Requisites
Lights Out! ~ The Jackie McLean Quintet | By Eddie Carter
The Jackie McLean Quintet steps into this morning’s spotlight with a 1956 release, Lights Out! (Prestige PRLP 7035/PRST 7757). It was the alto saxophonist’s label debut, and a superb supporting cast joins him on this date, Donald Byrd on trumpet, Elmo Hope on piano, Doug Watkins on bass, and Art Taylor on drums. My copy is the 2022 Analogue Productions Mono Audiophile reissue sharing the original catalog number. Side One opens with Jackie McLean’s Lights Out, a slow blues that comes to life in the rhythm section’s introduction, with a short statement by Elmo segueing into Jackie’s easy-going theme and opening solo. Donald compliments him leisurely using a mute, and Hope does his thing in the following reading. Both horns engage in an exchange of thoughts before the climax.
Up, also by the saxophonist, soars from the front line’s introduction into a rapid-fire melody. Byrd is up first and back on the open horn for a brisk reading. McLean romps through the second interpretation; next, Hope keeps up the energetic pace in a speedy performance. Taylor displays his talents in a brief finale followed by the horn’s return for a quick reprise. Lorraine, by Donald Byrd, begins with the trumpeter’s lovingly tender theme. He adds a personal touch to the first interpretation, matched by the rhythm section’s gorgeous groundwork. Jackie follows with a beautiful reading that’s a sultry treat for the ears, then Donald returns for a second statement that takes us away into a pretty ending by the front line.
A Foggy Day by George and Ira Gershwin kicks off Side Two. The song premiered in the 1937 musical comedy, A Damsel In Distress. McLean begins the melody with a happy, medium beat that extends to his lead solo. Byrd is back on the mute and flows with a gentle swing before passing it on to Hope. The pianist gives a charming closing statement leading to the ending theme that dissolves into emptiness. Donald Byrd’s Kerplunk gets underway with a carefree opening statement by Elmo that Donald maintains on the second interpretation with a relaxed groove. Jackie enters next and delivers a very efficient solo that proceeds to the front line blending their ideas into a satisfying conclusion ahead of the quintet’s exit.
Jackie McLean’s Inding starts with the trio’s introduction ahead of Byrd’s lively opening statement. Hope succeeds him with a lively presentation that shapes up nicely. McLean has the final say and brings the song home with a cheerful reading preceding the climax. Bob Weinstock supervised Lights Out!, and Rudy Van Gelder recorded it. Kevin Gray remastered this reissue, and the sound quality is outstanding. The record is on two-hundred grams of audiophile vinyl, and the album jacket has a high gloss. If you don’t already own an original pressing or early reissue, I highly recommend this Analogue Productions reissue for a spot in your library. It’s an excellent album by Jackie McLean that’s nearly forty-six minutes of pure bliss and can be enjoyed during the day, evening, or with the Lights Out!
~ A Foggy Day – Source: JazzStandards.com ~ © 2022 by Edward Thomas Carter
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William Frank Reichenbach Sr. was born on December 18, 1923 in Washington, D.C. and started his musical career even before he graduated from the McKinley Tech High School. During World War II, he played in a band of the Navy before he toured with the big bands of Tommy Dorsey, Jimmy Dorsey, and Art Mooney. Later he worked in the jazz clubs of his hometown, where he accompanied Frank Sinatra, Patti Page, Teddy Wilson, and Zoot Sims.
Charlie Byrd hired Reichenbach as an additional drummer for the Stan Getz album Jazz Samba, recorded in 1962. This recording provoked a wave of enthusiasm for bossa nova in the United States. That same year he replaced Buddy Deppenschmidt in the Byrd trio, and stayed as a member for twelve years. Departing from Byrd, he returned to work in Washington D.C., as the house drummer at the Blues Alley.
Drummer and percussionist Bill Reichenbach, who co-developed the jazz-samba drumming style, transitioned following a series of strokes in Los Angeles, California, at the age of 84 on May 16, 2008.
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Louis A. Mitchell was born December 17, 1885 in Philadelphia, Pennsylvania and began performing in vaudeville revues and minstrel shows from around the turn of the century, playing drums and bandoline. After a move to New York City in 1912, he founded his own group, the Southern Symphonists’ Quartet.
He sang and drummed for James Reese Europe in 1918, and the following year founded a new group, which he called Louis Mitchell’s Jazz Kings. By the end of the decade, Mitchell began touring the United States, as well as, Europe, concentrating on the United Kingdom and France. He did solo percussion shows in addition to ensemble programs, and his drum solos were greeted harshly by French audiences. Nevertheless, his ensemble spent five years as the house band of the Casino de Paris.
He recorded for Pathe Records in 1922 and 1923, with Sidney Bechet playing with him at this time, however, Bechet did not appear on the recordings. Louis remained in France until 1930, branching into restaurant and nightclub management in addition to music. He renamed one of his clubs Chez Florence due to the popularity of performer Florence Embry Jones.
Moving back to the United States in 1930 after the failure of The Plantation, his last club, but he played little in his last decades. Drummer and bandleader Louis Mitchell transitioned on September 12, 1957.
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Bernard Flood was born on December 16, 1907 in Montgomery, Alabama and graduated from Alabama’s Tuskegee Institute in the Twenties. The following decade he went to New York City and became associated with a series of bandleaders in a slow and careful fashion. For the first two years he worked with Bob Neal, moved over to Fess Williams for about an equal length of time, before becoming involved with Teddy Hill in 1933 on through the middle of the decade.
He was quickly in and out of the Luis Russell and Chick Webb outfits before joining up with Charlie Johnson. By 1937 the trumpeter was hitting high notes with Edgar Hayes as well as with Johnson, the former leader launching a terrific European tour. In 1939 Bernard became part of the Louis Armstrong big-band project, dropping out for a spring 1941 James Reynolds gig before rejoining Armstrong and remaining until 1943.
Military service called in 1943 and three years later he was discharged and began working with Luis Russell and Duke Ellington. Flood went on to start his own combo, and collaborated with Happy Caldwell in both the late Forties and early 1950s.
Retiring from full-time music in the early ’70s, Flood was available for gigs, but made no new recordings during this period. Suffering from diabetes Bernard lost both of his legs due to the disease. Trumpeter Bernard Flood, who was featured in the HBO documentary Curtain Call performing Wonderful World, transitioned on June 9, 2000 in Englewood, New Jersey.
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Billy Butler was born William Butler Jr. on December 15, 1924 in Philadelphia, Pennsylvania and began his career in the 1940s behind the Harlemaires. The 1950s saw him as a member of a trio led by Doc Bagby and accompanied keyboardist Bill Doggett.
Butler worked with Al Casey, King Curtis, Eddie “Lockjaw” Davis, Bill Davison, Tommy Flanagan, Panama Francis, Dizzy Gillespie, Benny Goodman, Johnny Hodges, Floyd “Candy” Johnson, David “Fathead” Newman, Houston Person, Sammy Price, Jimmy Smith, Norris Turney, and Dinah Washington.
He is credited as the guitarist on the 1961 Peppermint Twist, Parts 1 & 2 by Joey Dee and the Starliters at the Peppermint Lounge in New York City. He co-wrote Honky Tonk, an R&B hit for Doggett.
Guitarist Billy Butler transitioned on March 20, 1991 from a heart attack at home in Teaneck, New Jersey.
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