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| 4.100 Ft
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| 1. | Down the Line
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| 2. | Creole Love Call
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| 3. | Rainy Mornin' Blues
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| 4. | Yancey Special
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| 5. | Gravy Waltz
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| 6. | Cracklin'
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| 7. | In the Evening
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| 8. | Blue Monk
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| 9. | The Jumpin' Blues
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Jazz
Junior Mance - Piano
Bob Cranshaw - Bass
Charlie Parker
Duke Ellington
Jay McShann
Leroy Carr
Meade "Lux" Lewis
Mickey Roker - Drums
Thelonious Monk
The tendency to look back at jazz tradition, so commonplace in recent years, was highly unusual at the time Junior Mance recorded this inspired trio album. His versions of blues classics by Meade Lux Lewis, Leroy Carr, Duke Ellington, Charlie Parker/Jay McShann, and Thelonious Monk reveal a keen sense of the music's history that suits the natural soul always evident in Mance's playing. Taste is another of the pianist's strong suits, as he proves by completing the program with three evocative originals and the non-blues but totally funky Ray Brown hit "Gravy Waltz," and by recruiting the ideal partners in bassist Bob Cranshaw and drummer Mickey Roker (a pair that still performs together to this day under Milt Jackson's leadership). Every jazz musician plays the blues at one time or another, though few do it with the conviction displayed here by Junior Mance.
* Dan Morgenstern - Liner Notes
* Joe Tarantino - Remastering
* Ken Deardoff - Cover Design, Photography
* Orrin Keepnews - Producer
* Ray Fowler - Engineer
At age 33 for this one, Mance (piano), with Bob Cranshaw (bass) and Mickey Roker (drums), has all the jazz and blues bases covered, going back to boogie and stride, through swing and bop, with a couple of more modernistic numbers rounding out this complete overview of classic American soul-based black music. Mance evokes wonderfully patient, romantic notions on "Creole Love Call," with creamy, molasses-like melodicism stirred by Roker's expert brush work. "Yancey Special" has Mance digging in and getting down as Roker shuffles along. "In the Evening" is much more tinkling and upbeat here than Leroy Carr wrote it, whereas the hard-swinging "Jumpin' the Blues" is as much fun to hear as it must have been to play. At his most delicate on Ray Brown's "Gravy Waltz," Mance starts solo, staggering the melody, while a relaxed "Blue Monk" has Mance tossing in extra notes during the melody, Roker's intricate brush work personifying cool. Mance also wrote three originals for the date: "Down the Line" is a straight up-and-down 12-bar blues, replete with tinkles and head-nodding chords; "Rainy Mornin' Blues" evokes the falling precipitation's patterns in soulful tones; while "Cracklin'" is the most urgent swinger, with repeated chorus and gospel flavoring. In his liner notes, Dan Morgenstern depicts this music perfectly as "the basic spirit of jazz," and for the times that rings true. It's one of many consistently crafted works Mance would make over the years that mixed jazz and blues 50/50. Recommended.
---Michael G. Nastos, All Music Guide |
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