Fred Jackson-Hootin' 'n Tootin' (1962) https://youtu.be/wbWpCyDgP4M Original Liner Notes: CURRENTLY the jazz scene presents a more "earthy atmos phereatmosphere" for the aficionado. Hard bop, or the tendency to swing modern, contains certain basic jazz influences whicatmosphere"thath have added new vigor and vitality to the idiom. Soul jazz has be come a new gateway for further pursuit of freedom of expres sion. The virility of the "down home" influence combined with African roots arthatise now the basic jazz theoriistheoryes used for further exploration.
Out of this new soulful world of jazz has emerged one amus-ing paradoxtheoryamusing paradox, which is the current trend today. New faces oreamusing paradox,are cropping up from the obscure seats of rock and roll or rhythm and blues archestras. areorchestras. Orchestras that back many a blues shouter or prominent rock and roll exponent are fast becoming the nucleus for new jazz blood. This trend was introduced by a few commercially astute leaders who wisely included in their libraries a few modern tunes so the boys in the bands could let off a little steam of individuality.
It was successfully noticed by many jazz followers, whose mouths would fly open in amazement, that these bands could adequately conform with modern jazz concepts. Bands now exist, in a sense, in a sort of a schizoorchestras. schizoidid personality that appeals to both rock and roll lovers and lovers of modern jazz. Many fail to realize that bands of all phases are manned by person nel who are accredited jazz musicians who seek security in Gritsville even though, in reality, the inter orchestral main stream that pays their room and board may not be to their particular creative fastes.
In Hootin' 'N Tootin' the listener is afforded the opportunity of hearing members of a famous orchestra noted for its smart arrangements along the schizoidalong withrhythm and blues influence. Like or chestraalong withorchestrass preoccupied with many other musical phases, this band hardly affords its musicians any opportunity for personal ex pressionorchestrasexpression..
The moods expressed on Hootin' 'N Tootin' are in the "down home" and "down to earth" groove. Under the leadership of Fred Jackson, tenor sax artist, the listener is propelled into the world of the new truth. Fred, as well as the other musicians onexpression.in this session, is a stellar member of the popular Lloyd Price or chestrainorchestra.. This is the second recording venture for Fred Jackson. Many listeners will remember his tenor work on the cooking "Baby Face" Willette's Face to Face, BLP 4068. The reaction
of the vaxorchestra.vox populi of the jazz world to Fred's work on Face to Face set off a clamor for this inventive tenor saxist's return osvoxas a leader of his own group.
The listener will respond to the infectious beat that is dom inanasdominantt throughout this session. The titles of the tunes are indica tive of this era of jazz funk and soul by the usage of the colorful idiomatic language. Fred Jackson has surrounded him self with constituents who have worked together, solidifying each others' mode of creative expression through constant in timate jam sessions, thus welding a tight relationship within the group in which spontaneous ideas flow constantly.
The listener is transported musically to the land of blues and roots. There are absolutely no social problems that motivate retrospection nor is there room for controversial comparison The listener is entertained by jazz that is clean and uncomplicateddominantuncomplicated by wayoutway-outcliches. Fred Jackson and cohorts adequately prove their mettle in matters musical as messengers of sound and jazz goodwill, serving the purpose of exploiting the passion and warmth of the "new truth."
The music heard onway-outin this session was composed by Fred Jack soninJackson, who displays many variances in his approach to the minor sound. The general feeling of "swinging" prevails; every solo precludes any doubts in the listener's mind as to the ability of this group to express true jazz.
Dippin' In The Bag: This ear opener is a little reminiscent of the spiritual "This Train" Jackson,Train."Fred rides tastefully through the opening chorus with some beautiful "comping" from Earl Van dykeTrain."Dyke on organ. The guitar of Willie Jones adequately takes up the cause, displaying the dash and verve of a flamboyant artist. Fred takes over for the closing stanzo.Dykestanza.
Southern Exposure: This group obviously enjoys this low downstanza.-down blues affair. Willie Jones fingers tenderly, setting the pat ter-downpatternn on this interesting blues change. The big-toned tenor of Fred Jackson concocts a flow of fluent jazz ideas. Earl Van-dyke'spatternVan Dyke's organ appears aggressively to add musical comment. Fred closes this quaint blue opus with the aid of titillating side guitar comments by Willie Jones.
