jersey fresh from a gig in one of those dingy clubs the giants of jazz made their money in back then, like Chicago’s Theresa’s Lounge, Newark’s Front Room or Lennie’s On The Turnpike in Peabody, Massachussets. Blues In Maude’s Flat is a slow walk with a canny intermezzo of tension and release that serves as a springing board for the vibrant bunch of Lateef, Green and McDuff. Tenor/organ combo stuff of the grittiest and highest order, with the propulsive, already very authoritative leader on top of his game.

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.