Requisites

Julie Is Her Name ~ Julie London | By Eddie Carter

This morning’s choice from the library is the debut album by Julie London.  She was a talented actress who starred in several forties and fifties Hollywood films, a sexy pinup model and nightclub singer with a stunning figure to match her luxurious voice.  Julie Is Her Name (Liberty LRP 3006/LST 7027), is a half-hour journey of intimate music that’s perfect to enjoy while unwinding after a long day or to help spark a romantic evening ahead.  Accompanying Julie on vocals are Barney Kessel on guitar and Ray Leatherwood on bass.  My copy used in this report is the 1955 US Mono reissue made at Capitol Records Pressing Plant in Scranton, Pennsylvania.  The second pressing turquoise labels are distinguished from the Deep Groove original by a small circle around the center hole on each side.

Side One starts with her biggest hit, Cry Me A River by Arthur Hamilton, a high school classmate.  Julie sings the lyrics with elegance and warmth as she turns the tables on a lover who hurt her and now finds himself the recipient of a broken heart.  Barney and Ray complement her with their subtle supplement into a gentle fadeout.  I Should Care by Sammy Cahn, Alex Stordahl, and Paul Weston was written in 1944, appearing in Thrill of a Romance, a year later.  The trio approaches the romantic theme efficiently.  Julie caresses the lyrics softly and tenderly, and Kessel has a lush interlude in between that’s seductively silky.  Barney and Ray lead the way into I’m In The Mood For Love by Dorothy Fields and Jimmy Hugh.  Julie reflects the song’s tenderness with deep sensitivity ahead of a gorgeous ending.

I’m Glad There Is You by Jimmy Dorsey and Paul Madiera is tailor-made for Julie’s provocative delivery of the lyrics.  Kessel and Leatherwood are splendidly entertaining in support before the trio’s lush climax.  Can’t Help Lovin’ That Man was first heard in the 1927 musical, Show Boat as Can’t Help Lovin’ Dat Man.  It’s one of Oscar Hammerstein II and Jerome Kern’s most famous songs.  The ensemble presents an exquisite example and Julie shows respect to the lyrics with a bluesy vocal interpretation that flows smoothly.  Cole Porter’s I Love You was introduced in the 1944 musical, Mexican Hayride.  The trio begins deceptively at a slow tempo before the pace moves upward and Julie turns loose a little gaiety on a swinging statement.

The second side gets underway with Say It Isn’t So by Irving Berlin from 1932.  Julie’s indelible opening chorus characterizes a sincere plea to the man she loves to reassure her that the rumor he no longer loves her and is planning to leave isn’t true.  Her haunting words are delicately expressed with Barney and Ray providing the gentle groundwork preceding a calm climax.  Up next is It Never Entered My Mind, a show tune that premiered in the 1940 musical, Higher and Higher.  This well-recorded standard from the pen of Richard Rodgers and Lorenz Hart speaks of loneliness, regret, and remorse.  Julie and Kessel make it an intimately personal duet that’s deeply poignant with an emotional emphasis on love and sorrow anyone can identify with.

Julie and her bandmates take a slow tempo trip to Easy Street next.  This jazz standard was written by Alan Rankin Jones in 1940 and transports us to a place where life is good, and people are comfortable, content, and happy.  Her lyrics are equally carefree and dreamy.  Barney and Ray augment the vocalist with a soft supplement and Barney gets a brief solo ahead of the close.  George & Ira Gershwin introduced S’ Wonderful in the 1927 musical, Funny Face.  It later became a popular jazz standard with many notable recordings. Kessel starts the song vigorously with an enthusiastic introduction segueing into a dazzlingly agile melody by Julie who then slows down to wrap up the song reinforced by Kessel and Leatherwood’s backing.

No Moon At All by David Mann and Redd Evans is a jazz standard that was composed in 1947.  It’s a romantic tune, and Julie beckons her lover like a siren with seductively sultry lyrics on the melody.  Barney and Ray accompany her as she plans a night of romance beginning with one kiss.  Laura by David Raskin and Johnny Mercer needs no introduction.  It’s a timeless 1944 standard that became a hit after the Film-Noir drama of the same name.  Julie sings the first chorus of the haunting melody without any accompaniment.  Kessel and Leatherwood add their serene support as her voluptuous vocals are profoundly moving into a gentle coda.  The finale, Gone With The Wind by Allie Wrubel and Herb Magidson is a passionately tender showcase by Julie and the duo who back her delicately into a graceful fadeout.

