Freddie Roach’s Wikipedia entry has has finally been updated with news of his untimely death in the early 1970’s. So the former statement that: ‘He moved to California and was never heard of again’ is no more. That’s a good thing because Freddie deserved much better. Although downwithit.info can claim some credit for this, it was really Pete Fallico’s excellent interview with Conrad Lester (friend of Roach and tenor on this set) reproduced here, that enabled the record to be set straight.
All That’s Good is the last of Roach’s five Blue Note outings and it is so different to any other recording that I’ve ever heard on that label that it is easy to surmise why his talents ended up elsewhere.
Roach penned the sleeve notes for many of his albums and they make it clear that he wanted his work to tell stories and capture images. With All That’s Good he is trying to paint a picture of a somewhat idealised Black inner city community, looking at the positives of everyday life.
Journeyman has a delightful born-again Baptist feel to it. Over at London Jazz Collector a recent post had fellow jazzers voting on instruments that they disliked. Although there is no vibraphone or bowed double bass here you should have a listen to this track which features two of the usual suspects and more in the form of: Hammond organ, a choir, tambourine and soul clapping. I imagine Rudy Van Gelder dancing at the controls as this one was recorded. Not one for the purist or the narrow minded, who will be sure to fulminate, but I think it is amazing and you can take a listen too thanks to YouTube:-
To listen touch or click on the arrow
The title track, All That’s Good, follows with the small choir going for a celestial effect with attendant ‘Oh Yeahs! before some delicate blues saxophone from Conrad Lester and an equally strong guitar solo from Calvin Newborn redeems matters. On Blues For 007 the feel created by Roach is that of a now archaic swinging sixties tune that is sub Aqua Marina (please excuse the weak Stingray reference and pun). The organ setting is a bit too rinky dink and trebley for me here.
Over on Side Two where Busted is played in waltz time and, once again a bit of muscular R n B saxophone saves the day. Club 788 is probably not the strongest blues that Freddie Roach ever wrote or played on. Finally, Loie the strongest track on this side, a Kenny Burrell number from his Guitar Forms album closes things in Bossa nova style.
This LP gets one of the worst reviews I’ve yet to read on the generally very helpful Allmusic website. Enroute to a poor 2 star rating, Stephen Thomas Erlewine opines:- “Roach never hits upon a groove, choosing to create a series of bizarre, hazy textures. That atmosphere is catapulted into the realms of the surreal by vocalists Phyllis Smith, Willie Tate, and Marvin Robinson, whose wordless, floating singing sounds spectral; the intent may have been to mimic a gospel choir, but the effect is that of a pack of banshees wailing in the background.”
Not the sort of endorsement to set the pulse racing and the hand reaching for the wallet then. That combined with the tatty sellotaped cover that you can see at the top of this page kept putting me off purchasing this album at my local second hand record store. Luckily for me the price reduced by 50% after several months due to the shop’s Dutch auction approach until my tipping point was finally reached yesterday. I expected the condition of the disc to match the cover and I was in for a great surprise when I was handed a shiny very strong VG+ first stereo pressing complete with Plastylite ‘ear’.
As you’ve read above, it is an enjoyable recording that I’m pleased to welcome as an addition to the Freddie Roach section of my collection (even if he does style himself as Frederick on the cover).
The band etc: Frederick Roach (organ); Conrad Lester (tenor saxophone); Calvin Newborn (guitar); Clarence Johnston (drums); Marvin Robinson (baritone vocals); Phyllis Smith (soprano vocals); Willie Tate (alto vocals) Produced: Alfred Lion. Recorded October 16, 1964. Rudy Van Gelder Studio, Englewood Cliffs, New Jersey. Sleeve Notes: Frederick Roach. Cover design: Reid Miles. Cover photos: Ronnie Braithwaite. Models: Grandassa Models. Originally issued as Blue Note ST84190.