Category Archives: Soul Jazz

The Blackbyrds: Ronnie Scott’s 15 February 2017

Although 2017 is not a leap year, here at downwithit we’ve sprung like a feisty feline on the hunt. The great Donald Byrd has led us from The Catwalk to a sellout first night of a residency at Ronnie Scott’s, costing me more of a song than sixpence and featuring The Blackbyrds as the main course.

While working on my consideration of The Catwalk and explaining how I had first started to listen to Donald Byrd when his Best Of compilation was released in 1992, I noticed that his protégés, The Blackbyrds, were playing in London in mid-February. It took seconds to hit the club website and reserve a couple of tickets. A month passed quickly and a night on the town came along to add a bit of sparkle to a late winter’s evening.

There’s always a bit of a gamble involved in going to see bands that have reformed. The Blackbyrds did so in 2012 and feature three original members in the form of powerhouse vocalist and drummer, Keith Killgo, the mighty Joe Hall on six string electric bass and Orville Saunders playing a very funky guitar.

Any misgivings were left behind at the door and a satisfying starter was served up by saxophonist Christian Brewer and his band, Brewer’s Crew. Their lively jazz funk was well received by an appreciative audience out to enjoy themselves.

After a quick rearrangement of the small stage, the main course was delivered by an octet who paved the way with their anthem, Black Byrd, which you can listen to (in the form of the original featuring Donald Byrd) courtesy of Youtube:

To play click on or touch the arrow

After a great opener, one of my personal favourites, Dominoes, followed. It led onto a delicious smorgasbord of hits including Think Twice, Time is Movin’, the inevitable Walking in Rhythm, Do It Fluid and Happy Music, not forgetting the well-loved Rock Creek Park.

There isn’t a weak link in the current Blackbyrds line-up and it is very much in keeping with Donald Byrd’s legacy as a great and inspirational music educator, that they include young talent. Paul Spires on lead vocal has a unique voice that the smart money says we will hear more of, while the sax and flute duties were delivered without fault by Elijah Balbed, a recent graduate of Washington’s Howard University, where Donald Byrd formed the band in 1973.

As the set progressed, a trickle of members of the audience began to dance and that rapidly turned into a flood as The Blackbyrds infectious and tightly delivered songbook worked its magic. Although this is their first residency there, this will surely not be the last engagement at Ronnie Scott’s for The Blackbyrds.

The gig also offered the opportunity for me to say hello to Carl Hyde, the in-house photographer at Ronnie Scott’s. I have been aware of Carl’s work for some time and you can see a sample of it for yourself on his website.

All in all, another great night at Ronnie’s!

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A Man With A Horn: Lou Donaldson

2017 has dawned. The World is still spinning. I’m delighted to declare that after an abstemious Festive Season, my head isn’t. So, Happy New Year everybody and let’s hope it turns out to be much less ‘interesting’ (in the sense of the Chinese curse) than 2016. Here’s a fresh post to get matters underway at downwithit.

Over the last two months A Man With a Horn has been the most played album on my system and it has led me to an even greater respect for Lou Donaldson.

It is not one of Donaldson’s better-known albums, mainly because it was not released in the early sixties. The two sessions that make up this recording were from 1961 and 1963 and they remained in the vaults until 1999. It was over 35 years before they were dusted down as part of the Blue Note Connoisseur CD series, a conduit for rare and previously unissued material. As far as I am aware, this set has never been issued on vinyl but that does not mean it should not merit attention.

Both sessions featured guitarist Grant Green who was encouraged to move to New York and introduced to the Blue Note label by Donaldson. The earlier session utilises Jack McDuff on Hammond organ in a rare Blue Note outing, whilst John Patton, another Donaldson protege, plays the keyboard on the 1963 date. McDuff is used as an accompaniest, playing understated swirling chords on the five ballads from ’61, while John Patton is given more space to solo.

The CD alternates between songs from each of the sessions and I have marked 1961 tunes with a single asterix (*) and 1963 with double asterixes (**). I initially wondered why the set had been sequenced in this way. I eventually grouped and played through the tracks in the two discrete sessions. This leads me to the conclusion that while the 1961 session, which consists of mellifluous ballads is strong, the tunes benefit from being interspersed with the more uptempo offerings from 1963. As presented there is the variety and texture to turn this CD into a more rewarding listening experience.