The Mono copy of Julie Is Her Name was produced by Bobby Troup (who would become her second husband) and engineered by John Neal.  John Kraus who also engineered albums on Atlantic, Capitol, Contemporary, Dot, Jazz West, and London worked on the Stereo reissue.  I was pleasantly surprised with the sound quality for a record nearly sixty-six years old, it’s quite good.  Julie’s vocals are seductive, and Barney Kessel and Ray Leatherwood respond with sheer beauty behind her.  The Capitol Records reissues have a misprint, the tracks are reversed on both sides.  The Side Two songs are on the Side One label and the Side One songs, on Side Two.  How this error was overlooked, I’ll never know, especially since Capitol uses the original Liberty pressing back cover, but that seems to be the only issue with my copy.

Torch singing became Julie’s specialty over her fourteen-year recording career, and she made thirty-one albums at Liberty, earning her the nickname, The Liberty Girl.  She also found success on television, becoming most famous for her portrayal of Dixie McCall on the series, Emergency for six years.  A chain smoker since she was sixteen, Julie suffered a stroke in 1995 and developed lung cancer a few years later.  She passed away from cardiac arrest at age seventy-four on October 18, 2000.  If you’re seeking some easy-listening, jazz vocals for your library, make a note to pick up Julie Is Her Name by Julie London on your next vinyl hunt.  It marks the beginning of a terrific jazz vocalist and is a lovely way to spend the evening with that special someone!

~Can’t Help Lovin’ That Man, Gone With The Wind, I Love You, I Should Care, I’m Glad There Is You, I’m In The Mood For Love, It Never Entered My Mind, Laura, ‘S Wonderful, Say It Isn’t So – Source: JazzStandards.com ~Cry Me A River, Easy Street, No Moon at All – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

This Is Buck Hill ~ Buck Hill Quartet | By Eddie Carter

My first choice from the library for April is by one of the hidden stars of jazz. His name was Roger Wendell Hill, but everyone would know him by his nickname Buck. Hill began his professional career as a musician in 1943 while working as a Washington D.C. mailman. Buck first worked with Charlie Byrd in the late fifties, later appearing on albums by Shirley Horn, Alan Houser, and Shirley Scott. He also performed with Miles Davis, Dizzy Gillespie, Max Roach, and Sonny Stitt but didn’t record as a leader until the late seventies. Buck also played the clarinet and soprano sax, but the tenor sax was his primary instrument. This Is Buck Hill (SteepleChase Records SCS 1095) is a 1978 release offering all the excitement and energy of an after-hours jam session. He’s working with an outstanding rhythm section, Kenny Barron on piano, Buster Williams on bass, and Billy Hart on drums. My copy used in this report is the 1978 US Stereo album.

Side One starts with Tokudo, an original by Buster Williams that the bassist would record again a year later on his album, Heartbeat. This tune begins at a brisk tempo for the melody, and everyone is afforded a solo opportunity. Buck delivers the goods with aggressive momentum on the first presentation. Kenny shifts into high gear on the next reading. Buster dips into a soulful groove on the third statement, and Billy gives a dazzling performance before the out-chorus. Yesterdays by Jerome Kern and Otto Harbach is one of the most recorded jazz and pop compositions since its creation in 1933. The group swings at a medium tempo on the main theme. Hill gradually builds the excitement on the first statement to a sensational climax. Barron offers a beautiful sentiment in the next reading. Williams swings to a groovy beat preceding a luscious ending.

A blistering introduction by Billy begins Oleo by Sonny Rollins. The foursome gets things underway with a very quick melody. Buck takes off like the Road Runner for a high-octane fast ride including three unaccompanied verses of white heat. Kenny powers the next interpretation with energetic exertion, then Billy has a final furious exchange with Buck culminating into a brilliant climax.

Side Two begins with the first of three selections by the leader. I’m Aquarius is a beautiful ballad that originally appeared in a suite on trumpet player Alan Houser’s 1973 album, No Samba.  It opens elegantly with a cascading flow of tenderness from Barron segueing gently into the melody with Hill directing the ensemble softly. The tenor remains tastefully restrained on the opening statement.  Kenny closes with a delicate sensitivity leading to a sultry coda.

