There’s something about organists from this era like McDuff and Johnny Hammond that I will never get enough of!
2 months ago
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I WAS THE ENGINEER on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group whs have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Todey, I feel strongly that I am their messenger.-RUDY VAN GELDER THE HONEYDRIPPER REVISITED JUST CHECK JACK MEDUFF on the cover of this bookke. Derr't he look fine? (The photo was probably taken by Esmand Edward, who produced this session. His hair is perfect. His white shirt gleems. His jacket drupes just se. All part of the presentation. One party pianist, bock in the day when such musicians were called "ticklers," said that such finery and elegance of motise-see how he holds his cigaretta was designed to make the ladies in the audio wander, "Can he de it like he on play " This, of course, ven in the days before electricity. And among the things that electrictly brought, along with mashines that could record music, and other madenos that enabled you to play it was the Hammani B-3 organ About a year before this record was made, there were modificetiers to the Hommand 8-3 fist allowed for a variety of otteeks an individual notes, and also permitted the player to achieve a tremolo affect. Net unly that, but the foot padals enabled the player to produce leis own brass line, making a bass player un essory. It can hardly be a coincidence that i was at this time that Jack McDuff, who had boun u bassist before turning to keyboards in the Fifties, decided to switch to the Hammond B-3 It was, of course, Amerry Smith who popularized the Hurnemend B-3 as a juzz instrument, but, in the Fenguin Guide to Jazz points out, McDuff was able to exploro u sebiler and less heavy-hareled jazz style The Sixties were the heyday of the tener and organ combe, which lasted until favor sathed to the synthesize which could in even more tricks in its most popular fum, the cards was shit, with the addition of a gulle, minus the drums employed w Duff, when he was a bussist, had played with some retekis modemisk, induding the pimist Derry Zelfin and the tener saxophonist Joherry Griffin. But when he took up the ergon, he went back to the basics, as the ogression of the lines hal it "book to the roots." This was a time what the complexities of the bebep revolution were giving way to a mare basic, gespel-tinged music usually called funk, or saul Certainly, it was black, and centered on the East Coast, in contrast to the primarily while mask of West Coast jazz. Miles Davis's recording of the blues "Wiekin is often given as the beginning of the trend, and it is hardly acidental that Horace Silver, who would become critical to the funk movement when he joined Art Blakey's Jazz Messengers, was the pianist on frat date. Soon, half the tiles in juzz had to de viti church or sen or fand-soul food, of course. The lasis. McDuff-Brother Jack, es he preferred, and actually bom Eugene McDuffy-came froce Charmpaign, leois, but when he want to farm a group, he looked to St. Louis St. Louis, of course, Iras ane of the richest yaz traditions in America, as reflected in such song titles us "St. Louis Blues" and "St. Louis Tickle" He had on excellent sur for talent, as evidenced by recordings he made early on with such future stars as Joe Henderson and Roland Kirk. On this date, he diese St. Louis tener player Jeremy Forrest, who is best known for his recording of "Night Train," a rodving piece that was "appropriated," as the past modernists would say from Duke Ellington's "Happy Go Ludky Lecal." Forrest is a blant, powerful presence. He is also something of a talent scout. Tiwe local dub dates from 1952, available on Prestige under the title Live at the Barrel, were made with a locol boy named Miles Davis, who had met with hard times in New Sock and come home In the origind notes to this recording, I referred to it as the guitarist Grast Green's first record date. That is incomect. Apparently his first session had been made ander Formasts leadership, with Elvin Joses on drums, but this come soon after. Eventually, of course, he became a considerable star in his own right, st which time McDuff replaced hin with a young man sumed George Bersan. Obviously, McDuff had an ear for gultorists. And, unvasool for this kind of music, the word the Pongoin Guido asis mest frequently to describe Green is dekracy The material is covered in the original notes. I should, however, heve mentioned in comadion with "Went e Little Gelone of the finest jazz records-a version of the pince by a small group from the Basie band called the Kansas City Six, featuring a superli Lester Young on darinet. And given the date of this recording, it is probable that when I called Hawy Mancini "Tabulously successful, no ane bod evαι heerd "Woon River yet As we have sen, jazz is affected by technology in this case, modifications to the Harenced B3, os wail is the slechtfiction of the quite, without which the bestrument could not have been hoord in this context. For another example, it is handly coincidence that John Coltrane began playing les very long solos at the tiene of the invoduction of the 12-inch long playing recen Jazz has always haken whatever thought it needed from wherever it could. These performances would suraly be much different if Ray Charles bainst called down heaven on his head by mixing bloes and gospel, and the highly educated Camnehell Allerley would not have been using album titles the Them Dirty Blues And only a year after this albuns was made, Ovarlie Byed, with the help of Stan Getz, would bring back mask from Brazil frat woulil, for a whole, move jazz off in a very different direchen. And now, yours later after the torvan organ coerbo was thought by some to have lapsed into too ropetitive prose, the format is highly prized by younger listeners who seek ost prime examples in used reco stores But now the prime example is backdeated op brushed off, and not of all hard to find Unfortunately, the same is est troo of the participants. Drummer Bon Diten has fallen off the radior screen. Grant Groon died in New York in 1979, collapsing in his car of heart attack. Immy Forest passed away in Grand Rapids, Michigan in 1980. And McDuff ched in 2001, in Minnoupolh. But here frey cra, still mekin, still groovin', and still drippin' with honey, still harmessing electricity to the most primal of human emotions. -JOE GOLDBERG March 2006
2 months ago | 0
diegodobini2
Jack McDuff – The Honeydripper (1961)
https://youtu.be/pYQGQJCv3A0
Original Liner Notes: Jack McDuff has come pretty far pretty quickly. Not so long ago, he was a member of the Willis Jackson Quintet. He recorded with that group for Prestige on three separate occasions Please Mr. Jackson, 7162; Cool Gator, 7172; Blue Gator, 71831, and as sometimes happens, he was offered his own album. That was Brother Jack, 7174; and was followed by Tough Duff, 7185. Those two albums, plus the ones he made with Willis Jackson, were enough to establish him as one of the most popular jazz organists in the business.
