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| Bop Rascal |
| Bill Heid |
első megjelenés éve: 1997
72 perc |
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| (1997)
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CD |
| 4.318 Ft
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| 1. | Bop Rascal
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| 2. | Grantacious
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| 3. | Homewood Morning
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| 4. | Latin Larry
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| 5. | Bag of Iku
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| 6. | Duff's Doonk
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| 7. | Orange Chair Ballad
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| 8. | Phy-Ops
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| 9. | Rhythm Rascal
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| 10. | Like Animal
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| 11. | Going on to Detroit
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Jazz
Bill Heid - Hammond Organ, Producer
Perry Hughes- guitar
Randy Gelespie- drums
George Heid- tambourine
GEORGE BENSON wrote of this recording: "Get ready for some excitement! Three of my favorite musicians have gotten together for some slam-dunk, get-it-right creative music that I know you're going to appreciate!" Bill Heid pays tribute to his heroes of the B-3 (Don Patterson, Larry Young and others) with a batch of imaginative original tunes (and one Wes Montgomery classic) backed by Hall-of-Famer Perry Hughes (formerly with Sonny Stitt, Gene Ammons, et al) and drummer Randy Gelespie (formerly with Jack Mc Duff, Wes Montgomery, Pat Martino and others). This one really cooks!
Annalee Valencia Design, Art Direction
Dave Koether Photography
George Heid Engineer, Tambourine
Pete Fallico Liner Notes
Tom Walsh Post Production
For his second CD Heid asserts himself further as a composer of modern organ based music, a monstrous improvisor, and one who milks the Hammond B-3 sound for all it's worth. Detroit guitarist Perry Hughes and drummer Randy Gelespie round out this exciting trio, as they romp through ten of Heid's originals and the Wes Montgomery odd ditty, "Going On To Detroit." At his most frantic, Heid wails with wigged out madness. The bluesy hot bop title track with fleet and sweet guitar-organ unison, stinging single lines from Hughes, and tasteful trading of eights indicates only the beginning. The jumpy, frantic melody of the waltz "Bag Of Iku" leaps like a panther, punctuated by equally quick guitar chords. Most like Larry Young from an orchestral, expansive standpoint, the tribute to Grant Green "Grantacious" is guitar lead while Heid holds spacious, zen-like notes that drive deep and burn blue. Even a ballad like "Orange Chair" has Heid reaching for more notes, more empty space to fill in deeper pockets of resonant chamber granite. On the spookier side, the underground is lit up on the stealth "Phy Ops," Heid carrying a gargantuan flood light searching for hidden treasure with more unison melodies. There are some easier swingers "Homewood Morning" and "Rhythm Rascal," but he mostly goes for the jugglar, whether hitting bossa strides on the Wes tune and "Latin Larry," perhaps charbroiling the straight jingle bell blues groove biscuit "Duff's Doonk," or torching a mile square block with the blowing tune "Like Animal." As much as Heid is a great presence and the sound of his organ is rough hewn and nerve rattling, the way it should be, Hughes and Gelespie more than cover the spread, espcecially the unsung drummer (check some of your old Sonny Stitt Prestige sides.) The combination is irresistable, and provides many high points for this B-3-ist and his excellent combo. No doubt, they continue to crank 'em out. ~ Michael G. Nastos, All Music Guide
Bill Heid
Active Decades: '70s, '80s, '90s and '00s
Born: Aug 11, 1948 in Pittsburgh, PA
Genre: Jazz
Keyboardist/vocalist Bill Heid was born August 11, 1948 in Pittsburgh, Pennsylvania. A natural and virtuosic musician who was inspired to play jazz and blues by listening to the radio, he played in both piano and organ groups. His brother is the well-respected drummer and producer George Heid. Originally influenced by Jimmy Smith and Don Patterson, Heid heard the chitlin' circuit greats at the Hurricane Bar, including Smith and Patterson, Jack McDuff, Jimmy McGriff and Dr. Lonnie Smith. Down the street at the Crawford Grill were the jazz bands led by Freddie Hubbard, Max Roach, Gene Harris, Bobby Timmons and Wynton Kelly. On occasion he would sit-in with some of those groups and pester them for information. Spending time in Chicago and later in New York, he met and hung out with his mentor, Larry Young, often visiting the family-owned Newark Club in Young's hometown of Newark, New Jersey. He also was privy to playing with the best organ drummers like Joe Dukes and Billy James. And he heard the local contingent of jazz greats like Ahmad Jamal, Art Blakey, Erroll Garner, George Benson, Eddie Jefferson, Mary Lou Williams and Stanley Turrentine. His quest for musical knowledge found him on the road when in 1963, in search of rare 78 r.p.m. rhythm and blues record, he began a journey career of hitchhiking. He did this in the contiguous 48 U.S. states, through Canada, Mexico, the Philippines, Japan, Korea, China and the Thailand/Cambodia border. His over 400,000 documented miles of thumbing a ride gained Heid a spot in the Guinness Book of World Records. Some of his journeys led him to the so-called chicken houses and organ rooms of major cities where he interned with Jimmy Witherspoon, Jimmy Ponder, Sonny Stitt, Grant Green, David ‘Fathead' Newman, Ira Sullivan, Mickey Roker, and was a pianist with Don Patterson. A move to Chicago brought him closer to the urban blues as he worked or recorded with Muddy Waters, John Lee Hooker, and especially Son Seals, Koko Taylor, Fenton Robinson and Roy Buchanan. He also did two LP's and played in the bands of contemporary jazz guitarist Henry Johnson. Moving to Detroit, he spent two decades there playing in his own groups, and helping to revive the career of the local legend of blues guitar and vocals, Johnnie Bassett as the music director of his Blues Insurgents, and backed the veteran singer Alberta Adams. During and since his time in Detroit, Heid was found making music soundtracks for adult films in Los Angeles, then was touring worldwide for the U.S. State Department as a jazz ambassador, particularly on tours of Japan and Vietnam. In August 2003, Heid played more of the Pacific Rim in Sri Lanka, Indonesia, Malaysia, and Singapore. Upon moving back east, he is heard on organ and piano engagements at various venues in the Washington, D.C. area. Of his mind-set, Heid was quoted as saying "I can't live a day without playing 1-4-5s," incorporating those standard blues changes with cool McCoy Tyner minor riffs, vicious funk songs in Japanese, and what he calls Talifunk. "I approach this thing like total war and have been lucky to have avoided a day job." His hip vernacular, unique vocal language and risque sense of humor, melded with his passion for baseball, has made him an entertainer non-pariel.
---Michael G. Nastos, All Music Guide |
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