Review: Lou Donaldson - Here 'Tis

Lou Donaldson’s ‘Here ‘Tis’ from 1961, recorded with a stellar band including Grant Green on guitar, Baby Face Willette on organ and Dave Bailey on drums, is one of Lou Donaldsons very best albums, finding the alto-saxophonist playing harder than usual but moving from his more familiar bop into soul-jazz territory. The first of many such excursions, the group avoid making it sound like a ‘transitional’ effort, and more like a confident stride into an already comfortable fit.

All three of the support players know how to handle a groove, and they do so with easy finesse, moving things forward with real grit and never allowing things to falter or dip for a second. In fact, just on their own the trio would be able to provide a truly memerising record, but Donaldson throws everything he’s got into his muscular yet bluesy playing and demonstrates that the more soul-orietated direction is really his ideal format. ‘A Foggy Day’, ‘Cool Blues’ and ‘Watusi Jump’ are all driving soul numbers that would truly get the crowd going, but ‘Walk Wid Me’ and the title track itself are moody and smokingly slow growlers that would sit nicely with a shot and a beer at a good blues bar.

Green and Willette grab their solo moments with skill, with Green in particular deserving mention; his famous single note playing is sharp and clear and his solos are melodically winning. Quite simply, both Green and Willette made incredibly strong records, and either mens work is, for the majority, a must have. Here alongside Donaldson at the top of his game they form a truly great band and the resulting album is simply an essential item for any fan of the three men or any lover of soul-jazz.

****

Review: Baby Face Willette - Mo Rock & Behind The 8 Ball

It is now near impossible to find Baby Face Willette's final two recordings other than bolted onto each other. As such they get reviewed together here. And while both good efforts, they pale in comparison to what went before.

After just two sessions for Blue Note as a leader, and not a great number more as a sideman, Baby Face Willette suddenly left the label for reasons largely unknown (although it is accepted that he perhaps felt he wanted to travel more and leave New York). After a period of complete musical silence he eventually yet quietly reappeared on the Argo roster. The first product of his signing with the small label was the album ‘Mo’ Rock’, with assistance from guitarist Ben White and drummer Eugene Bass. And while it’s a solidly enjoyable effort, it’s clear on first listen that it certainly isn’t up to the standards set by his excellent, though brief, Blue Note work.

Regardless there’s some great moments here, such as ‘Zip Five’ where the organist and guitarist get to showcase their musical skills to explosive effect, and the title track itself, which gets a heady and forceful rhythm that Jimmy Smith would have been proud to call one of his own. ‘Unseen And Unknown’ has an almost mystical atmosphere to it that, while strong, unfortunately doesn’t really make much of a lasting impression. The rest too, although enjoyable, are pretty standard easily-paced groove numbers, that fans of relaxed organ trio music will enjoy, but with nothing else spectacular.

‘Mo’ Rock’ is a solid recording, and fans will dig it, but mostly because there isn’t that much Willete out there. It is nowhere close to the standards of brilliance that he achieved with Blue Note, and part of this can be attributed to the company he keeps. Here White and Bass are competent sidemen, and technically strong session players for sure, but they most definitely aren’t Grant Green and Ben Dixon, who had earlier played with Willette with both fire and improvisational finesse. Willette is best here on the harder, faster tracks where he gets to show some good juice and display some highly creative playing around the melodies, so it’s a frustrating shame that the majority is made up of slower mid-tempo numbers. Overall though, this is a fine recording, and worth seeking out if you enjoyed his other more famous works.

***

After just two sessions for Blue Note as leader, and one for Argo three years later, Baby Face Willette would make just one more recording (also in the same year), before quickly fading into obscurity; the reasons for his small recorded output and his disappearance from the scene still largely a mystery.

‘Behind The 8 Ball’, his final record, is a brief affair of eight tracks with most sitting under the five-minute mark, and with only two of the numbers self-composed - the rest being covers of some Willette favourites. While this might perhaps sound off-putting initially, it does allow for some fine space to essentially hear Willette play the tunes with which he originally gigged and made his name.