Now, on this album, he, in turn, presents someone who will probo bly be unknown to you. He is guitarist Grant Green, and this was his first record session. Grant was discovered by altoist Lou Donaldson in St. Louis, and Lou brought him to town.
But this is by no means a "Jack McDuff Presents" kind of album; the inclusion of a new name is mentioned only to give some indication of how far along Jack has come, and how quickly. The set closely approximates what you would hear Jack play in a club, and that, for the moment, is prima rily the blues.
Recently, as everyone knows by now, the organ has become a highly favored and potent jazz instrument, and its main function has been in the area of funky, or soulful, blues. Considering the
enormous impact that Ray Charles has had on jazz taste, it is safe to say that the fact that he has recorded an organ LP will make the instrument even more widely and highly regarded than it is now. When people who have looked at the organ with certain suspicion open their ears more ob jectively to the instrument, one of the players who is certain to bene fit is Jack McDuff.
He is not, however, a band wagon climber in his choice of mood or music; I would not want to imply that. As a matter of fact, when he first heard this album played for him, he was somewhat worried that perhaps he had included too much blues, that the album had too much of a same ness. But as he heard track after track, he became more and more satisfied, until finally, at the end of the LP, he admitted that he had, after all, made a pretty good record.
And so he has. All but one of the tracks are either blues or blues based. The three outright blues are by Jack himself, and it is fating that the most appealing of these is the one, "Dink's Blues," that he dedicated to his wife.
"The Honeydripper, which gives this album its title, goes fairly far back in the rhythm and blues tradition. It was composed by Joe Liggins in 1942 and his record of it was a big hit. McDuff, Forrest, and Green stretch out in this
version and produce an admirable revival of the tune.
1 Want a Litle Girl goes back even further. Jimmy Rushing used to feature the number with the Basie band, and for a long time it was identified with him. It has also had an important place in the co reers of two other great blues singers: Joe Turner's so-called "comeback" album included a powerful version; and when one night at Camegie Hall, in the middle of one one of the package shows that is always coming through, Ray Charles sang it, several previously unaware peo ple awoke to his talent.
The number which occupies a somewhat unusual position in this set is "Mr. Lucky." It is, of course, the theme for the television show of that name, and was composed by the fabulously successful Henry Mancini, who had previously been responsible for the Peter Gunn music. The single record which Mancini made of "Mr. Lucky" was one of the biggest hits in the coun try about a year ago. It should come as no surprise to anyone that a Mancini record would be a hit, but this one was unusual because of its instrumentation. In the middle of a big band brasses, reeds,
strings, and all-Mancini featured, as the solo instrument, an organ. It is one of the few times that the instrument had ever been success fully used in that context. Perhaps this goes a little far afield from the main subject of these remarks, but one wonders just what effect that had on the organ's popularity, Previously it had been associated with church, or skating rinks, or "dirty" jazz, and here was the instrument used to symbolize an extremely suave, sophisticated, Cary Grant-type character. The human mind works in strange ways, and perhaps that piece convinced some people that it was all right to like the organ, after all. The There is, by the way, little to suggest Mr. Grant in Jack McDuff's version, which is the first jazz organ recording of it that I know of separate the men from the boys. In Forrest's case, it is a unique and exact sense of time. As one person said when listening to these tracks, "He's got a metronome in his head." Incidentally, he appeared once before with Jack McDuff, on the previously mentioned Tough Duff album, and has recorded as a leader on the appropriately titled Forrest Fire (Prestige/New Jazz 8250)
As is often the case with musicians who became well known for one particular thing, McDuff is beginning to be worried about stagnation. In this instance, the thing he has become known for, obviously, is the blues. He is, to borrow a phrase, happy with the blues, but wants to do more. It is not the case of the clown wanting to play Hamlet he does not propose sessions with banks of strings and acres of vocalists; he just wants to expand a little on the basis he has built.
None of these remarks, how ever, take into consideration one of the most important factors in the success of this album. I am speak ing of the tenorman Jimmy Forrest, who is, I feel, among the most powerfully emotional voices around. He is primarily a blues player the blues are always present whether they are explicitly stated or not but his abilities are not limited to that. His is a no-nonsense approach; he says what he has to say, and then stops. Having written that, I real ize that all those phrases could be annotator's evasions, to be used when discussing a near-rock 'n' roll musician. Nothing could be farther from the truth. The line that separates blues playing from rock 'n' roll is sometimes a thin one, but there is always something to
Accordingly, he has a new album planned. This one would feature four horns he has them in mind, but due to the always uncer tain availability of musicians, it would be best not to mention them, even though that might increase the anticipation and his own arrangements. Also, his own compositions, because he has recently been working on that area, and feels he is about ready to display his wares in styles other than the blues. Also, he feels that
he might play piano on a track or two, for variety, and for different blending with the horns. He played piano even before he played organ the changed, he once said, because there were so many piano players that it was hard to get a job, and has kept it up, mostly in private, ever since. At this writing, he has a title for only one of the pieces he plans for the record, a piece which has met with so much success at his personal appearances that he has been forced to play it every set. The title, interestingly enough, is "Sanctified Woltz."
Those plans, though, are in the future, and for the present, there is a good deal of pleasure to be gotten from the blending of Jack McDuff, Jimmy Forrest, Grant Green, and Ben Dixon on The Honeydripper.
-JOE GOLDBERG
2 months ago | [YT] | 34