The Errol Garner standard Misty* is given a lush rendition as opener. The purity of tone from Lou Donaldson’s alto sax is exceptional and is well-matched by the sensitive contributions from the other three musicians, especially Grant Green. It is currently on Youtube courtesy of Zateuz and you can watch here:-

To play, touch or click on the arrow

Hipity Hop** starts off in the manner of a 1950’s swing tune before John Patton plays an incredible solo starting with a Morse code like trill held for a full 24 bars. It certainly catches the attention. This Donaldson composition is an uptempo and funky toe-tapper and he plays an assertive and exemplary alto sax solo before Grant Green and Patton contribute to a rich confection flavoured by Irvin Stoke’s wah-wah muted trumpet.

It is then back to 1961 for Please*, a second delicate romantic ballad on which all four musicians acquit themselves well.

On My Melancholy Baby** Lou Donaldson builds on riffs that owe much to Charlie Parker’s school of soloing, with an engaging contribution delivered from the trumpet of Stokes.

Man With A Horn* features more delectable and sensitive playing from the 1961 quartet in a track that is a bit of a smoocher.

Cherry Pink And Apple Blossom White** is delivered over a playful cha cha rhythm and contains a solid portion of Grant Green’s ever-tasteful guitar.

Prisoner Of Love* is a standard which was in the charts courtesy of James Brown and The Famous Flames (If still on YouTube this is too good to miss) when this was recorded.

Then it is off to the church of funk with Soul Meetin’**, the second Donaldson composition here and one of those great finger-snapping ‘Baptist Beat’ numbers. I’m very fond of them when they occasionally appear on Blue Note sets. As a New Year bonus this is the second YouTube post courtesy of The Nada73

To play, touch or click on the arrow

The set closes with Star Dust*, a fifth ballad that maintains the high standards of the other four. In his excellent and informative ‘The Jazz Standards’ Ted Gioia refers to it as’…the song to which their parents and grandparents courted, romanced and wed’ and traces the history of this formally much-loved song which is slowly fading into obscurity (in the way of all things).

If you come across this set on CD (and it is relatively rare) don’t hesitate to purchase it as it captures Lou Donaldson playing on the ballads with a very clear and intense tone and also includes a good balance of more uptempo tunes from the 1963 date. Grant Green is on great form, as is John Patton on this very worthwhile jewel from the vaults.

The band etc: Tracks marked * Lou Donaldson (alto saxophone); Grant Green (guitar); Jack McDuff (organ); Joe Dukes (drums). Recorded: 25 September 1961
Tracks marked ** Irvin Stokes (trumpet); Lou Donaldson (alto saxophone); Grant Green (guitar); John Patton (organ); Ben Dixon (drums). Recorded: 7 June 1963.
Both session recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey. Produced: Alfred Lion. Recorded: Rudy Van Gelder. Sleeve Notes: Ed Hamilton. Cover design: Patrick Roques. Cover photo: Francis Wolff. Issued as Blue Note 21436.

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Live In Tokyo- The Young Philadelphians (Marc Ribot)

Young Philadelphians Cover

Time for another review from a contemporary artist. We last met up with Marc Ribot on his Live At The Village Vanguard recording released in 2014. At that stage, amongst a myriad of projects, he was also working as part of a trio dedicated to revisiting and reprising the work of Albert Ayler. It was a refreshingly full-blooded affair that you can read about here.

This time round Ribot presents us with a different genre mash-up on an album which serves up seven tunes from the Gamble and Huff Philadelphia International soul school of the mid 1970’s. There is a twist though as he has enlisted bass guitarist Jamaaladee Tacuma and drummer G. Calvin Weston from Ornette Coleman’s Prime Time to produce and lay down a raw performance that is firmly located at the punk edge of the funk spectrum. It’s the wilder and rougher relative of the manicured orchestration of classic Philly, but it works.

Love Epidemic was recorded by Trammps in the early 1970’s. The title is somewhat ironic given the emergence of AIDS in the 1980″s but I expect the band were singing of something with a life-affirming rather than health-threatening intent. This is funky with blistering guitars.

Love TKO retains the silky soul feel of Teddy Pendergrass’s original and is played with great sensitivity by the two guitarists, with the ghost of Jimi Hendrix being channeled in towards the end.

