In 1962, TV producer David Wolper launched his Story Of series, an early biographical documentary program that examined on a single subject. In a 1963 episode, Wolper profiled Los Angeles flutist Paul Horn. Wolper, of course, would go on to produce Roots, The Thorn Birds, the film Wattstax and many others. Here's The Story of a Jazz Musician...
David Wolper died in 2010 and Paul Horn died in 2014.
The Hammond organ's steady rise in popularity during the 1950s had everything to do with economics and efficiency. Early in the decade, new organ models became increasingly compact and more affordable, allowing artists to transport them and clubs to purchase one and store it in a corner. Organists were especially profitable for smaller clubs, since the keyboard could be set to sound like a wide range of instruments. Instead of hiring a combo with a horn section, a club needed only an organist and one or two other musicians to sound just as full. What's more, a good organist could handle the bass line with his or her feet working the pedals. Inadvertently, organists put a lot of musicians out of work.
Among the many versatile organists who performed the Midwest club circuit was Hank Marr. Throughout the 1950s and into the '60s, Marr toured and recorded with tenor saxophonist Rusty Bryant. By the mid-'50s, Marr was often recording singles at King in Cincinnati and touring neighboring cities. In Columbus, Marr played often at Club 502, a major jazz venue from 1957 to 1968 at 502 St. Clair Ave. Marty Mellman took over the club in 1961 after a fire damaged the establishment and destroyed Milt Buckner's organ. [Photo above of Marty Mellman courtesy of Lori Mellman]
In December 1963, Marr recorded at Club 502 with Rusty Bryant (ts), Wilbert Longmire (g) and Taylor Orr (d). Their set was taped by King Records and released as The Hank Marr Quartette: Live at Club 502. As Gene Redd, King's head of A&R, wrote in the album's liner notes, "This is a lot of sound and a lot of music for four men." The tracks are Marr's hit single Greasy Spoon, One O'Clock Jump, Marr's Easy Talk, Longmire's Freedom March, Just Friends, Hank's Idea, I Remember New York, and Marr and Redd's Up and Down. [Photo above, from left, Marr, Orr and Bryant]
Marr had a tough, soulful sound on the organ that surely influenced organist Charles Earland. Bryant's big, insistent tone on the tenor saxophone shared much with Stanley Turrentine's sound and was perfectly suited to Marr's bossy attack. Best of all, the soul-jazz energy on this album recorded at the tail end of 1963 provides a snapshot of the organ's prowess in the Midwest.
Hank Marr died in 2004, Ray Bryant died 2011 and Marty Mellman died in 1980.
JazzWax tracks: The Hank Marr Quartette: Live at Club 502 has never been released on CD or as a digital download. I'm not sure who owns the King catalogue these days but someone should re-issue this one. You can find the album on vinyl at eBay for around $75.
JazzWax clips: Here's Just Friends...
And here's Up and Down...
A special thanks to Tim Livingston.
Last week I posted on Freedom, a terrific album of Kenny Burrell tracks recorded on two different dates in 1963 and '64. To date, it was never released on CD or as a digital download. What's more, Freedom also is out of print as a 180-gram vinyl release. Well, here's another Burrell album that's very tough to find: Take It From Me, an album led by Terry Gibbs on which Burrell appears as a sideman. As far as I can tell, it was released on CD only in Japan.
Recorded in January 1964 for Impulse by engineer Rudy Van Gelder for producer Bob Thiele, the Gibbs quartet here consisted of Gibbs (vib), Burrell (g), Sam Jones (b) and Louis Hayes (d). The piano-less group featured mostly Gibbs originals: Take It from Me, El Fatso, Oge, Pauline's Place, 8-lbs, 10-ozs and Gee Dad, It's A Deagan. The only soft spots on the album are the two standards—All the Things You Are and Honeysuckle Rose, which aren't nearly as fresh or as exciting as Gibbs's originals.
