Original Liner Notes:
BENNIE GREEN, in this, the third in a series of recent Blue Note albums on which he is the leader, sustains, with considerable freshness and apparently indefatigable energy, both the near-raucous enthusiasm and openness of expression that characterized the others. Primarily as a result of his early association with Earl Hines and an extended period as a featured soloist. With Charlie Ventura in the late forties, Green has long been identified with these qualities, with which he has consistently revealed a sincere joy in playing and communicated a meaningful and often stirring musical message.
However, any discussion of Green should, of course, begin with his sound, which has been simply but accurately described as unusually "clean" and "smooth" and, as such, compared with that of Lawrence Brown. His delivery, uncluttered, strong, and resonant, is remarkably free of the technical excesses that his extraordinary facility might have inclined him toward. Green knows better than that and has a particularly acute sense of note values and sola organization.
Occasionally, in the past and in this record as well, Green's groups have ranged quite close (but generally with a sense of order and restraint) to the exuberant "rockhouse"-styled excitement usually associated with rhythm and blues bands. Green has always worked, unself-consciously and with an absence of contrivance, in a mode of jazz with close and obvious ties to this idiom. And yet, what has frequently emerged from these excursions are collective statements that seem to be more in the realm of parody—a good-natured "taking off" of the funky school in modern jazz—than of serious intrinsic purpose. And if this propensity sometimes takes on an inverted form, it is, I think, further credit to Green's open risibility, which is another important and consistent facet of his music. Either way, however, no matter on what level such pieces are intended or received, they are generally tasteful and affecting musical statements.
Green has acknowledged Trummy Young as his earliest and
most important influence. Later Jay Jay Johnson was to make a strong and, to a degree, stylish directing impression on him. But Green, though he assimilated much of what he learned from close contact with Dizzy Gillespie and others of similar inclination (the Hines band), has roots in an earlier tradition than that which Jahnsan molded. Leonard Feather, not gratuitously, has called him a modern-day Benny Morton.
Green was born in Chicago in 1923. Once of age and after listening with excited interest to the major trombonists of that period, Young, Lawrence Brown, Bobby Byrne, J. C. Higginbotham, etc., he began to gig with various local groups. In 1942 he caught on with the Earl Hines band, which was passing through, and remained with the "Fatha" until 1948, save for a two-year hitch in the army. A short-lived association with a combo fronted by Gene Ammons was followed by an extended period with Charlie Ventura, with whom Green gained considerable notice and popularity. After leaving Ventura, Green again went with Hines, but in 1953 he left to form the first of his own units.
The group presented here under Green's leadership is one with which he has recently begun working and is particularly attuned to his conception and manner. It is not likely that he could have found a more empathetic quartet of subordinates.
Eddy Williams is a Chicago-born tenor saxophonist of talent and energy who is typical of the strong-toned, fluent tenors who have emerged from that area within the past few years. He played with, and apparently impressed, Green during one of the latter's recent visits to Chicago. Until recently pianist Gilda Mahanes was with Lester Young, and before that with Milt Jackson. Bassist George Tucker has been exposed to Blue Note listeners on several previous LPs, including Bennie Green's first for this label—"Back On The Scene." Al Dreares is a local (N.Y.) drummer who makes his recording debut here. He has worked with Randy Weston, among others.
The Shouter, by Mahones, which opens the session, is fairly
typical of what will be found in the Green repertoire. It is a simple, riff-styled opus containing solos of merit by Mahones, Green, and Williams. Green Leaves, also credited to Mahones, has the inevitable Latin "head," to which no reference is made during the "swing" choruses, but which is unusually pretty. Green's solo illustrates his capacity for lyricism without sacrificing a fine sense of swing and intrinsic drive. Williams and Mahanes are also featured. This Love of Mine is swung at a relaxed medium tempo. Green and Williams solo with open ease and warmth.
Walkin' And Talkin', from which the album's title is derived, is a rocking green riff that contains shouting solos by both horns in which taste manages to restrain, but not inhibit, the strong, rhythmically infectious blowing. Mahones also contributesa typically swinging statement. The line "All I Do Is Dream of You" is rendered in a straightforward manner, which, due to the "tongue-in-cheek" nature of the tune itself, emerges as cute. The solos (by Green, Williams, and Mahones), while not in keeping with this mood, have qualities of their own and maintain a consistently engaging swing. There is a forceful and happy "rockhouse" ending. Mahones' Hoppin' Johns is a blues representative of today's fashion but of the kind that Green has long had a familiarity with and played. All the solos are properly vigorous, and, as in most of the tunes here, Green's enjoyment of the proceedings is audible even when he is not playing.
Shortly after this album was recorded, Green took the group on the road for what would seem, judging by the contents of this sleeve, to be the beginning of a long and lucrative (in a musical sense, at least) working association.
