Requisites

The Right Touch ~ Duke Pearson | By Eddie Carter

Submitted for your approval this morning is The Right Touch (Blue Note BLP 4267/BST 84267), an exceptional 1967 album by Duke Pearson. It was the arranger, composer, and pianist’s fifth release for Alfred Lion’s label and his tenth as a leader. Here he’s arranged and composed all the tunes and is leading an all-star ensemble: Freddie Hubbard on trumpet; Garnett Brown on trombone; James Spaulding on alto saxophone; Jerry Dodigon on alto saxophone (tracks: A2, A3, B1 to B3) and flute (A1); Stanley Turrentine on tenor saxophone; Gene Taylor on bass and Grady Tate on drums. I own the 1994 U.S. Stereo reissue (Blue Note B1 7243 8 28269 1 0).

Chili Peppers kicks off the first side with lively energy and a bright, confident ensemble theme. Stanley gets into a cheerful groove on the opening solo. Duke follows with a rousing interpretation, paced beautifully ahead of the octet’s closing chorus and fade-out. Jerry’s flute adds a gentle touch to the opening and closing melodies, making the tune even more inviting. Make It Good begins with a lengthy, relaxed introduction that segues into the octet’s soulful opening melody while Gene and Grady provide a firm foundation. Duke takes the first spot again and lays down a bouncy rhythm. Freddie is up next with a good-natured performance that swings smoothly into the theme’s reprise and slow dissolve.

My Love Waits (O Meu Amor Espera) slows things down as Freddie leads the ensemble’s gorgeous bossa nova theme. Freddie and Duke are the featured performers, and the trumpeter’s opening statement is graceful. Duke speaks next with delicacy and tenderness before the group returns to the sentimental ending theme and a gentle fadeout. Los Malos Hombres picks up the pace to begin the second side, with Grady introduction to the group’s brisk melody. Stanley ignites the first solo and burns brightly. Freddie breathes fire into the second solo, then James keeps things cooking next. Duke follows with a spirited reading, and Grady doesn’t pull any punches, leading to the theme’s restatement and dead stop.

Scrap Iron opens with the ensemble’s mournful, harmonically rich blues melody, reflecting the song’s hard-edged rhythmic character. Stanley begins the opening statement, delivering his signature robust, earthy, gospel-drenched sound. Duke follows, creating an easy, conversational groove that reflects the blues’ lingering, smoky atmosphere before the octet reenters and ends with an evocative climax. Rotary draws the curtain down in a Monkish vein for the group’s theme. Freddie takes the lead, followed by James, Garnett, Stanley, and Duke, who take the listener on a leisurely ride, preceding the theme’s restatement and a satisfying conclusion.

Francis Wolff produced The Right Touch, and Rudy Van Gelder was behind the recording console. Kevin Reeves cut the lacquer, and Capitol Mastering gave the final mastering touch. This reissue's sound quality is excellent, with a superb soundstage that makes you feel as if the musicians are right in your listening room, delivered with remarkable clarity. If you’re a jazz piano enthusiast like me and looking for a wonderful album to relax to after a busy day or week, I invite you to check out The Right Touch by Duke Pearson on your next record-shopping trip. It’s an underrated gem with an incredible lineup of musicians that will surely bring you hours of joy and musical delight!

© 2026 by Edward Thomas Carter