Thiele told Gibbs he could record whatever he wished and pick his own sidemen. Gibbs went with five originals and two standards. He also picked Burrell, who, like Gibbs, was a composer, technician and multi-instrumentalist. In addition to the vibes, Gibbs could play bass and drums. Burrell coudl double o nbass and could sing. At the time, Hayes and Jones were members of the Cannonball Adderley Quintet.
Take It From Me and El Fatso are cool, mid-tempo swingers, with the latter packing a Latin feel. Oge has church-like soulfulness, allowing the group to sound a bit like the Modern Jazz Quartet. The track's pace gives us a chance to hear Burrell's chord voicings. Pauline's Place is an up-tempo ode to Pauline Rivelli (above), who at the time was editor of Jazz & Pop magazine.
As far as I can tell, 8-lbs, 10-ozs must have been written by Terry to announce the arrival of his son, Gerry, who was born January 15, 1964—a day before this recording session—and who today is a jazz drummer. Gee Dad, It's a Deagan is a flag-waver that runs just over 6 minutes. Based on my research, a Deagan was a brand of vibes and likely the one Gibbs used at Rudy Van Gelder's New Jersey studio. [Photo above of Gerry Gibbs, courtesy of Gerry Gibbs]
Hopefully the Impulse division of Universal will re-issue this one, at least as a digital download.
Three of the four musicians on this date are still with us. Sam Jones died in 1981.
JazzWax tracks: You'll find Take It From Me on CD at eBay through vendors selling the release. For example, go here.
JazzWax clips: Here's the album's title track...
And here' Gee Dad, It's a Deagan...
Sirius XM doubleheader. On Monday, I'll be on the Hoda Kotb Show on Sirius XM from 1 to 2 p.m. (EDT). Hoda will be interviewing me on my book, Anatomy of a Song, which is out in paperback on Nov. 21. We'll also be chatting about some unusual Halloween-themed hits. On Sirius XM, hou'll find us on the Today show network, at Chanel 108.
Then on Thursday, I'll be on Sirius XM's Feedback, with Nik Carter and Lori Majewski to talk about my most recent Anatomy of a Song column for The Wall Street Journal on Charlies Daniels' The Devil Went Down to Georgia. On Sirius XM, you'll find us on the Volume network, at Chanel 106.
Order your copy now. You can pre-order the paperback of Anatomy of a Song in the In the U.S. go here; in the U.K. go here; and in Canada go here.
In the WSJ this week, I interviewed signer-songwriter and pianist Regina Spektor, who told me how she went from Russian emigre in 1989 to an American pop star today (go here). It's a remarkable story of optimism, determination and talent. Her latest album is Remember Us to Life (Sire). Here's a clip...
Also in the WSJ, my interview with Scottish novelist Graeme Macrae Burnet, who talked about why Johnny Cash's recording of Hurt has special meaning for him (go here). Graeme's latest book is The Accident on the A35 (Arcade). (Photo above courtesy of Graeme Macrae Burnet.) Here's Cash's rendition of Hurt...
Fats Domino (1928-2017). I was hard-hit by Fats Domino's passing this past week. I interviewed Fats in New Orleans for the WSJ in 2010 (go here). That's me above and Fats tapping out his famed triplets on the back of my hand, so I could feel his early rock 'n' roll touch. Chris Cowles, host of WRTC's Greasy Tracks, sent along the following clip, featuring Fats in 1973 with Roger McGuinn and The Byrds...
Free Donna Lee. Laurie Pepper, Art Pepper's wife, is giving away a free track of Art Pepper and Warne Marsh performing Donna Lee in 1974. It's a track off Unreleased Art Vol. 9 (go here). You'll find the track here.
Sixty of the funniest music quotes of all time. Here's one attributed to Bob Newhart: “I don’t like country music, but I don’t mean to denigrate those who do. And for the people who like country music, denigrate means ‘put down’.” Jim Eigo of Jazz Promo Services sent this one along. Go here.
What the heck. Here's Brenton Wood singing his hit, Gimme Little Sign in 1968 (thanks to Glen Hartley)...
Oddball album cover of the week.
The dream part comes if you get clocked by one of these earth-bound grands.
