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Kérjen
árajánlatot! |
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| 1. | Iron City
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| 2. | Samba De Orpheus
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| 3. | Old Man Moses (Let My People Go)
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| 4. | High Heeled Sneakers
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| 5. | Motherless Child
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| 6. | Work Song
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Jazz
Hard Bop
Soul-Jazz
Recorded: 1967
Grant Green (guitar); Big John Patton (organ); Ben Dixon (drums)
Includes liner notes by Mark Gardner, Lance Goler and Joel Dorn
Digitally remastered by Gene Paul (DB Plus Digital Services, New York, New York). Although his most famous records were made on Blue Note, Grant Green's IRON CITY, which was originally released on Cobblestone and later Muse Records, is arguably the best of his mid-period output. Recorded in 1967, this is a trio session with Big John Patton showing some amazing skills on Hammond organ and Ben Dixon on drums. Together they form the consummate organ trio that was the basis of the soul-jazz movement. Green is masterful throughout, showing tremendous dexterity, expression, and fire. His dancing lines on exciting cuts like the nimble "Samba De Orpheus" and the ultra-funky "High Heeled Sneakers" are excellent examples of his influential single-line soling technique. Patton is exceptional as well; his powerful work on these and Nat Adderley's "Work Song" are prime examples of his own mastery of the organ. Of special note is the trio's moving rendition of the traditional "Motherless Child." In all, this is classic Grant Green, classic soul, and classic fun.
Recorded for Muse Records in 1967 as Grant Green was on an extended recording hiatus -- it was his only record between 1965's His Majesty, King Funk, his only album for Verve, and 1969's Carryin' On, his return to Blue Note -- Iron City actually captures the guitarist in fine form, jamming on six blues and R&B numbers with his longtime cohorts, organist Big John Patton and drummer Ben Dixon. The trio members had long ago perfected their interplay, and they just cook on Iron City, working a hot groove on each song. Even the slow blues "Motherless Child" has a distinct swing in its backbeat, but most of the album finds the trio tearing through uptempo grooves with a vengeance. Green's playing is a bit busier than normal and he solos far more often than Patton, who lays back through most of the album, providing infectious vamps and lead lines. The two styles mesh perfectly with Dixon's deft drumming, resulting in a fine, overlooked date that showcases some of Green's hottest, bluesiest playing.
---Stephen Thomas Erlewine, allmusic |
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