Earl Bostic Jazz As I Feel It (King 1963)

November 14, 2022November 15, 2022 - Francois Leave a comment

Jazz as Earl Bostic felt it in a rare cooperation with Richard “Groove” Holmes, Joe Pass and Shelly Manne was flawless, blues-drenched and pure dynamite.

Personnel

Earl Bostic (alto saxophone), Richard “Groove” Holmes (organ), Joe Pass (guitar), Herbert Grody or James Bond (bass), Shelly Manne or Charles Blackwell (drums)

Recorded

on August 13 & 14, 1963 at World Pacific Studios, Los Angeles

Released

as King 846 in 1963

Track listing

Side A:
Don’t Do It Please
Ten Out
Telestar Drive
A Taste Of Fresh Air
Side B:
Hunt And Peck
Fast Track
Apple Cake

He walked into bop cradle Minton’s in Harlem in 1951 and learned quite a few cats all about the saxophone. Art Blakey said: “Working with Bostic is like attending a university of the saxophone.”

So, obviously there’s more behind the explosive sax of Flamingo and other hard-hitting rhythm and blues-hits. Bostic, born in Tulsa, Oklahoma in 1912 and alumnus of Creighton University in Omaha, Nebraska and Xavier University in New Orleans, traveled with territory bands in the 1930’s. He worked with Don Redman, Hot Lips Page and Cab Calloway in New York and had a residency with his own band at Small’s Paradise in 1939. Bostic was arranger for Paul Whiteman and Louis Prima before joining Lionel Hampton for a two-year stint. Meanwhile, he had started new bands in the mid-1940’s and following the example of Louis Jordan, seriously started his solo career with a couple of minor hits. His potential was notably fostered by King Records. In total, Bostic would record more than 400 tunes for the Cincinnati-based label of Sid Nathan, including major hits besides Flamingo as Harlem Nocturne, Temptation and Where Or When. Bostic recorded more than thirty LPs for King from 1954 till 1964.

Bostic gained respect from Charlie Parker at Minton’s. Bostic’s groups variously featured John Coltrane, Teddy Edwards, Benny Golson, Stanley and Tommy Turrentine and Blue Mitchell. Coltrane, Golson and James Moody appreciated Bostic’s prowess. In the L.A. studios, Bostic worked with Benny Carter, Barney Kessel and Earl Palmer.

Bostic blew hard and honked relentlessly but his phrases never faltered or broke down and were fluent as the twists and turns from a butterfly, distinguishing him from many of the era’s honking saxophonists. Furthermore, he impressively stretched his alto lines over three octaves. Allegedly, Bostic refused to record everything that he could achieve with the saxophone so as not to give colleagues the chance to copy him.

Not only past masters commented on Bostic’s prowess on the saxophone. I stumbled upon a 2016 column by Dutch saxophonist Benjamin Herman in the excellent Dutch jazz magazine Jazz Bulletin. Herman discusses ‘monster chops’, defining Earl Bostic as the undisputed king. He tells of a Bostic tribute organized by Spanish saxophonist Dani Nelo in Barcelona and that Herman’s part, dedicated to Jazz As I Feel It and A New Sound (the other LP with Holmes and Pass) was an enjoyable and instructive challenge. Afterwards, back in Holland, ultra-young lion Gideon Tazelaar (nowadays lauded by none other than Wynton Marsalis) pointed out the existence of the blasting Up There In Orbit to the Amsterdam-based, UK-born Herman.

Did Bostic use a tenor sax reed on a Beechler mouthpiece? Question perhaps better asked specifically to pros. However, it would explain his tremendous energy. A force that also is evident on Jazz As I Feel It, which consists of two sessions, both with organist Richard “Groove” Holmes and guitarist Joe Pass, with Shelly Manne/Charles Blackwell and Herbert Grody/Jimmy Bond alternating on drums and bass.

Contender to Up There In Orbit might be Telestar Drive, fast-paced bop groove intensified by Bostic, who marries rocket launchings with the roar of the king of the jungle, wild but totally in command, challenged by the energetic Manne. Bostic’s high F ending of Don’t Do It Please – and the journey to it – is madness. Songwriting duties are divided between Bostic and the West Coast-based Buddy Collette and whether it’s slow or medium-tempo blues or a catchy up-tempo rhythm and blues-drenched tune, Pass and Holmes acquit themselves very well, Holmes providing context with various interesting Hammond sounds.

The events surrounding Bostic’s passing were very unfortunate. Bostic owned a club/restaurant, The Flying Fox, in Los Angeles with his wife Hildegarde. However, Bostic was afraid of a possible earthquake and wanted to leave the West Coast. Hildegarde strongly disagreed and filed for divorce in 1965. A week later, Bostic was on tour in the East and completed a residency at the Town House Motel in Rochester, New York. It was there that the monster saxophonist had a heart attack and passed away at the age of 52.