S.M.Y. is a lively original possessing an irresistible beat exuding happiness from the first notes of the opening chorus. The saxophonist starts the ball rolling with some vigorous blowing. Kenny digs in for some good rocking jazz next, then Buck supplies an abundant supply of high-voltage current into the theme’s reprise. The album closes with Two Chord Molly, an uptempo tune allowing everyone except Hart to contribute lengthy readings. The trio lays down a swinging line on the introduction with Hill providing vast amounts of energy to the festive melody. Barron delivers an enthusiastically rigorous lead solo. Buster gets down to business next with an intense workout. Buck accelerates on the closer producing electrically charged notes. During Hill’s statement, you can hear someone commenting (I’m sure positively) on his performance.

The man behind the controls is Elvin Campbell, whose work can be heard on many jazz albums. This record is well recorded, and the highs, midrange, and bottom end are all very detailed with an excellent soundstage and crystal-clear clarity. Buck recorded three more albums for SteepleChase, Scope (1979), Easy To Love (1982), and Impressions (1983). Hill passed away at age ninety on March 20, 2017. You’d never suspect this was the quartet’s first recording together because the music is excellent, and their interaction is seamless. Buck also meets the challenge of writing good compositions with strong performances inspired by Kenny Barron, Buster Williams, and Billy Hart. On your next vinyl hunt, I’ll hope you’ll consider This Is Buck Hill for a spot in your library. He was a veteran jazzman who certainly deserves a place alongside the greatest to ever blow the tenor saxophone! ~ Easy To Love (SteepleChase SCS-1160), Heartbeat (Muse Records MR 5171), Impressions (SteepleChase SCS 1173), No Samba (Straight Ahead ARS 001), Scope (SteepleChase SCS 1123) – Source: Discogs.com ~ Oleo, Yesterdays – Source: JazzStandards.com ~ Alan Houser, No Samba – Source: Album liner notes by J.R. Taylor ~ Roger Wendell Hill, Tokudo, Heartbeat, Scope, Easy To Love, Impressions, Elvin Campbell – Source: AllMusic.com, Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

Neo/Nistico ~ Sal Nistico | By Eddie Carter

This morning’s choice from the library is another recent acquisition that introduced me to tenor saxophonist, Sal Nistico. Salvatore was born on April 2, 1938, in Syracuse, New York, and began playing the alto sax, before switching to tenor in 1956. He also played baritone sax for a few years. Sal was a member of Count Basie’s and Woody Herman’s bands and also played with Nat Adderley, Chet Baker, Don Ellis, Curtis Fuller, Dusko Goykovich, Johnny Griffin, The Jazz Brothers Band, Buddy Rich, and Stan Tracey to name a few. Neo/Nistico (Bee Hive Records BH 7006) finds him leading a world-class sextet, Ted Curson on flugelhorn (tracks: A1, B3), trumpet (tracks: B1, B2), Nick Brignola (tracks: A1, B2) on baritone sax, Ronnie Matthews on piano, Sam Jones on bass, and Roy Haynes on drums. My copy used in this report is the original 1978 Mono release.

Side One takes off with Anthropology by Dizzy Gillespie and Charlie Parker set at a blistering pace with both saxes backed by Roy presenting the melody. Nick applies searing heat to the opening statement, then Ted gives a high-energy reading that ascends to an exciting climax. Sal sizzles like a firecracker about to explode on the third solo, and Ronnie stirs it all together in an exhilarating statement preceding the front-line’s exchange and ensemble’s abrupt close. The beat slows down for You Don’t Know What Love Is by Gene de Paul and Don Raye. The quartet opens with a sensuous theme. Nistico begins the first reading with a delicately elegant conversation. Matthews begins the second statement with a soothing, almost seductive quality that’s beautifully tender. Nistico swings briefly on a robust return culminating in a gorgeous ending.

The quartet continues with a brisk workout of Be My Love by Nicholas Brodsky and Sammy Cahn. It was written in 1949 for Mario Lanza who sang it in the 1950 film, The Toast of New Orleans. The trio makes a feisty introduction to Sal’s lively theme and enthusiastic lead solo. Ronnie follows with a jubilant reading, then Sam cuts into the next statement like a hot knife through butter.  Roy engages in a satisfying exchange with Sal that doesn’t stop swinging until the upbeat ending.  Blues For K.D. is a Nistico original written to honor trumpeter Kenny Dorham that charges out of the gate on a vigorous melody. The leader is up first and delivers a torrid solo, then Curson ignites a mighty fire with his trumpet.  Matthews keeps the flame burning next, and Haynes does some heavy cooking on the closer amid an interchange of ideas with all three soloists.