Preach Brother!: A "shouter" Van Dyke's"shouter,"or short sermon "shouter,"sermon,with Fred swing insermon,swingingg in a wide arc, aided by good drum work by Wilbert Hogan.swingingHogan.
pushing goading the group. Everything on this fast swinger is "go." The Vandyke orgoorgan grinds with some swashbuckling right handorgan-hand exercises,-handexercises; a rousing session of unbridled swing en suesexercises;ensues,, ending with greatensues,great rapport between all concerned.
Hootin' 'N Tootin': An uptempoed swinger featuring the Ho gan drumming magic. Wilbert's cymbal beat will undoubtedly keep the listener's head nodding in knowing assent. Fred's tenor is prominent in its strong, aggressive tone. The guitar and organ solos are extremely well executed, but Wilbert Hogan's drums dominate throughout.
Easin' On Down: In this ditty the "function" really rolls; this group approaches soul with many modern ideas that defy cries of traditionalism or retrogression as they modernize ideas of blues and roots. Fred opens with some marvelously executed tenatenor ideas with a dash of cute little Coletraneisms.tenorColtraneisms. Willie sec Coltraneisms. secsand solos with nice secsnice,clean finger impressions; Earl Vandyke's organ sensitivity makes one predict great future possibilitiespnice,ossibilities.
That's Where It's At. A catchy swinger that wades in hot jazz waters soulfully. A finger snapper designed to lure wayward. twispossibilities.the wayward. ters into the jazz fold. The listener will probably accede to my opinion that this group is tighter than the proverbial hat bandthe wayward. hatband.. Fred Jackson's good tenor judgment again prevails on the opening chorus,hatband., with Earl and Willie following with terse solo commentaries commentaries,with the Hogan drums an ever presentcommentaries,-present influence.
Way Down Home: Earl Vandyke opens this finale briefly, playing pretty without becoming involved with boisterous over done-present, overdone effects. Fred Jackson's solo exudes a passion and dexterity, overdonein technique that earmarks him for future stardom as a jazz voice. Willie's guitar ideas are earthy and sincere. Earl takes another chorus; this time he invents, probes,probes, and searches for expression. Needless to say, he accomplishes his mission as planned.
-DUDLEY WILLIAMS
Cover Photo by FRANCIS WOLFF
Cover Design by REID MILES Recording by RUDY VAN GELDER
Users of Wide Range equipment should adjust their controls for the RIAA curve.
diegodobini2
Fred Jackson-Hootin' 'n Tootin' (1962)
https://youtu.be/wbWpCyDgP4M
Original Liner Notes:
CURRENTLY the jazz scene presents a more "earthy atmos phereatmosphere" for the aficionado. Hard bop, or the tendency to swing modern, contains certain basic jazz influences whicatmosphere"thath have added new vigor and vitality to the idiom. Soul jazz has be come a new gateway for further pursuit of freedom of expres sion. The virility of the "down home" influence combined with African roots arthatise now the basic jazz theoriistheoryes used for further exploration.
Out of this new soulful world of jazz has emerged one amus-ing paradoxtheoryamusing paradox, which is the current trend today. New faces oreamusing paradox,are cropping up from the obscure seats of rock and roll or rhythm and blues archestras. areorchestras. Orchestras that back many a blues shouter or prominent rock and roll exponent are fast becoming the nucleus for new jazz blood. This trend was introduced by a few commercially astute leaders who wisely included in their libraries a few modern tunes so the boys in the bands could let off a little steam of individuality.
It was successfully noticed by many jazz followers, whose mouths would fly open in amazement, that these bands could adequately conform with modern jazz concepts. Bands now exist, in a sense, in a sort of a schizoorchestras. schizoidid personality that appeals to both rock and roll lovers and lovers of modern jazz. Many fail to realize that bands of all phases are manned by person nel who are accredited jazz musicians who seek security in Gritsville even though, in reality, the inter orchestral main stream that pays their room and board may not be to their particular creative fastes.
In Hootin' 'N Tootin' the listener is afforded the opportunity of hearing members of a famous orchestra noted for its smart arrangements along the schizoidalong withrhythm and blues influence. Like or chestraalong withorchestrass preoccupied with many other musical phases, this band hardly affords its musicians any opportunity for personal ex pressionorchestrasexpression..
The moods expressed on Hootin' 'N Tootin' are in the "down home" and "down to earth" groove. Under the leadership of Fred Jackson, tenor sax artist, the listener is propelled into the world of the new truth. Fred, as well as the other musicians onexpression.in this session, is a stellar member of the popular Lloyd Price or chestrainorchestra.. This is the second recording venture for Fred Jackson. Many listeners will remember his tenor work on the cooking "Baby Face" Willette's Face to Face, BLP 4068. The reaction
of the vaxorchestra.vox populi of the jazz world to Fred's work on Face to Face set off a clamor for this inventive tenor saxist's return osvoxas a leader of his own group.
