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| 1. | Please Send Me Someone to Love
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| 2. | Easy Living
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| 3. | Playmates
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| 4. | What a Diff'rence a Day Made
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| 5. | Me and My Baby
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| 6. | Lorelei's Lament
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| 7. | Blue Stone
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| 8. | Sigi
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| 9. | Angel Eyes
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| 10. | Autumn Leaves
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| 11. | Indian Summer
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| 12. | Blues Shout
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| 13. | A Night in Tunisia
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| 14. | The Wind
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| 15. | Two Moods
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Jazz
Hank Crawford - Arranger, Piano, Sax (Alto)
Art Davis - Bass
Bruno Carr - Drums
Charlie Persip - Drums
David "Fathead" Newman - Sax (Tenor)
Edgar Willis - Bass
Harry Lookofsky - Violin
John Hunt - Flugelhorn, Trumpet
Junior Mance - Piano
Leo Wright - Arranger, Flute, Sax (Alto)
Milt Turner - Drums
Phil Guilbeau - Trumpet
Richard Gene Williams - Trumpet
* Gigi Gryce - Arranger
* Leonard Feather - Liner Notes
* Ralph J. Gleason - Liner Notes
The labels "soul" and "blues" don't exactly tell the story on this reissue of a 1960 session by saxophonist/flutist Leo Wright and a 1961 date by alto player Hank Crawford. The Crawford set is actually a pleasant, Kansas City-influenced swing date, while Wright's is, essentially, a session for bop quintet. Crawford's serviceable arrangements on Soul Clinic are Basie-style via Quincy Jones. There are a number of good moments when the music strips down to just soloist and rhythm. Elsewhere, though, the horns and boom-chick rhythm format gets thin and in need of the connecting tissue a guitar or piano could supply. Not surprisingly for a Crawford date, the best piece is the bluesiest: Crawford's "Blue Stone," where the leader gets a chance to briefly unleash his bebopper chops. Blues Shout benefits from the strong, supple rhythm section of drummer Charlie Persip, bassist Art Davis, and pianist Junior Mance, all of whom, along with Wright, had seen service with Dizzy Gillespie. Four tracks feature Wright on flute with violinist Harry Lookofsky, a player with boundless technique and a highly developed, personal sound. On the standard "Angel Eyes," Wright and Lookofsky combine for a finger-popping, cool-blues treatment of a tune that is usually handled as a smouldering ballad. On the remaining tracks, the leader, on alto now, is paired with the excellent, Gillespie-influenced Richard Williams on trumpet. The highlight is a crisp, energetic romp on "Night In Tunisia," very much in the style of "Bird" and "Diz."
---Jim Todd, All Music Guide
Hank Crawford
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Dec 21, 1934 in Memphis, TN
Genre: Jazz
Styles: Crossover Jazz, Hard Bop, Jazz-Funk, R&B, Soul-Jazz
With an unmistakable blues wail, full of emotion and poignancy, altoist Hank Crawford bridges the gap between that tradition and that of jazz more completely than any other living horn player. Born in Memphis, Crawford was steeped in the blues tradition from an early age. He began playing piano but switched to alto when his father brought one home from the army. He claims his early influences as Louis Jordan, Earl Bostic, and Johnny Hodges. Crawford hung out with Phineas Newborn, Jr., Booker Little, and George Coleman in high school. Upon graduating, Crawford played in bands fronted by Ike Turner, B.B. King, Junior Parker, and Bobby "Blue" Bland at Memphis' Palace Theater and Club Paradise. In 1958 Crawford went to college in Nashville where he met Ray Charles. Charles hired Crawford originally as a baritone saxophonist. Crawford switched to alto in 1959 and remained with Charles' band -- becoming its musical director -- until 1963. The phrasing and voicings he learned there proved invaluable to him as the hallmark of his own sound. He also wrote and arranged a tune for Charles. The cut, "Sherry," his first for the band, was put on the Live at Newport album. Crawford cut a slew solo albums for Atlantic while with the band, and when he formed his group, he remained with the label until 1970. He signed with Creed Taylor's Kudu in 1971 and cut a series of fusion-y groove jazz dates through 1982. In 1983 he moved to Milestone and returned to form as a premier arranger, soloist, and composer, writing for small bands -- that included guitarist Melvin Sparks, organist Jimmy McGriff, and Dr. John -- as well as large. Crawford has been constantly active since then, as a leader and sideman, recording the best music of his long career.
---Thom Jurek, All Music Guide
Leo Wright
Active Decades: '60s and '70s
Born: Dec 14, 1933 in Wichita Falls, TX
Died: Jan 04, 1991 in Vienna, Austria
Genre: Jazz
Styles: Post-Bop
A first-rate bop-oriented alto saxophonist, Wright was also one of the finest flutists jazz has known. He studied saxophone under the tutelage of his father. His first recording was made in 1958 with vibist Dave Pike; the next year, he played the Newport Festival with bassist Charles Mingus' group. Wright joined Dizzy Gillespie's band in 1959, remaining until 1962. In addition to his sideman work, Wright established himself as a leader in the early '60s, leading New York-based bands that included the likes of bassist Ron Carter, pianist Junior Mance, drummer Charlie Persip, and guitarist Kenny Burrell, among others. In 1960, he recorded the record for which he is perhaps best-known -- Blues Shout for the Atlantic label -- with a group consisting of himself, Mance, Persip, bassist Art Davis, and trumpeter Richard Williams. After leaving Gillespie's band, Wright went on to play and record with pianist/composer Lalo Schifrin and organist Jack McDuff; with the latter he recorded Screamin' for the Prestige label. He also worked with composer Antonio Carlos Jobim, trumpeter Johnny Coles, and singer Jimmy Witherspoon before moving to Europe later in the decade. There he worked with pianist/composer George Gruntz and he also played with saxophonist Lee Konitz in an all-star group called Alto Summit and with trumpeter Carmell Jones. Wright eventually moved to Berlin, where he played in a studio band and worked freelance. In May 1978, Wright co-led a studio session in New York City with pianist Red Garland for Muse Records. He essentially retired from music around 1979, before re-emerging in the mid-'80s. In 1986, Wright played gigs with the Paris Reunion Band, which also included trombonist Grachan Moncur III, cornetist Nat Adderley, and pianist Kenny Drew Sr. In the years before his death, Wright worked and recorded with his wife, singer Elly Wright. His autobiography, -God Is My Booking Agent, was published posthumously by Bayou Press in the fall of 1991. His last recording was made with his wife on her CD Listen to My Plea.
---Chris Kelsey, All Music Guide |
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