Requisites

Hootin’ ‘N Tootin’ ~ Fred Jackson | By Eddie Carter

Submitted for your approval from the library this morning is an album by tenor saxophonist, Fred Jackson who began his brief career in 1951 as an R&B saxophonist with Little Richard. A decade later, he worked with blues legend, B.B. King, and has also appeared on a few other Blue Note albums before leaving the jazz scene during the mid-sixties. Fred recorded and released his only album as a leader, Hootin’ ‘N Tootin’ (Blue Note BLP 4094/BST 84094) in 1962. Here, he is working with Earl Van Dyke on organ, Willie Jones on guitar, and Wilbert Hogan on drums. The program consists of seven original tunes by the saxophonist and my copy used in this report is the 1992 Toshiba-EMI Limited Japanese Stereo reissue sharing the original catalog number.

Dippin’ In The Bag starts Side One with a delightfully perky introduction by the quartet. Fred opens with a relaxing theme moving with a spring and a bounce in its step, then Willie constructs a spirited statement that flows steadily into Fred’s final comment ahead of the foursome’s closing chorus fading from view. Southern Exposure is a slow-paced succulent meal introduced by Jones and the rhythm section with some soulful, home-cooking. Jackson brings the fried chicken, black-eyed peas, and collard greens to the melody and adds the potato salad for the first reading. Van Dyke serves the steak and burgers with a highly seasoned sauce on the next interpretation. Jackson wraps up the bluesy meal with a tasty dessert preceding the quartet taking their leave after an enjoyable dinner.

Preach Brother moves the pace to a medium-fast tempo with a spirited church-like feel propelled by Hogan’s drums. Fred delivers the opening chorus and first sermon with a groove that just will not quit. Willie gives the next talk and has fun for one verse. Earl sums up the lesson jumping for joy in the finale ahead of the ensemble’s exit. Hootin’ ‘N Tootin’ begins Side Two with a brisk introduction and melody in unison with an emphasis on lively statements from everyone. Jackson is up first with a swinging reading, then Jones offers a moment of hard cooking. Van Dyke takes an enjoyable romp on the next solo, followed by a short exchange between Hogan and Jackson. The drummer provides an exclamation point with his only solo before the ending.

Easin’ On Down takes the foot off the accelerator for a carefree collective theme with everyone right at home. Fred breaks the ice first with a carefree, easy-going swing. Willie supplies a laid-back response on the next solo. Earl steps into the spotlight last on a smooth course towards Fred’s return with a closing message into the climax. That’s Where It’s At picks up the pace again with the foursome suggesting a skillful virtuosity that is irresistible. One thing piquing my interest is the quote of the Black spiritual, Wade In The Water (1901) in the tenor saxophonist’s and organ’s solos. Jackson burns brightly on an exceptional first statement. Van Dyke also cooks with imaginative verses that crackle and Jones has a feisty performance in-between.

Earl leads off Way Back Home with a brief introduction making everyone feel comfortable as Fred states the mellow opening chorus. He continues providing the spark on the first solo, then Willie executes the next reading proficiently. Earl delivers a highly effective closing statement before the ensemble wraps it up. After Hootin’ ‘N Tootin’ was released, Fred Jackson returned to record his second album at the Van Gelder Studio with the same group plus Sam Jones. Due to poor sales of his debut, the other seven selections weren’t released until they appeared on the CD album of Hootin’ ‘N Tootin’ (1998). Jackson appeared on three other albums for Blue Note as a sideman, Face to Face (1961), Along Came John (1963), and The Way I Feel (1964)!

The music on Hootin’ ‘N Tootin’ is perfect to enjoy at the start of your day or after work, during or after dinner, or for late-night listening. The sound quality is good, but not great. The problem is the microphone placement for the organ is over-modulated when Earl Van Dyke is accompanying Fred and Willie’s solos throughout the album. The only other time I experienced this on a Rudy Van Gelder recording was on Open House (1966). Despite this issue, if you are a fan of Soul-Jazz or jazz organ with a bop flavor, I offer for your consideration, Hootin’ ‘N Tootin’ by Fred Jackson, a tenor saxophonist whose career deserved a better fate and whose music deserved greater recognition!

~ Along Came John (Blue Note BLP 4130/BST 84130), Face to Face (Blue Note BLP 4068/BST 84068), Hootin’ ‘N Tootin’ (Blue Note Connoisseur Series CDP-21819), Open House (Blue Note BLP 4269/BST 84269), The Way I Feel (Blue Note BLP 4174/BST 84174) – Source: Discogs.com
© 2021 by Edward Thomas Carter

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