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| 3.736 Ft
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| 1. | Spiritus Parkus
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| 2. | Martin Luther King Jr.
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| 3. | James
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| 4. | That's It Blues
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| 5. | Payne's Window
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| 6. | South Side Samba
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| 7. | Lover Man
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| 8. | Tune-Up
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| 9. | Delilah
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| 10. | Hold Tight
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Jazz
Recorded at Riverside Studio, Chicago, Illinois on August 17 & 18, 1998
Cecil Payne - Flute, Sax (Tenor)
Eric Alexander - Sax (Tenor)
Harold Mabern - Piano
Joe Farnsworth - Drums
John Webber - Bass
Steve Davis - Trombone
Cecil Payne made his recording debut in 1946 on a J.J. Johnson album that also featured Bud Powell and Max Roach. In 1947 and '48 Cecil played with the Dizzy Gillespie big band which served to cement Payne's professional reputation. He's also recorded with Tadd Dameron, Jimmy Smith, Kenny Dorham, James Moody, Coleman Hawkins, Illinois Jacquet, Randy Weston Anita O'Day, Woody Herman and others. On Payne's Window , Cecil's third Delmark album, the personnel is Cecil Payne, baritone sax, flute; Eric Alexander, tenor sax; Steve Davis, trombone; Harold Mabern, piano; John Webber, bass; Joe Farnsworth, drums. Nice balance of original compositions and covers.
* Al Brandtner - Design
* Bob Porter - Liner Notes
* Paul Serrano - Engineer
* Robert G. Koester - Producer, Supervisor
This release for the 76-year-old baritone saxophonist does not fare as well as Cerupa and Scotch & Milk, primarily because his tone is thin and edgier than his partners, trombonist Steve Davis and the wonderful tenor saxophonist Eric Alexander. However, this is still a pretty good CD with nearly 73 minutes of vibrant swinging modern jazz from the aforementioned horn players and especially the ever brilliant pianist Harold Mabern.
The first four cuts are Cecil Payne originals. "Spiritus Parkus" is a bopper with strident trombone, fluttery tenor, and Payne's dour accents. "Martin Luther King, Jr." is a poignant, a regretful ballad replete with Mabern's regal piano, Payne's tart and sweet bari, and Davis' weeping trombone. "James" has a cute, child-like melody but swings pretty hard, while "That's It Blues" is slower and proof positive of Alexander's prowess in this style. Of the standards, "Lover Man" is Payne's feature, and when the other more in-tune horns lay out, he takes charge and commands attention. Payne sits back on Miles Davis' "Tune Up," playing the bridge but not much of the hard and fast melody. The Clifford Brown-associated "Delilah" has Payne on flute (which is slightly less biting than his bari), while Steve Davis wrote the title cut, which has a sing-song melody and another definitive solo from Alexander. With the aforementioned crew, along with up-and-coming drummer Joe Farnsworth and bassist John Webber, Payne has all the support he needs. Perhaps his embouchure is wanting or he needs to tune up a little -- he is tonally challenged and that may dissuade some from championing him -- but more often than not, he's a successful team player, and that is evident in spades on this slightly off-putting but still enjoyable recording.
---Michael G. Nastos, All Music Guide |
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