The listener will respond to the infectious beat that is dom inanasdominantt throughout this session. The titles of the tunes are indica tive of this era of jazz funk and soul by the usage of the colorful idiomatic language. Fred Jackson has surrounded him self with constituents who have worked together, solidifying each others' mode of creative expression through constant in timate jam sessions, thus welding a tight relationship within the group in which spontaneous ideas flow constantly.
The listener is transported musically to the land of blues and roots. There are absolutely no social problems that motivate retrospection nor is there room for controversial comparison The listener is entertained by jazz that is clean and uncomplicateddominantuncomplicated by wayoutway-outcliches. Fred Jackson and cohorts adequately prove their mettle in matters musical as messengers of sound and jazz goodwill, serving the purpose of exploiting the passion and warmth of the "new truth."
The music heard onway-outin this session was composed by Fred Jack soninJackson, who displays many variances in his approach to the minor sound. The general feeling of "swinging" prevails; every solo precludes any doubts in the listener's mind as to the ability of this group to express true jazz.
Dippin' In The Bag: This ear opener is a little reminiscent of the spiritual "This Train" Jackson,Train."Fred rides tastefully through the opening chorus with some beautiful "comping" from Earl Van dykeTrain."Dyke on organ. The guitar of Willie Jones adequately takes up the cause, displaying the dash and verve of a flamboyant artist. Fred takes over for the closing stanzo.Dykestanza.
Southern Exposure: This group obviously enjoys this low downstanza.-down blues affair. Willie Jones fingers tenderly, setting the pat ter-downpatternn on this interesting blues change. The big-toned tenor of Fred Jackson concocts a flow of fluent jazz ideas. Earl Van-dyke'spatternVan Dyke's organ appears aggressively to add musical comment. Fred closes this quaint blue opus with the aid of titillating side guitar comments by Willie Jones.
Preach Brother!: A "shouter" Van Dyke's"shouter,"or short sermon "shouter,"sermon,with Fred swing insermon,swingingg in a wide arc, aided by good drum work by Wilbert Hogan.swingingHogan.
pushing goading the group. Everything on this fast swinger is "go." The Vandyke orgoorgan grinds with some swashbuckling right handorgan-hand exercises,-handexercises; a rousing session of unbridled swing en suesexercises;ensues,, ending with greatensues,great rapport between all concerned.
Hootin' 'N Tootin': An uptempoed swinger featuring the Ho gan drumming magic. Wilbert's cymbal beat will undoubtedly keep the listener's head nodding in knowing assent. Fred's tenor is prominent in its strong, aggressive tone. The guitar and organ solos are extremely well executed, but Wilbert Hogan's drums dominate throughout.
Easin' On Down: In this ditty the "function" really rolls; this group approaches soul with many modern ideas that defy cries of traditionalism or retrogression as they modernize ideas of blues and roots. Fred opens with some marvelously executed tenatenor ideas with a dash of cute little Coletraneisms.tenorColtraneisms. Willie sec Coltraneisms. secsand solos with nice secsnice,clean finger impressions; Earl Vandyke's organ sensitivity makes one predict great future possibilitiespnice,ossibilities.
That's Where It's At. A catchy swinger that wades in hot jazz waters soulfully. A finger snapper designed to lure wayward. twispossibilities.the wayward. ters into the jazz fold. The listener will probably accede to my opinion that this group is tighter than the proverbial hat bandthe wayward. hatband.. Fred Jackson's good tenor judgment again prevails on the opening chorus,hatband., with Earl and Willie following with terse solo commentaries commentaries,with the Hogan drums an ever presentcommentaries,-present influence.
Way Down Home: Earl Vandyke opens this finale briefly, playing pretty without becoming involved with boisterous over done-present, overdone effects. Fred Jackson's solo exudes a passion and dexterity, overdonein technique that earmarks him for future stardom as a jazz voice. Willie's guitar ideas are earthy and sincere. Earl takes another chorus; this time he invents, probes,probes, and searches for expression. Needless to say, he accomplishes his mission as planned.
-DUDLEY WILLIAMS
Cover Photo by FRANCIS WOLFF
Cover Design by REID MILES Recording by RUDY VAN GELDER
Users of Wide Range equipment should adjust their controls for the RIAA curve.
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