Sal’s Bambu is a festive tune he composed while playing around on the piano in Europe. It’s a danceable mix of Afro-Calypso and Latin that’s highly rhythmic, infectious, and fun. The solo order is Brignola, Curson, Matthews, Haynes, and all four soloists invite us to party with them until an abrupt halt. Fee-Fi-Fo-Fum by Wayne Shorter was first recorded by its composer on Speak No Evil (1966). The quintet starts with a stroll on the opening chorus at a leisurely tempo. Nistico starts the first solo conveying a light mood that’s joyously carefree and happy.  Curson begins the next reading with an easy-going attitude, building steadily into an enjoyable groove. Matthews adds a great finishing touch with a briskly efficient finale cooking over a mild flame from Jones and Haynes ahead of the quintet’s closing chorus.

Neo/Nistico was produced by Joe Neumann, founder of Bee Hive Records, and engineered by Fred Norsworthy. I was very impressed with the record’s sound quality. It has an excellent soundstage with crystal-clear highs, a sharp midrange, and solid bass. Sal’s career as a musician lasted nearly three decades, and he spent a lot of time performing in Europe. He passed away on March 3, 1991, at age fifty-three. If you’re a fan of the tenor sax, Post-Bop, or are just discovering him as I have, I offer for your consideration, Neo/Nistico by Sal Nistico, an album of six performances that sparkle and swing from start to finish.  I’m very happy I found it and have it in my library.  After one audition, I’m sure you’ll feel the same!

~ Speak No Evil (Blue Note BLP 4194/BST 84194) – Source: Discogs.com ~ Anthropology, You Don’t Know What Love Is, Be My Love – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

Newport In New York ’72: The Jam Sessions, Vols. 1 & 2 ~ Various Artists | By Eddie Carter

If you love music as I do, I’m sure you’ve attended several live concerts, festivals, and performances in your lifetime. I’m also certain that there’s at least one that stands out and is so special, it’s become a truly unforgettable experience and a timeless memory. For me, that date was July 3, 1972, and I remember it like it was yesterday. I got the opportunity to visit Radio City Music Hall for a thrilling summit that was the ultimate jam session and the greatest jazz concert I’d ever seen. The night only got better when the audience learned that our show was being recorded to be released and enjoyed on LP. This morning’s choice from the library is Newport In New York ’72 – The Jam Sessions, Vols. 1 & 2 (Cobblestone CST 9025–2) featuring highlights of that night’s performance alongside two tunes from the July 6 concert.

The personnel reads like an encyclopedia of jazz luminaries: Cat Anderson (tracks: A1, B1), Dizzy Gillespie (tracks: C1, D1), Jimmy Owens (tracks: A1, B1) on trumpet, Benny Green (tracks: C1, D1) on trombone, Charles McPherson (tracks: A1, B1) on alto sax, Stan Getz (tracks: C1, D1), Buddy Tate (tracks: A1, B1) on tenor sax, Milt Jackson (tracks: C1, D1) on vibes, Roland Hanna (tracks: A1, B1), Mary Lou Williams (tracks: C1, D1) on piano, Milt Buckner (tracks: A1, B1) on organ, Kenny Burrell (tracks: C1, D1) on guitar, John Blair on violin (track: C1), Percy Heath (tracks: C1, D1), Charles Mingus (tracks: A1, B1) on bass, Alan Dawson (tracks: A1, B1), Max Roach (tracks: C1, D1) on drums, Big Black (tracks: C1, D1) on congas. My copy used in this report is the original US Stereo album.

Side One kicks off with Count Basie’s 1938 classic, Jumpin’ at The Woodside, co-written with Eddie Durham and Jon Hendricks. It’s one of his band’s signature tunes and the title comes from Harlem’s old Woodside Hotel, a popular spot for jazz musicians of the era and Negro baseball teams to stay.  Buckner starts with a lively introduction segueing into the melody. Buddy opens with a joyful statement, then Jimmy swings with compelling strength. Charles takes an exciting joyride on the third reading. Cat then wails into the stratosphere next.  Milt ignites an energetic fuse including a few notes of the wedding march on the fifth solo. Roland swings consistently on a short statement, then Charles takes his bass for a brief brisk walk. Alan has a quick exchange with Mingus before applying the finishing touches with a concise comment into the ending theme.