Like the earlier Argo release ‘Mo’ Rock’, Willete is again joined by Ben White on guitar, while drummer Eugene Bass is replaced by Jerold Donavon, and together they focus more on an R&B, rock ‘n’ roll and gospel sound. Willette’s own title track is catchy and sounds like it could have been a big hit, while the standard ‘Amen’ gets a nice sole guest spot from alto sax player Gene Barge to lend that strong gospel punch.

‘Just A Closer Walk’ is an interesting take on a number recorded around the same time by earlier playing mate Grant Green, which in fact bears well in comparison, but best of all here is Willette’s extended hi-tempo ‘Song Of The Universe’ that showcases Willette - light-fingered and fast as a flash - at his organ playing best.

Much as it was with ‘Mo’ Rock’, ‘…8 Ball’ isn’t up there with Willette’s superb Blue Note duo, lacking both the great material and the premier league sidemen. There are some good pieces here, but there are also almost equal parts so-so and by-the-numbers covers, while again White and Donavon prove themselves as capable and solid, but hardly anything special. White does shine occasionally, much more than on the previous session, but at other times just sounds completely lost. Willettes fourth studio album is a good buy for any fans, and it ends his extremely slim discography nicely, but any newcomers are best directed to either ‘Stop And Listen’ or ‘Face To Face’.

***

Review: Baby Face Willette - Stop And Listen

Baby Face Willette's second album, his best, his last on Blue Note, and sadly only two more were to follow...

Frequently touted as Baby Face Willette’s strongest recording, ‘Stop And Listen’ stands very much as a high-point of early-sixties soul-jazz, managing to improve on his already impressive debut album ‘Face To Face’. The same team from that session make a welcome return, with the exception of saxophonist Fred Jackson. Not that this is a problem however, in fact it does the opposite, allowing Willette to build on the strong rhythmic relationship he had established with Grant Green and Ben Dixon on both Green’s and his own first record, as well as the tight work he’d laid down playing with Lou Donaldson.

And as good value as Jackson was on ‘Face To Face’, his absence here as an added bonus allows Willette and Green greater time to solo, and the trio as a whole play tighter and cleaner, with a more fiery and crackling energy than before too. The material present is much greater also, taking in some good yet not obvious standards, but also some very catchy originals.

Green is at his absolute funky best here, delivering some of his trademark licks and solos played to perfection. But it is Willette who appropriately shines the most, with some light-fingered playing that interestingly doesn’t obviously sound too indebted to any of the contemporary major organists of the time. He maintains a strong sizzling groove with Dixon throughout, whilst always laying down some highly imaginative melodies and harmonies that highlight just how big he would have become had he continued his career past the mid-sixties.

Song titles really don’t matter with this solid platinum session. Every piece here is a memorable groove, with ear-catching solos everywhere, and no flab or wasted space is present for any aimless noodling or wandering. The three men are of course all excellent individually, and together they make a great group. A great artist with sadly just a meagre discography to his name, ‘Stop And Listen’ is essential for any soul-jazz fan. And for any of the many that seriously digged Grant Green’s blinding debut ‘Grant’s First Stand’, this is essentially the same band but just playing at a different hour in the day. This truly is a sadly near-forgotten and neglected gem. And one that is absolutely worth your investment.

*****

Review: Baby Face Willette - Face To Face

A very under-recognised talent, anyone who digs the funkiness of Grant Green and Lou Donaldson is sure to be a little familiar with Baby Face Willette. But for many, the organ player that seemingly came out of nowhere, and then disappeared almost as quickly, just simply isn't on the radar. His small catalogue however is very much worth tracking down.

After being allowed to show his mettle as a sideman on other player’s albums, most notably alongside Grant Green on his ‘Grants First Stand’ and Lou Donaldson’s ‘Here ‘Tis’, ‘Baby Face’ Willette was given his opportunity by Blue Note to record as featured headline artist, for which he chose a solid yet mighty and impressive quartet line-up. Repaying the earlier favour, Green duly returned for guitar duties alongside drummer Ben Dixon, who’d also played with the two on that preceding Green session, whilst completing the group was tenor sax-man Fred Jackson.

