Foggy Nights
Blues A La Mode
Budd Johnson
His Septet and Quintet
Produced by Stanley Dance
Photography by Mike Youngman
Felsted Records "Jazz Series" SJA 2007
Sessions - New York, February 11th & 14th, 1958
From the back cover: That Budd Johnson knows the blues and likes to play them is something he has been proving for a long time, from Dallas to Kansas City, from Kansas City to Chicago, and from Chicago to his present centre of operations, New York. Budd is one of those invaluable contributors to the jazz story who have not always had the credit that was their due. He was, for instance, a vital member of the Earl Hines orchestra on and off for eight years, and its recordings contains abundant evidence of his prophetic imagination as an arranger and as a performer on tenor and alto saxes. At the end of this first session, he recalled with satisfaction the advice Hugues Panassié had given him years before: "Stay with the blues, Budd."
Jo Jones, the great drummer, is another who likes the blues. Wearing his gravest expression, he called the septet to order with these words: "Now, fellows, we could play a minuet, but we're playing the most difficult music there is – the blues." It was a date he very audibly enjoyed. On another occasion, the last number recorded was also a blues. "We should," he muttered, "have been playing this all afternoon."
Vic Dickenson, that most dependable and consistently inspired artist of the trombone, stressed the importance of vodka and its connection with blues playing. "I like to be high when I play the blues," said he. "I can play the blues sober, the right notes, but not with that kind of expression. You can play a number like 'I Know You Know' and just be gay – no deep feeling." Judiciously lubricated the master proceeded to demonstrate the blues with deep feeling.
Charlie Shavers, another of the great jazz originals, has been widely recorded in an astonishing variety of circumstances and settings, but all too seldom in blues interpretations. The peerless quality of his technique has too often led to demands for its display, but here one major objective was to satire as well the more sensitive side of his musical nature. He leads the ensemble on the first session with an assurance and command that will be no surprise to those who remember him with John Kirby's little band.
Joe Benjamin, one of the most brilliant bassists in jazz today, adds a supple, swinging and very musicianly foundation. Al Sears, remembered for his tenor work with Duke Ellington, here gives depth to the septet on baritone sax.
The pianists are relative newcomers to the scene.
Bert Keyes, heard on the first session, was born in Brooklyn on September 11th, 1930. He had private tutor on the piano from the age of 6, and studied drums and vibes while in Brooklyn High School. He began a professional career as a musician immediately on leaving school – in a nightclub. He played a taxi dancehall on Broadway and modestly sums up his subsequent career as consisting of "gigs," dance and a few recording dates." The competence of his work here tends to belie the fact that he has never played in a regular jazz group. Art Tatum and Nat Cole (Bert also sings) have been his two chief sources of inspiration, and he greatly admires Jose Iturbi "for technique".
Ray Bryant, who played in the quintet, was born in Philadelphia on December 24th, 1931. He hd piano lessons from the age of 8 until he was 14, when he "joined the union and started gigging around." His first experience of a traveling band with Tiny Grimes, but he returned to Philly and more gigs. Then he took a trio into that city's Blue Note, where he not only accompanied singers, but also instrumentalist like Lockjaw Davis, Charlie Shavers, Charlie Parker and Sonny State. He joined Carmen McRae as accompanist for two years and was in Dizzy Gillespie's big band for the last six weeks before it broke up. He then became one-third of the Jo Jones Trio, with his brother Tommy on bass. His favorite pianists are Art Tatum and Teddy Wilson.
All six titles and the arranging, are by Budd. "Foggy Nights", a blues at medium tempo, has an appropriately eerie atmosphere. Budd, Charlie Shavers and Vic Dickenson each take two choruses solo before one by Bert Keyes leads us back into the theme by the ensemble.
"Leave Room In Your Heart For Me" is a pretty ballad at slow tempo. Charlie Shavers has the first chorus, with release by Budd; Bud has the second to himself; and third is dialogued with release by Charlie. This is a moving performance with striking contrasts between gentleness and passion.
"Destination Blues" is a fast one. Budd's opening tenor solo sets the ball rolling in Kansas City fashion, and each of the other soloists keeps it moving along expertly.
"A La Mode" is a swinging affair (not a blues, incidentally), with a bow towards the contemporary idiom to remind us a little of Budd's involvement with the boppers in the early days of their revolution.
"Used Blues" introduces Bert Keyes on the organ. He plays with agreeable finesse and Budd's arrangement incorporates the instrument to excellent effect. The superbly conceived tenor solos are impressive in their dramatic and rhythmic power. A familiar Kansas City riff emerges briefly and both Vic Dickenson and Charlie Shavers take solos of real importance.
"Blues By Five" open its Ray Byrant's driving piano. His plunging basses sometimes recall the left hand of Fatha Hines. Budd and Charlie Shavers then indulge in a kind of high-spirited jam session that romps all the way.
The vigor and enthusiasm brought to the performances by Budd Johnson are somewhat explained but he fact that opportunities for playing this kind of music are increasingly rare, even in record studios. Like so many other well-equipped musicians who came up through the big bands of the 1930's, economic necessity often compels him to play in idioms other than that in which he excels. Budd's talents as an arranger and an imaginative, swinging improviser should certainly ensure him a prominent place in mainstream jazz today. – Stanley Dance
Foggy Nights
Leave Room In Your Heart For Me
Destination Blues
New York, February 14
A La Mode
Used Blues
Blues By Fire