Lo-Slo Bluze by Jimmy Owens gets Side Two underway with the composer showing tasteful restraint on the opening chorus and first solo. Tate personalizes the second statement with a graceful, heart-melting interpretation.  Anderson raises the temperature significantly on the third reading soaring to a very high level. McPherson takes over to touch the audience with a soulfully satisfying performance, then Buckner starts the next presentation feeling at ease, then gradually builds the tension steadily to a riveting climax. Hanna turns in a superb effort on a rhythmically infectious reading and Mingus gets the final spot for a sensuously smooth improvisation leading to the ensemble’s reprise and coda.

Bags’ Groove by Milt Jackson was written in 1952 and first heard on Wizard of The Vibes that year. It starts the second record, and the title is from Milt’s nickname given to him by a Detroit bass player, referring to the bags under his eyes after one night of heavy drinking. The group brings the song to life with a collective theme at a leisurely tempo. The beat turns upward for Bennie’s opening chorus, then Stan taps into a creative vein on the second reading.  Bags follows with a breathtaking presentation. John puts himself into his only interpretation with boundless energy and unbridled passion. Dizzy steps up next, opening the throttle a little further with a stunning showcase. Mary Lou handles the next performance with zestful virtuosity. Percy gives a brief impression that he’s soloing next, but steps aside for Max who provides a thunderous finale ahead of the out-chorus.

Night In Tunisia by Dizzy Gillespie and Frank Paparelli is off to the races from the first notes of the introduction by the rhythm section leading to the ensemble’s theme. Gillespie launches into an electrifying lead solo setting the tone. Burrell charges the next spot with a jolt of high-voltage energy, then Getz provides an infectious enthusiasm on the third statement. Green takes an enjoyable romp into the next presentation propelled by Big Black’s congas. Jackson is firing on all cylinders during his turn, then Williams takes charge with authority on the next solo complemented by Heath’s brilliant bass and Roach’s vigorous brushwork.  Big Black adds some spicy sauce to the next reading, receiving the crowd’s approval before the closing ensemble. Roach provides the exclamation point with radiant intensity culminating a thoroughly satisfying set to a thunderous ovation from the crowd.

Both concerts were produced by Don Schlitten who co-founded Cobblestone Records with Joe Fields and later founded Xanadu Records. Fields founded the jazz labels, Muse, Onyx, and High Note.  Michael DeLugg is the man behind the dials. His work offers a wealth of wonderful detail from each instrument and the energy of the crowd. It also possesses a solid soundstage placing the listener in a great seat to enjoy the musicians. There are a total of six records in this series and all are worthy of consideration for your library. If you’re a fan of live jazz, I invite you to reserve your seat for Newport In New York ’72 – The Jam Sessions, Vols. 1 and 2. I guarantee you’ll hear some truly great performances that’ll leave an indelible imprint you won’t soon forget!

~ Newport In New York ’72 – The Jam Sessions, Vols. 3 and 4 (Cobblestone CST 9026-2), Newport In New York ’72 – The Jimmy Smith Jam, Vol. 5 (Cobblestone CST 9027), Newport In New York ’72 – The Soul Sessions, Vol. 6 (Cobblestone CST 9028), Newport In New York ’72 – The Complete Six Record Set, Vols. 1–6 (Cobblestone CST 9032–6), Wizard of The Vibes (Blue Note BLP 5011) – Source: Discogs.com ~ Night In Tunisia – Source: JazzStandards.com ~ Bags’ Groove, Jumpin’ At The Woodside – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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Requisites

I’ve Got A Woman ~ Jimmy McGriff | By Eddie Carter

This morning’s subject of discussion to begin March is a 1962 Soul-Jazz album by organist Jimmy McGriff who steps into the spotlight with his debut, I’ve Got A Woman (Sue Records LP 1012/LPST 1012). He would make quite an impression on the jazz world in the early sixties. McGriff was twenty-six when he recorded it, and the title tune became his first of ten hits over the next three years. Accompanying him is his working trio at the time, Morris Dow on guitar and Jackie Mills on drums. The LP used in this report is a friend’s copy of the 1962 Mono deep groove release.