Together they formed a great soul-jazz unit that chose to opt for a distinctly rough and ready slant to suit Willette’s more percussive organ playing style, than say more famous organ man Jimmy Smith. This subtle difference is clear right from the first track ‘Swinging At Sugar Rays’, where his tough solos include everything from the blues, to gospel, to R&B. Not that it’s the Willette show at all; Green flexes his muscles in a way not commonly associated with his playing style, playing loose, with higher register intense single-note runs, and even bending the strings here and there. It’s a sure fire way to kick the session off, and it leaves you tantalised, wanting more.

‘Goin’ Down’ then slows the groove for a more bluesy number that gives Jackson an incredibly strong and emotion-soaked solo that makes you wonder just why he didn't become a bigger name in jazz. Clearly trying to show a variety in range, the band then tackle a mambo take on ‘Whatever Lola Wants’, which showcases some nice interplay in particular between Willette and Jackson. While elsewhere we get some soulful hard bop in the title track, a smokey blues and then harder soul altogether in ‘Somethin’ Strange’, and finally some slow and relaxed grooving-out on ‘High ‘N’ Low’.

There’s not a weak moment here, nor a weak link in the brilliantly tight band line-up, with Green’s playing typically confident and full of style, Jackson giving it his all, and Dixon laying down some very fine work, much as he always did on the few dates he recorded for Blue Note, and with Green in particular. Willette has a distinctly punchy and muscular way with the keys that isn't so apparent on his dates as a sideman, and it sets him apart from the much more famous competition nicely. The actual tunes themselves too are good, if not overly creative or destined to ever be covered by anyone else, but the band and their interaction together is just perfection. ‘Face To Face’ is a great outing for Willette, and one that belies his shockingly small catalogue.

****

Review: Grant Green - Grant's First Stand

Grant Green is my favourite guitarist, jazz or otherwise. My love affair with his distinct clipped guitar sound and soulful varied sounds began when bought a tatty copy of his début album from a record store, based entirely on impulse  The first time I heard the album through I was hooked, and over the course of three years worked to acquire all of his recordings, available or otherwise. To this day I'm still working to pick-up most of the remaining albums where he worked as a side-man, and there's a lot - Lou Donaldson, George Braith, Horace Parlan, Hank Mobley, Herbie Hancock - but it's a treasure hunt I'm loving every minute of.

Grant Green has sadly suffered in the eyes of posterity somewhat, mainly due to the sporadic availability of parts of his catalogue, and also the relative domination of other contemporary jazz guitarists Wes Montgomery and Kenny Burrell, and later George Benson, Pat Metheny, John Scofield and others. As good and as influential as all of these players are, history has unfortunately and unkindly put Green firmly on the sidelines, with just a brief interest re-ignited in his work in the nineties thanks to the equally brief acid-jazz years.

Thankfully, now facing a decent catatlogue availability push by Blue Note and its superb Rudy Van Gelder remaster series, ‘Grant’s First Stand’, his debut as bandleader for the label, now fills in the holes of his earlier days and shows us just what a great talent he really was.

An organ trio format, often the home of many of Green’s best work, makes up the sound, with the relatively unknown ‘Baby Face’ Willette handling the organ work, supplying a strong bass role as well as some nice fills and strong solos, and Ben Dixon on drumming duties. Together this small group gets off to a cracking start on the high energy ‘Miss Anns Tempo’, with Green showing all the qualities of his signature sound in spades. His one-note runs too are a stellar highlight everywhere on this recording.

Compositionally, Green’s other tunes are just as strong too with ‘Blues For Willareen’ deserving to have become a standard just from its intro alone. The improvisation all over this album is good too, making you wonder why we never saw much from either Willette or Dixon. Very little is wrong with this set, with the exception of the organ occasionally sounding just a little ‘off’, but not distractingly so. Dixons drumming too is superbly tight throughout and Green’s guitar work is frankly top-notch.

More than just filling in the missing gaps of Green’s earlier years, ‘Grant First Stand’ is a great recording and genuinely deserves to be mentioned alongside the recordings of Montgomery and Burrell. Criminally under-rated, this comes recommended for anyone with an interest in guitar or early soul-jazz.

*****