If only Bostic would’ve been able to fulfill his jazz promise at one of those labels that foster elder statesmen like Pablo or Black & Blue. However, making do with Jazz As I Feel It ain’t no punishment.

Listen to Jazz As I Feel It and A New Sound on YouTube here.

Eric Kloss Love And All That Jazz (Prestige 1966)

June 19, 2014January 21, 2016 - Francois Leave a comment

Pipe-smoking Eric Kloss was seventeen when he recorded Love And All That Jazz. It was the second album for the young alto and tenor saxophonist on Prestige. Quite exceptional for a young man to be appointed leader from the start, but Kloss was an exceptional talent. At age twelve Kloss sat in with the bebop giant and fellow saxophonist Sonny Stitt, renowned for blowing many asses of stage. Kloss, blind since birth, received plenty encouragement from the fearsome saxophonist.

Personnel

Eric Kloss (alto & tenor saxophone), Don Patterson (organ, A1-A4), Vinnie Corrao (guitar, A1-A4), Billy James (drums, A1-A4), Richard “Groove” Holmes (organ, B1-B3), Gene Edwards (B1-B3), Grady Tate (drums, B1-B3)

Recorded

on March 14 & April 11, 1966 at Rudy van Gelder Studio, Englewood Cliffs, New Jersey

Released

as PR 7469 in 1966

Track listing

Side A:
You’d Be So Nice To Come Home To
Just For Fun-K
The Shadow Of Your Smile
No Blues
Side B:
Love For Sale
I’m Glad There Is You
Gemini

His playing is impressive both for its technical mastery and bravado. Indeed, sometimes the ideas stop flowing and Kloss finds himself in a neverland, squirting meaningless titbits to regain his posture. But it’s only logical, considering his age, that his conception was not as yet full-grown. It was developing rapidly and excitedly. There are moments of charming recklessness as Pensylvannia-born Kloss blasts his way through the standard You’d Be So Nice To Come Home To. Kloss meanders through scales and low and high registers with the sudden aplomb of Eric Dolphy. His tone and attack is reminiscent of Stitt. Kloss himself brings long, crunchy wails, fiery, suprising twists and off-the-cuff double-time gymnastics in between.

Kloss would go on to record a highly proficient string of records for Prestige and Muse in the sixties and early seventies, subsequently incorporating popular music as well as avantgarde features into his hardbop bag. Unfortunately, Kloss largely disappeared from the scene after 1981, due to a struggle with asthma.

Waltz blues Just For Fun-K, that consists of a droll theme and kinky extension, finds Kloss building tension comprehensively. His alto work on Cole Porter’s Love For Sale is more virtuoso than heartfelt. The manner in which Kloss strikes a balance between tenderness and hard-boiled bluff in ballad I’m Glad There Is You, however, proofs Kloss doesn’t merely engage in youthful show-offs.

The album is divided between two backing groups. Don Patterson’s trio proves to be better attuned to the hi-voltage style of Eric Kloss. Their cooperation on Kloss’ debut album, Introducing Eric Kloss, might’ve been the reason of their rapport. The pulsating drum rolls of Billy James spur Kloss on and Patterson’s comping behind Kloss is urgent and his solo’s are well above average. The Groove Holmes trio is not bad. Guitarist Gene Edwards plays an uplifting bit in Love For Sale. But the sound of the organ is harsher and creates a messy atmosphere. And the more conservative style of Groove Holmes on this album doesn’t match as well with Kloss than does Patterson’s.

That doesn’t stop Kloss from forcefully blowing his way through Jimmy Heath’s Gemini. But the session with Don Patterson is more coherent. A demanding and provocative session of the young Eric Kloss.

YouTube: Love For Sale

Richard “Groove” Holmes Groove (Pacific Jazz 1961)

March 9, 2014January 22, 2016 - Francois Leave a comment

There are a number of reasons why Groove is a significant, endearing album that is perfect for beginners and essential for geeks of the ‘Organ Jazz Admiration Society.’ The most important reason, I think, is the combination of the extremely swinging individuals Les McCann, Richard “Groove” Holmes and legendary tenor saxophonist Ben Webster.

Personnel

Richard “Groove” Holmes (organ), Les McCann, piano, Ben Webster (tenor), Lawrence “Tricky” Lofton (trombone), George Freeman (guitar), Ron Jefferson (drums)

Recorded

in 1961 at Pacific Jazz Studios, Los Angeles

Released

as PJ-23 in 1961

Track listing

Side A:
Them That’s Got
That Healin’ Feelin’
Seven Come Eleven
Side B:
Deep Purple
Good Groove

It almost never took fruition. The group was brought together in the studio for the purpose of producing a Les McCann vocal album. The warming-up, however, brought about such enthousiasm and good feelings, that McCann decided to cut an instrumental album first. Holmes was cast as leader, a generous gesture from Pacific and McCann, who discovered the organist in the first place, a short while prior to this session in a Pittsburgh club.