Side One kicks off with a rapid reworking of I’ve Got A Woman by Ray Charles. Jimmy takes flight on the song’s only solo with a vigorously spirited performance that sizzles to the rhythm section’s supplement into an enthusiastic fadeout.

On The Street Where You Live by Fredrick Loewe and Alan Jay Lerner offers a subtle change of pace from the previous cooker. It was written in 1956 and featured in the Broadway musical, My Fair Lady that year, and also in the 1964 film version. McGriff steers clear of the pitfall of imitation on the melody and song’s only statement with a quaint and very charming reading preceding the climax. Satin Doll by Duke Ellington, Johnny Mercer, and Billy Strayhorn was written in 1953.  It’s one of Ellington’s most popular and recorded songs and is considered one of his best compositions in The Great American Songbook. Jimmy leads the threesome on the melody, then continues on a brief pretty solo. Morris delivers a short meaningful interlude with Jackie provides significant support into the ensemble’s climax.

Thelonious Monk is represented by the most famous of all his tunes, ‘Round Midnight was written in 1944 with Bernie Hanighen and Cootie Williams. It debuted on the album, Genius of Modern Music, Volume 1 (1952), and Miles Davis also recorded it under the title, Round About Midnight (1957). McGriff starts the song with a passionately majestic opening statement, then continues in that vein on a lead solo that’s the personification of elegance. Dow follows with a tender reading as affectionate as a loving embrace or kiss. McGriff returns for a final intimate thought culminating with a delightfully delicate finale. Jimmy’s original, All About My Girl expresses the highly elated and joyful feeling one has about that special woman in their life.  The organist opens with an exhilarating statement, and Morris gives with a scintillating reading before the upbeat reprise and coda.

Side Two starts with a medium tempo blues by McGriff, M.G. Blues possessing a sassy attitude that the leader states proficiently in the opening chorus and song’s only solo. It’s a fun tune that’s full of high spirits and enhanced by the rhythm section’s groovy groundwork. Jimmy’s That’s The Way I Feel establishes a sanctified rhythm on the melody that would be perfectly at home in that setting.  The trio begins the tune with an earthy, down-home flavor, then Jimmy swings hard on a short reading into the close. After Hours by Avery Parrish, Robert Bruce, and Buddy Feyne is the perfect blues for late-night listening. McGriff honors the 1946 jazz standard by reaching into the heart of the melody with a lengthy warm, affectionate performance that’s sure to bring tears to your eyes as the threesome disappears into nothingness.

Flying Home by Benny Goodman, Lionel Hampton, and Sid Robin was composed in 1939 during a cross-country flight while Hampton was a member of Goodman’s orchestra. Jimmy gives this ageless favorite a vigorously fast workout on the introduction, main theme, and opening statement.  Jackie makes a brief comment in his only reading before Jimmy catapults the closing chorus into a rousing finale. McGriff gives a nod to his friend Jimmy Smith with a rocking performance of The Sermon that Smith recorded with an all-star group four-years earlier and released in 1959. McGriff gets good and funky on the lead solo at a swifter speed than the original. Dow fuels the next reading with an energized performance that cooks into McGriff’s return to express a bit more joy before the ending theme trails off into a slow fade.

On the strength of three hits, I’ve Got A Woman, All About My Girl, and M.G. Blues, Jimmy recorded six more albums for Sue Records that ultimately produced seven more hits for the label, making a convincing argument for his reputation as a Soul-Jazz organist. The date was engineered by Irving Greenbaum, and produced by label co-owners, Henry “Juggy” Murray, Jr. and Bobby Robinson. The sound quality is not up to the engineering level by Roy DuNann, Jack Higgins, and Rudy Van Gelder. However, it’s good enough to crank up the volume because the music radiates an infectious enthusiasm and is fun to listen to. If your musical appetite is craving some soul-food for your ears, I offer for your consideration, I’ve Got A Woman by Jimmy McGriff. It’s an appetizing dish of finger-popping, toe-tapping jazz organ that’s worth seeking out on your next vinyl hunt!

~ Genius of Modern Music, Volume 1 (Blue Note BLP 5002), Round About Midnight (Columbia CL 949/CS 8649), The Sermon (Blue Note BLP 4011/BST 84011) – Source: Discogs.com ~ After Hours, Flying Home, ‘Round Midnight, Satin Doll – Source: JazzStandards.com ~ On The Street Where You Live – Source: Wikipedia.org © 2021 by Edward Thomas Carter

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