Fly, Robin Fly was a hit for German Euro-disco outfit Silver Convention and flicks the switch to shift us back from smooch to dance mode. Although it made No. 1 in the States it only reached 28 in the UK singles charts. Some interesting effects pedal work and a drum solo from Weston adds to the interest here.

TSOP (The Sound of Philadelphia) was the signature tune of MFSB (Mother, Father, Sister, Brother in its less profane version), the Philadelphis International studio house band and theme tune for Soul Train. Great stuff, which takes me back. The arrangement here adopts a pleasant sounding cod-Japanese sound before breaking into the full Philly sound, with the string section in the background. Some songs make me move my feet or hips, this is one for the shoulders. Mary Halvorson, on second guitar, gets a solo here.

Then we are taken on The Ohio Players Love Rollercoaster. You can read about the macabre and extremely unlikely explanations of the scream which is heard on the original 1970’s recording here.

Do It Anyway You Wanna was cut by People’s Choice, sold over a million copies in the USA in its first three months following release and is quintessential funk.

The set closes with Van McCoy’s The Hustle, another memorable anthem from 1975, once again beginning with a nod to oriental music before picking up on the distinctive riff of the original. You too can do The Hustle courtesy of YouTube here:-

To play press or touch the arrow

The result is the evidence of what must have been an a very fine and downright funky performance at Tokyo’s Club Quattro in July 2014. It’s an interesting diversion down a road not dis-similar to that travelled by Grant Green on albums such as Alive, Live At Club Mozambique and Live at The Lighthouse. Sadly, I don’t know a great deal about Ornette Coleman’s Prime Time other than that I remember enjoying a CD that I had briefly in the late 80’s (I think) but I am sure there are those amongst you who can recommend what to seek out.

Marc Ribot’s website lists no less than ten discrete musical projects and five live film score sets. In addition, having read a number of interviews with him, he has on a number of occasions stated that he would not regard himself as a jazz guitarist. This makes makes efforts to pigeonhole him as futile as they are banal. He is playing a solo concert in London this May, which suggests that he will not be performing either music from this Young Philadephians set or from his Albert Ayler centred trio work. However, he will have one or more guitars with him and I hope to be there to hear what he offers up. I’m sure whatever he plays, the audience will not be be disappointed.

The band etc:- Marc Ribot (guitar); Jamaaladee Tacuma (electric bass guitar); G. Calvin Weston (drums); Mary Halvorson (guitar); Takako Siba (viola); Yoshie Kajiwara (violin); China Azuma (cello). Recorded live, 28 July 2014. Club Quattro, Tokyo, Japan. Live Engineer: Seigen Ono. Mixing Engineer: Francois Lardeau. Cover design: Gold Unlimited. Cover photos: Hiroki Nishioka. Released February 2016 as Yellowbird yeb- 7760.

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Got A Good Thing Goin’: Big John Patton

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After the disappointment of the last recording I reviewed, I turned a sure-fire winner with this 1966 sixth set as leader from Big John Patton. With five of these first six already in my collection, surprisingly, it has taken me some time to write about one of them.

With support from Grant Green’s guitar Hugh Walker’s drums and Richard Landrum’s congas, Got A Good Thing Goin’ is a soul jazz outing, based firmly on the blues.

The Yodel gets matters underway. I could see this track working very well as part of that DJ set in my mind. The cool dancer wearing sun shades on the cover shows us just what to do, the very image of a Soul Woman (London, Ready, Steady, Go! division).

I love Motown and Ain’t That Peculiar is one of countless tunes that gets my heart beating just that bit faster. Grant Green’s playing is particularly good on this track. I’m not sure who is on the tambourine but in the right place, like here, it really cuts through the other instruments to add extra zest- and it is an essential ingredient of the Motown sound.

Shake, penned by Sam Cooke but popularised by Otis Redding simmers. Let’s take a look courtesy of YouTube:

Duke Pearson’s Amanda from Wahoo (a set that I am currently chasing) brings this strong and fresh sounding session to a close. Some records need repeated plays to get into but this has an immediacy which made writing this review a pleasure. I suppose it could be described as a concept album- the plan is you put it on your system, play it through, get happy and possibly even dance. After yesterday’s woeful diversion into semi-ELP territory, even the hi-fi seems cleansed and happy. Every home should have a copy!