-ROBERT LEVIN
Photos by FRANCIS WOLFF Cover Design by REID MILES Recording by RUDY VAN GELDER
Users of Wide Range equipment should adjust their controls to the RIAA curve.
diegodobini2
Bennie Green – Walkin' And Talkin' (1959)
https://youtu.be/8EMAp1j49dU
Original Liner Notes:
BENNIE GREEN, in this, the third in a series of recent Blue Note albums on which he is the leader, sustains, with considerable freshness and apparently indefatigable energy, both the near-raucous enthusiasm and openness of expression that characterized the others. Primarily as a result of his early association with Earl Hines and an extended period as a featured soloist. With Charlie Ventura in the late forties, Green has long been identified with these qualities, with which he has consistently revealed a sincere joy in playing and communicated a meaningful and often stirring musical message.
However, any discussion of Green should, of course, begin with his sound, which has been simply but accurately described as unusually "clean" and "smooth" and, as such, compared with that of Lawrence Brown. His delivery, uncluttered, strong, and resonant, is remarkably free of the technical excesses that his extraordinary facility might have inclined him toward. Green knows better than that and has a particularly acute sense of note values and sola organization.
Occasionally, in the past and in this record as well, Green's groups have ranged quite close (but generally with a sense of order and restraint) to the exuberant "rockhouse"-styled excitement usually associated with rhythm and blues bands. Green has always worked, unself-consciously and with an absence of contrivance, in a mode of jazz with close and obvious ties to this idiom. And yet, what has frequently emerged from these excursions are collective statements that seem to be more in the realm of parody—a good-natured "taking off" of the funky school in modern jazz—than of serious intrinsic purpose. And if this propensity sometimes takes on an inverted form, it is, I think, further credit to Green's open risibility, which is another important and consistent facet of his music. Either way, however, no matter on what level such pieces are intended or received, they are generally tasteful and affecting musical statements.
Green has acknowledged Trummy Young as his earliest and
most important influence. Later Jay Jay Johnson was to make a strong and, to a degree, stylish directing impression on him. But Green, though he assimilated much of what he learned from close contact with Dizzy Gillespie and others of similar inclination (the Hines band), has roots in an earlier tradition than that which Jahnsan molded. Leonard Feather, not gratuitously, has called him a modern-day Benny Morton.
Green was born in Chicago in 1923. Once of age and after listening with excited interest to the major trombonists of that period, Young, Lawrence Brown, Bobby Byrne, J. C. Higginbotham, etc., he began to gig with various local groups. In 1942 he caught on with the Earl Hines band, which was passing through, and remained with the "Fatha" until 1948, save for a two-year hitch in the army. A short-lived association with a combo fronted by Gene Ammons was followed by an extended period with Charlie Ventura, with whom Green gained considerable notice and popularity. After leaving Ventura, Green again went with Hines, but in 1953 he left to form the first of his own units.
The group presented here under Green's leadership is one with which he has recently begun working and is particularly attuned to his conception and manner. It is not likely that he could have found a more empathetic quartet of subordinates.
Eddy Williams is a Chicago-born tenor saxophonist of talent and energy who is typical of the strong-toned, fluent tenors who have emerged from that area within the past few years. He played with, and apparently impressed, Green during one of the latter's recent visits to Chicago. Until recently pianist Gilda Mahanes was with Lester Young, and before that with Milt Jackson. Bassist George Tucker has been exposed to Blue Note listeners on several previous LPs, including Bennie Green's first for this label—"Back On The Scene." Al Dreares is a local (N.Y.) drummer who makes his recording debut here. He has worked with Randy Weston, among others.
The Shouter, by Mahones, which opens the session, is fairly
typical of what will be found in the Green repertoire. It is a simple, riff-styled opus containing solos of merit by Mahones, Green, and Williams. Green Leaves, also credited to Mahones, has the inevitable Latin "head," to which no reference is made during the "swing" choruses, but which is unusually pretty. Green's solo illustrates his capacity for lyricism without sacrificing a fine sense of swing and intrinsic drive. Williams and Mahanes are also featured. This Love of Mine is swung at a relaxed medium tempo. Green and Williams solo with open ease and warmth.
Walkin' And Talkin', from which the album's title is derived, is a rocking green riff that contains shouting solos by both horns in which taste manages to restrain, but not inhibit, the strong, rhythmically infectious blowing. Mahones also contributesa typically swinging statement. The line "All I Do Is Dream of You" is rendered in a straightforward manner, which, due to the "tongue-in-cheek" nature of the tune itself, emerges as cute. The solos (by Green, Williams, and Mahones), while not in keeping with this mood, have qualities of their own and maintain a consistently engaging swing. There is a forceful and happy "rockhouse" ending. Mahones' Hoppin' Johns is a blues representative of today's fashion but of the kind that Green has long had a familiarity with and played. All the solos are properly vigorous, and, as in most of the tunes here, Green's enjoyment of the proceedings is audible even when he is not playing.
Shortly after this album was recorded, Green took the group on the road for what would seem, judging by the contents of this sleeve, to be the beginning of a long and lucrative (in a musical sense, at least) working association.
-ROBERT LEVIN
Photos by FRANCIS WOLFF
Cover Design by REID MILES
Recording by RUDY VAN GELDER
Users of Wide Range equipment should adjust their controls to the RIAA curve.
4 days ago | [YT] | 35