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| Hootin' 'n Tootin' [Japan version] |
| Fred Jackson |
japán
első megjelenés éve: 1962 |
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| (2008)
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CD |
| 5.376 Ft
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| 1. | Dippin' in the Bag
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| 2. | Southern Exposure
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| 3. | Preach Brother
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| 4. | Hootin' 'N' Tootin'
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| 5. | Easin' on Down
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| 6. | That's Where It's At
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| 7. | Way Down Home
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| 8. | Stretchin' Out [*]
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| 9. | Mr. B.J. [*]
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| 10. | Egypt Land [*]
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| 11. | Teena [*]
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| 12. | On the Spot [*]
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| 13. | Minor Exposure [*]
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| 14. | Little Freddie [*]
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Jazz / Soul-Jazz, Fusion
Fred Jackson - Sax (Tenor)
Alfred Lion Producer
Dudley Williams Liner Notes
Earl Van Dyke Piano, Organ
Francis Wolff Cover Photo, Photography
Freddie Jackson
Gus Skinas Author
Kevin Michael Gray Mastering
Michael Cuscuna Reissue Producer
Reid Miles Cover Design
Rudy Van Gelder Engineer
Sam Jones Bass
Steve Hoffman Mastering
Wilbert G.T. Hogan Drums
Willie Jones Guitar
On Hootin' 'N Tootin', the listener is afforded the opportunity of hearing numbers of a famous orchestra noted for its smart arrangements along the rhythm and blues influence. The moods expressed are in the 'down home' and 'down to Earth' groove. Under the leadership of Fred Jackson on tenor sax, the listener is propelled into the world of the new truth.
Unjustly ignored at the time of its release, Fred Jackson's lone album, Hootin' 'N Tootin', is a thoroughly enjoyable set of funky soul-jazz with hard bop overtones. It is true that Jackson doesn't try anything new on the set, but he proves to be a capable leader, coaxing hot, infectious performances out of guitarist Willie Jones, organist Earl Vandyke and drummer Wilbert Hogan, all of whom were collegues of Jackson in the Lloyd Price band. All of the songs on the album are Jackson originals, and while there are no substantial, memorable melodies, they provide an excellent foundation for the group's smoking interplay. Both the uptempo R&B numbers and the slower blues give the musicians plenty of opportunity to flaunt their chops while working the groove, and the result is a modest but highly entertaining set of earthy, bluesy soul-jazz that should have been heard by a wider audience. Blue Note's 1998 CD reissue adds all of the material from the second and final session Jackson led. All seven tracks from that session are in the same soul-jazz vein and feature the same group, augmented by bassist Sam Jones. Their presence on the reissued Hootin' 'N Tootin' makes an already fine album even better. ~ Stephen Thomas Erlewine, All Music Guide
Fred Jackson
Active Decades: '50s and '60s
Genre: Jazz
Styles: R&B, Swing, Soul-Jazz, Jump Blues, Hard Bop
Fred Jackson only released one album and played on a handful of sessions for Blue Note before disappearing from the jazz scene in the mid-'60s. He deserved a better fate. Although he wasn't a wildly original tenor saxophonist, he was a solid journeyman who found a successful common ground between hard bop and earthy soul-jazz on his jazz sessions. His R&B-inflected style worked well on uptempo ravers and slow blues alike, and he had a nice, robust tone. Despite his attributes, he quietly faded away from jazz in the mid-'60s, after his lone album Hootin' 'N Tootin' failed to sell. He returned to R&B and soul, which is where his career began.
Jackson received his big break when he played in Little Richard's band between 1951 and 1953. Toward the end of the '50s, he was invited to join the supporting band for R&B vocalist Lloyd Price. He frequently toured with Price, who was at the peak of his popularity in the late '50s and early '60s, as such singles as "Stagger Lee," "Personality" and "I'm Gonna Get Married" topped the charts. Jackson made his recording debut in 1961, playing on a B.B. King session. Shortly afterward, he cut his first jazz record, appearing in organist Baby Face Willette's band on the album Face to Face. Impressed by his performance on the record, Blue Note offered the saxophonist a chance to lead his own session and he accepted, bringing his Price bandmates -- guitarist Willie Jones, organist Earl Vandyke and drummer Wilbert Hogan -- into the studio on February 2, 1965 to record the album that became Hootin' 'N Tootin'. Two months later, he went back to Van Gelder Studios with his supporting trio and bassist Sam Jones to record his second album. That session was never released, either because Hootin' 'N Tootin' sold poorly or because, as Alfred Lion's notes claimed, that the record was too short for release. The sessions finally appeared in 1998, when they were added as bonus tracks to the CD reissue of Hootin' 'N Tootin'.
Although he wasn't offered the chance to lead another session, Jackson didn't immediately disappear from jazz recording. In June of 1962, he cut a single with John Patton on piano that remains unreleased. The following year, he played on Patton's Along Came John, which led to his appearance on Patton's 1964 album, The Way I Feel.
--- Stephen Thomas Erlewine, All Music Guide |
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