The band etc: John Patton (organ); Grant Green (guitar); Hugh Walker (drums); Richard Landrum (conga). Recorded: 29 April 1966. Rudy Van Gelder Studio, Englewood Cliffs, New Jersey. Produced: Alfred Lion. Recorded: Rudy Van Gelder. Sleeve Notes: Alan Grant. Cover photos and design: Reid Miles. Issued as Blue Note 80731.

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Heavy Sounds: Elvin Jones and Richard Davis

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It’s probably just an impression that I have, but recordings on the Impulse label are made up of a curious mixture of artists and styles. Over the years I have been very slow to start to listen and appreciate these beasts with their orange and black spines. My first three purchases were John Coltrane sets: The Gentle Side, a curious concoction of immediately essential ballads and vocal tracks that took time to grow on me; the masterful creation that is A Love Supreme and then the veritable maelstrom of Interstellar Space, which challenged me and anybody else within earshot and put me off Impulse for a couple of years. Along the way I’d also listened to Albert Ayler’s Live in Greenwich Village, where The Truth Is Marching In is another challenge (but one that has grown on me in the twenty-five years since I first heard it and I expect to return there in due course). I now have over well over 30 recordings on Impulse but that brush with Coltrane at his fiercest has made me wary.

Last week I was browsing in my local used record emporium when I came across Heavy Sounds. ‘What have we here?’ thought I. At first I wasn’t particularly keen, with the title seeming to scream “Danger! Audio Shock Ahead”. After all, this was an album centring on a drummer and a bass player. What could it possibly be like? How heavy would it be? Eventually, I sneered at caution, overcame the unworthy opponent blocking my path and parted with a couple of hard-earned leisure pounds.

I’m delighted that I did. The title is a poor one- Soul-Stirring Sounds would be far better, because it is a work that is diverse and impressive. Raunchy Rita, the opener is a delightful soul flavoured extravaganza. Without further ado, have a listen on YouTube courtesy of Rafael Garcia.

To play, click or touch the arrow.

Next up is a version of Shiny Stockings, a standard which was made popular by Count Basie in a version which featured a solo by Elvin Jones’s older brother, Thad. Elvin makes considerable use of the brushes in his drum accompaniment to this track.

M.E.is surprising. Although only four musicians appear on this track, it has a drilled, big band crispness- almost an orchestral sound. I would guess that this is down to the musical arrangement.

Summertime follows. The recording session was originally booked to feature the guitar of Larry Coryell, but he was unavailable. With studio time on their hands, Jones and Davis began to improvise around the great classic standard, which both men had dreamt of doing with full orchestral backing. The decision was made to record it as a duo and fortune intervened with the result that a special piece of music was created. Starting with bowed bass and atmospheric fills from Jones on the drums, this piece is one that you really should seek out and listen to.

Elvin’s Guitar Blues is next up and features the drummer on acoustic guitar, accompanied by Foster on tenor sax. It’s a delightful blues and sits very well in the context of the set. Here’s That Rainy Day is Foster’s vehicle, featuring a fine extended tone-poem of a saxophone solo that builds from being reflective and almost languid before soaring.

There’s an interesting diversion in quiz territory and if you are ever asked: ‘What links Van Morrison, Eric Dolphy and Bruce Springsteen?’, the answer follows:- Richard Davis played bass on Van Morrison’s Astral Weeks, considered by many critics to be one of the greatest rock albums of all time, as well as Bruce Springstein’s Born To Run and Laura Nyro’s Smile. He was also the bass player on Eric Dolphy’s Out To Lunch.

The front cover features a superbly lit, cigarette shrouded image taken by Charles (Chuck) Stewart, who has been responsible for over 3000 album covers to date. Given a basic Kodak camera as a schoolboy, he used it the day he received it to photograph the great Marian Anderson (the first Black woman to perform at NY Metropolitan Opera, as late as 1955!). The photos later sold, which meant that he was a professional photographer from the first day he owned a camera. There’s more about Charles Stewart here, offering fascinating insight into the work of this great image-maker. His modesty shines through, since he once said: ‘I just saw a moment that I thought would be rather exciting, that moment when I pushed the button, and apparently it worked.’ He was clearly gifted with the ability to choose the elusive ‘decisive moment’ on very many occasions.

A quick look on Amazon indicates that the CD can get a bit pricy- so perhaps Heavy Sounds is an album to grab If you come across a copy while browsing the second hand music shops. If you do find it, don’t be put off by the title and buy without hesitation.

