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| 1. | Blue Skies [Take 3]
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| 2. | Blues for the Judge (Take 4)
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| 3. | It Had to Be You (Take 3)
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| 4. | Sophisticated Lady (Take 1)
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| 5. | Stridin' With Ben, Pt. 1
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| 6. | Stridin' With Ben, Pt. 2
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| 7. | All the Things You Are [Take 1]
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| 8. | Blue Skies [Take 1]
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| 9. | Blues for the Judge (Take 2)
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| 10. | It Had to Be You
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Jazz
Milt Hinton - Bass, Bass (Upright), Photography, Piano
Ben Webster - Piano, Sax (Tenor)
Budd Johnson - Sax (Baritone), Sax (Tenor)
Frank Wess - Sax (Tenor)
Jo Jones - Drums
John Bunch - Piano
Jon Faddis - Trumpet
* Les Line - Photography
* Wendell Echols - Production Coordination
Milt Hinton was probably the most recorded bassist in the history of music as a whole, but relatively few recordings were released under his own name. This LP was his first as a leader (if you don't count an earlier duo LP with Jo Jones) and it consists of private recordings that Hinton made with tenor saxophone great Ben Webster prior to Webster's departure for Europe in 1964; the remaining tracks come from a Harry Lim-produced studio session featuring Budd Johnson, Frank Wess, Jon Faddis, John Bunch, and Jo Jones. Although the sessions by Hinton and Webster are informal in nature, they are very rewarding. Their duo performance of "Sophisticated Lady" takes on a new degree of subtlety compared to Webster's better-known recordings of this masterpiece by Duke Ellington. Their take of "All the Things You Are" picks up the pace quite a bit, featuring some masterful playing by both men. Stories about Webster's affinity for playing stride piano after hours are widespread, but the two tracks on this LP that feature the saxophonist on a rather weathered instrument are among the few examples to actually have been commercially released, even if the recording itself (and especially the instrument) are not as high quality as one might hope. The Lim-produced sessions begin with a turbulent but swinging "Blue Skies" featuring both Wess and Johnson on tenor saxes, with the young firebrand Faddis on trumpet. Johnson switches to baritone sax for Hinton's "Blues for the Judge," a slow savory blues. Faddis' mute work and open horn are highlights of the unusual arrangement of "It Had to Be You," along with the leader's incredible basslines and Bunch's superb piano. This LP which disappeared from print with the death of Harry Lim, the founder and owner of Famous Door, was reissued on CD by Progressive in 2001.
--- Ken Dryden, All Music Guide
Milt Hinton
Active Decades: '30s, '40s, '50s, '60s, '70s, '80s and '90s
Born: Jun 23, 1910 in Vicksburg, MS
Died: Dec 19, 2000 in Queens, NY
Genre: Jazz
Styles: Swing
Bassist Milt Hinton probably appeared on more records than any other musician in the world, and he remained a vital figure in jazz even into his 80s. He grew up in Chicago and worked with many legendary figures from the late '20s to the mid-'30s, including Freddie Keppard, Jabbo Smith, Tiny Parham (with whom he made his recording debut in 1930), Eddie South, Fate Marable, and Zutty Singleton. He was with Cab Calloway's orchestra and his later small group during 1936-1951. Considered the best bassist before the rise of Jimmy Blanton in 1939, Hinton was featured on "Pluckin' the Bass" (1939) and was an ally of Dizzy Gillespie in modernizing Calloway's music.
After leaving Calloway, Hinton worked in clubs with Joe Bushkin, had brief stints with Count Basie and Louis Armstrong's All-Stars, and in 1954 became a staff musician at CBS, appearing on a countless number of recordings (jazz and otherwise) during the next 15 years; everything from Jackie Gleason mood music and polka bands, to commercials and Buck Clayton jam sessions. By the 1970s, Hinton was appearing regularly at jazz parties and festivals, and his activities did not slow down for the next two decades; in 1995, he toured with the Statesmen of Jazz. Although a modern soloist, Hinton also kept the art of slap bass alive. A very skilled photographer, Hinton released two books of his candid shots of jazz musicians, including one (-Bass Line) which has his fascinating memoirs. Milt Hinton recorded as a leader for Bethlehem, Victor (both in 1955), Famous Door, Black & Blue, and Chiaroscuro, and as a sideman for virtually every label.
---Scott Yanow, All Music Guide |
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