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| 1. | Blues in the Airport
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| 2. | Spring Tones
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| 3. | Moorefield Mojo
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| 4. | Blue Ice Cubes
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| 5. | Winter Tones
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| 6. | Boomph!
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| 7. | Saying Goodbye
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| 8. | You Don't Even Know
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| 9. | Air Mobile
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| 10. | Same Old Blues [Vocal Version]
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| 11. | Wondering Blues [Vocal Version]
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Jazz
Bill Heid - Piano, Producer, Vocals
Dwayne Dolphin Bass
George Heid Engineer
George Jones Percussion
Luke Williams Photography
Pete Fallico Executive Producer
Roger Humphries Drums
Pittsburgh jazz and blues pianist/vocalist Bill Heid performs 11 of his own compositions backed by bassist Dwayne Dolphin, drummer Roger Humphries and percussionist George Jones. Bill has toured and recorded with Jimmy Witherspoon, Koko Taylor and Alberta Adams, plus he has played piano on two albums by jazz guitarist Henry Johnson.
Bill Heid is well known as a great jazz organist on recordings, but for the majority of his numerous club dates, he plays the acoustic piano. So for his staunchest fans the issue of Air Mobile might be a surprise in that he plays the 88's exclusively. What remains a constant is that he has written all of the material on the date, and keeps the quality of the music very high by employing such first-rate accompanists as bassist Dwayne Dolphin, the great veteran kit drummer Roger Humphries, and hand drummer George Jones. Brother George Heid is the engineer, making the session sound as sweet and clean as possible. Perhaps Bill Heid does not play as nasty and dirty as he might on the B-3 organ, but his immense talent is no less diminished or evident. In fact, you might hear more of his influences, including the block chords and fleet lines à la McCoy Tyner, the rivaled virtuosity of Oscar Peterson, and the subtle harmonic dynamics of Red Garland or Bill Evans. For sheer hard bop, the title cut and "Moorefield Mojo" offer clutchless speed in sixth gear and ability to split on a moment's notice, while the loping slightly Latinized "Blues in the Airport" and "Boomph!" reflect the smart, classic Peterson touch. "Spring Tones" and "Blue Ice Cubes" reveal the elegance Heid is able to generate in hushed tones, while these compositions parallel those of Wayne Shorter or Herbie Hancock. Deeper into the Tyner/Hancock harmonic mold is the waltz "Saying Goodbye," while "You Don't Even Know" is a lithe jog reminiscent of another of Heid's fellow Pittsburghians, Ahmad Jamal. Never far from the blues, Heid sings, and quite well, on "Same Old Blues" with the adage "the more things change, the more things stay the same," while "Wondering Blues" reflects the self-doubt of whether she is or isn't. Dolphin is a major player as demonstrated during his solo on "Moorefield Mojo" or the intro to "Same Old Blues," while Humphries is the steady and masterful rhythm pilot he always has been. Those who prefer Heid's organ nuttiness and wild virtuosic excursions on that dual duty instrument should also be pleased with this worthwhile addition to his thankfully growing discography. ~ 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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