The band etc: Elvin Jones (drums; guitar track); Richard Davis (bass); Frank Foster (tenor saxophone: tracks 1-3, 5 & 6); Billy Greene (piano: tracks 1, 3, 5 & 6). Produced: Bob Thiele. Recorded: RCA Studios, New York City (not at RVG as sometimes claimed)19 & 20 June 1967. Cover Design: Barbara & Robert Flynn. Cover Photography: Charles Stewart. Released: 1968. Original release: AS 9160.

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Heart of Memphis: Robin McKelle

Heart of Memphis

In February I saw Fred Wesley and PeeWee Ellis perform at Ronnie Scott’s and wrote about their performance here. I’m not a great lover of jazz vocals, especially those delivered by a certain type of supper club vocalist but I do my best not to write any musician off too early. After all, if you handed me a tenor sax and said ‘entertain us’, I’m confident you would be making your excuses pretty sharpish. Robin McKelle, who they introduced on vocals, confirmed the old saying that there are rubies to be found amongst the dust- and the world of jazz vocals really needs a good rub over with the Mr Sheen. Gifted with one of those voices that can be both raunchy and subtle, Robin McKelle has a world-class talent.

Regular readers may recall that I’ve made a commitment to write about one new recording by a contemporary artist every month. Kevin Flanagan and RipRap were first up and April’s recording is Heart of Memphis by Robin McKelle and The Flytones.

Robin has already released four albums but I’m not familiar with these. Heart of Memphis took her down the Mississippi to Scott Bomar’s Electraphonic Studio to record an album steeped in a classic 60’s Stax and Muscle Shoals sauce. Purists may feel I’m stretching the jazz angle a bit here but I’m sure many of you will be interested to hear about her.

About To Be Your Baby gets things off to a good start with an exclamation from a strong woman, well capable of giving as good as she gets in love and knowing which way the world was turning when a lover ‘…went and started actin’ shady’.

Good Time is a medium paced dancer, which could probably cut it as a slower number on a Northern Soul dance floor. Robin’s vocals are a husky treat on this one. Next up is the classic, Please Don’t Let Me Misunderstood which she punches on the nose and knocks out with one mighty effort. Control Yourself has a 80’s flavoured sould ballad feel to it. Forgetting You is a country song- not a genre that I’m wild about but this song smoulders and then burns. If I’d been producing this one, the horns would have been crisper and more to the fore- but what do I know?

Heart of Memphis just makes me want to go there- perhaps one day soon? A fine song, written by Robin and perhaps the standout track for me.

Like A River offers you the opportunity to take a look and see what you think, courtesy of YouTube

http://youtube.com/watch?v=0xhVvjOU_Wk

To watch and listen, click or touch the arrow.

Easier That Way has a lighter musical air to it, although it’s message is one of nostalgia for better and simpler past days. Once again Robin captures a feeling and takes us there. What You Want puts a lover on the spot and sorts them out with a direct question. Well put and well delivered!

Good & Plenty is another song about a woman standing up for herself and ending a relationship where she got ‘…herself good and plenty of nothing’. It’s an energetic band workout and is likely be a highlight of a live set from The Flytones.

Baby You’re The Best is presented in an 80’s style and in this context is a breather between two strong tracks, because Down With The Ship is another potential anthem- a big soul ballad that should be heard and appreciated widely. It’s Over This Time is as described, a closer in which the singer points to a line in the sand and makes it clear that the subject is stating that a bad relationship is over with a big full stop.

So that’s Heart of Memphis. I’ve resisted the temptation to mention and compare any of the pantheon of great female vocalists, because Robin McKelle has her own distinctive style and can stand up in her own right. I really enjoyed her live with Fred and PeeWee doing the funky material and will be on the case when she plays her next London dates. If you want to know more about Robin McKelle you can read here about this Rochester, NY State born performer, who herself taught vocals at Boston’s revered Berklee School of Music. Catch her fast in the small venues because I feel that the big stages beckon. While we wait, you are unlikely to be disappointed by Heart of Memphis, or The Flytones whose musicianship complements their vocalist with performances that confirm their own talents.