Because of the haphazard circumstances, one might describe Groove as a blowing session; that is, a session usually described as containing straightforward blues-based tunes and well-known standards built on the AABA-chord structure that leave a lot of room for the musicians to stretch out. Things, however, aren’t always that simple. There are mediocre blowing sessions and good planned sessions, and vice versa. To further complicate the issue: most blowing sessions are planned one way or the other, so where’s the dividing line? At any rate, this album’s simplicity works as a vehicle for honest, unforced and coherent blowing indeed. Take a listen to Ben Webster’s solo on Good Groove and you’ll know what I mean. Relaxed, cliché-free marvels like that certainly don’t come “easy”.

The instrumentation of Groove is an asset. For one thing, there’s the unconventional combination of piano and organ. It’s quite an accomplishment that Holmes and McCann succeed in avoiding an overtly heavy sound, considering the power of the monstrous Hammond machine. Indeed, the lighthearted combination is fair proof of the considerable artistic intellect of these men. In That Healin’ Feelin’ – an uplifting tune imbued with gospel piano rolls and a tacky solo by guitarist George Freeman – Holmes’ chords behind McCann’s piano are pleasantly soft-hued.

The joy of listening to Holmes is evenly divided between his carefully crafted solo’s and superb sense of dynamics. He uses different textures of Hammond sound, whichever texture is appropiate for the occasion. In the second part of That Healin’ Feelin’, during the horn solo’s, the organist puts in full-bodied, Basie-type, almost accordian-like chords, enlivening the proceedings considerably. His methods are replenished by drummer Ron Jefferson, who shows to possess the knowledge of where precisely to place classic swing accents; spot on! Groove Holmes is a masterful bass pedal player and therefore makes for a solid rhythm section with Jefferson and McCann. To furthermore stress Holmes’ understanding of dynamics, I’d like to point out the nifty, ‘thin’ sound the organist uses to solo with in Deep Purple and the question-and-answer swinger Good Groove.

An album such as this usually has a ballad included. Not Groove. It’s not sorely missed. Of course, Ben Webster is a brilliant balladeer, but the relaxed, mid-tempo Deep Purple acts as a ballad in disguise. Ben Webster’s ‘breathy’ statements are breathtaking. On the rest of the tunes, Webster honks and swings fluently. Trombonist Lawrence “Tricky” Lofton competently and joyfully adds to the old-timey sentiments.

Benny Goodman and Charlie Christian’s up-tempo, fluid classic Seven Come Eleven rounds off Side A of a relaxed, spontaneous album, combining the artistry of the already very mature debutant Groove Holmes and ultra-swingers Les McCann and Ben Webster. I can’t help but wear a broad smile on my face everytime it has been turning on the table. I’m sure it’ll do the trick for you too.

Richard “Groove” Holmes Onsaya Joy (Flying Dutchman 1975)

August 14, 2013January 23, 2016 - Francois Leave a comment

Talkin’ about playing bass! Richard “Groove” Holmes was a master at this particular aspect of Hammond jazz. Live date Onsaya Joy finds him locking in spontaneously with Orville J. Saunders II’s guitar solo and ‘walkin’ as if supporting Fresh-era Sly Stone on a Fender bass guitar on both the title track and Horace Silver’s Song For My Father. His command of the bass pedals is a highlight of this album. The rock beat of drummer Thomas Washington Jr. is less enamouring. With all due respect, one would wish for a more delicate and experienced approach.

Personnel

Richard “Groove” Holmes (organ), Orville J. Saunders II (guitar), Thomas Washington Jr. (drums)

Recorded

in 1975, live at The Halfnote, NYC

Released

as FD 3265 in 1975

Track listing

Side A:
Sweet Georgia Brown
Onsaya Joy
Side B:
On Green Dolphin Street
Song For My Father
Misty

Sweet Georgia Brown has a ferocious tempo that outdoes Jimmy Smith’s short distance runner at Club Baby Grand. And make no bones about it, the man handles it eloquently, comping competently and soloing as if a hellhound’s on his trail. Onsaya Joy (if you wonder what this title is about, check the front cover; who says today’s parents invent odd first names?) is a funky tune with an attractive theme that sees Holmes stretching out on a never-ending vamp, also making use of new electronic devices of the day, which make his organ sound like a cousin of the Arp and Moog synthersizer.

Side B lacks momentum and the endings are a bit awkward, though the album closes with a sweet version of Erroll Garner’s Misty, the song Holmes recorded a decade earlier and was well known for.

Onsaya Joy is released on Flying Dutchman, the record company of Bob Thiele, of Impulse fame. Label mates of the day include Bernard “Pretty” Purdie, Lonnie Liston Smith and Leon Thomas. That should give you an idea of the direction Groove Holmes took around the time Nixon bugged a building and Elvis viva’d Las Vegas.