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Kérjen
árajánlatot! |
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| 1. | Brother Elijah
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| 2. | Doot Dat
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| 3. | Stompin' At The Savoy
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| 4. | Gra-A-A-Vy
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| 5. | Grease
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| 6. | The Good Life
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| 7. | Days Of Wine And Roses
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| 8. | As Long As She Needs Me
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| 9. | Fly Me To The Moon
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| 10. | Angel Eyes
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| 11. | Troubled Times
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| 12. | Walk Right In
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Jazz / Jump Blues
Hard Bop
Soul-Jazz
Recorded: May 23-24, 1963
This combines two LPs, Grease 'n' Gravy and The Good Life, both cut at sessions on May 23 and May 24 of 1963, onto a single CD. Both feature a quintet of Willis "Gator" Jackson, Carl Wilson (not the Beach Boys guitarist) on organ, Pat Martino on guitar, Frank Robinson on trumpet, and Joe Hadrick on drums; Leonard Gaskin added bass to about half the tracks. Grease 'n' Gravy is respectable, not-too-cool and not-too-hot early-'60s organ-sax jazz, with Wilson's organ and the still-teenaged Martino's guitar as vital to the success of the date as Jackson's tenor sax. Except for a three-minute revival of "Stompin' at the Savoy," most of the grooves settle in for a half-dozen minutes or so, with the up-tempo "Brother Elijah" and "Grease" working best. They play a smoldering, soulful slow strut for eleven-a-half minutes on "Gra-a-a-vy," though. The Good Life is pleasing, if unsurprising, early-'60s organ soul-jazz with a good balance between brass, organ, and guitar, perhaps more useful as club groove music than home listening. They verge on cooking when the rhythm gets choked on "Troubled Times" (the sole original), and the version of "Fly Me to the Moon" has some lively exuberance (and a Latin rhythm) not matched by the other tracks. Indeed, "Days of Wine and Roses" and "Walk Right In" are kinda hokey choices for the organ soul-jazz repertoire. In comparing Grease 'n' Gravy to The Good Life, The Good Life is at a disadvantage, due to its greater reliance on covers of pop standards.
---Richie Unterberger, AMG
Willis "Gator" Jackson
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Apr 25, 1932 in Miami, FL
Died: Oct 25, 1987 in New York, NY
Genre: Jazz
Styles: Ballads, Hard Bop, Jump Blues, R&B, Soul-Jazz, Swing
An exciting tenor saxophonist whose honking and squeals (although influenced by Illinois Jacquet) were quite distinctive, Willis Jackson was also a strong improviser who sounded perfectly at home with organ groups. He played locally in Florida early on, until joining Cootie Williams (on and off during 1948-1955). His two-sided honking feature "Gator Tail" with "Cootie" (which earned Williams a lifelong nickname) was a hit in 1948, and he started recording as a leader in 1950. Jackson was married to singer Ruth Brown for eight years, and often appeared on her recordings during this era. His extensive series of Prestige recordings (1959-1964) made him a big attraction on the organ circuit. Although generally overlooked by critics, Willis Jackson continued working steadily in the 1970s and '80s. In 1977, he recorded one of the finest albums of his career for Muse, Bar Wars.
---Scott Yanow, All Music Guide |
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