The band etc: Robin McKelle (vocals, percussion); Ben Stivers (organ, piano); Derek Nievergelt (bass); Adrian Harpham (drums); Al Street (guitars); Mark Franklin (trumpet); Kirk Smothers (tenor & baritone saxophone); Danielle Hill & Susanne Marshall (background vocals). Production: Scott Bomar, Electaphonic Studios, Memphis Tennessee. Sony Music, OKeh. 2014

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Hootin’ ‘N Tootin’: Fred Jackson

Hootin n Tootin_

Hootin’ ‘N Tootin’ is a superb Blue Note soul jazz set that deserves to be better known and praised loudly. Although it was the only recording that he ever released as a leader, on the evidence of this set it is regrettable that this was Fred Jackson’s only opportunity to shine.

I picked up this CD on a visit to Japan a few years ago and the deal clincher for me was when I realised, somewhat to my surprise, that the great Earl Van Dyke was the Hammond organist on the session. EVD was later to become the foremost keyboard player amongst the session artists who made up the Motown house band, The Funk Brothers (who, as I was once assured when I had the good fortune to see them perform in London, cut more US Number One records than Elvis, The Beatles and The Stones added together). EVD, together with Wilbert Hogan on drums and guitarist Willie Jones were amongst Jackson’s fellow members of Lloyd Price’s band.

Fred Jackson played as a member of Little Richard’s touring band in the early 1950’s, before joining Lloyd Price and making his recording debut in 1961 on a BB King set. Shortly afterwards he played on Baby Face Willette’s acclaimed Blue Note debut Face to Face (which we will return to at a later date), before making his own recording debut with this session recorded in February 1962. A note on the Allmusic database states that Jackson recorded a single featuring John Patton on piano, presumably cut by Blue Note with an eye to the jukebox market that they used to publicise the label. However, this was never released, although Jackson did play tenor sax on Patton’s Along Came John and both tenor and baritone on The Way I Feel. Jackson made one further return to the studio as a leader and recorded material for a second album. However, whether due to slow sales of Hootin’ ‘N Tootin’ or the lack of enough material for a complete album, this material was only released in 1998 on a CD reissue. Sadly, these tracks are not on the Japanese CD that is in my collection, so I will have to track them down in due course.

Dippin’ In The Bag gets proceedings off to a good start with a brisk blues with Jackson running through a few interesting ideas, with nods to tradition. On reprising this album, the excellent guitar playing made me wonder whether it was Kenny Burrell, it wasn’t, it was Willie Jones.

Southern Exposure is an incredible track. A delightful guitar intro sets the tone before giving way to a plaintive slow blues and wonderfully expressive playing from Fred Jackson. But don’t take my word for it. What do you think (courtesy of marc higgins on YouTube).

Touch or click the arrow to play

Earl Van Dyke’s accompaniment and solo has a very churchy, reedy and later sanctified sound. I am sure there are Hammondistas who could tell us exactly what settings he was using here. Sadly I can’t add anything myself.

Preach Brother features a return to the upbeat with some straight-ahead R&B saxophone from the leader. Wade in the Water (see last posting) gets a brief nod and there is another fine solo from EVD. The title track Hootin’ ‘N Tootin’ gives Jackson another chance to work out with Hogan’s cymbals providing a pulse beat to guide the feet throughout.

Easin’ On Down is a loping, pensive sort of blues offering a dialogue between saxophone and Hammond organ before Jones delivers a Grant Green, single note picking solo and EVD gets a go too. One to snap the fingers to. The sleeve notes suggest that That’s Where It’s At is “…designed to lure wayward twisters into the jazz fold”. All I can add is: ‘Come on in!’ although I’ve never been any good at doing The Twist. Listeners will note a further reference to Wade in The Water here too. Way Down Home is the closer

Although a cursory Internet search has revealed little about Fred Jackson’s later life, the good news is that I haven’t found any obituaries or record of a date of death. So if you are still with us Fred, I hope you are enjoying life in your ninth decade and thanks for a great album.

The band etc: Fred Jackson (tenor saxophone); Earl Van Dyke (Hammond organ); Willie Jones (guitar); Wilbert Hogan (drums). Recorded: 2 February 1962. Rudy Van Gelder Studio, Englewood Cliffs, New Jersey. Recording: Rudy Van Gelder. Cover photos: Francis Wolff. Cover Design: Reid Miles. Sleeve notes: Dudley Williams. Originally issued as Blue Note 4094.

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