VA • Hammond Organ Organized [10 CDs]

 

Baby Face Willette • St. James Infirmary

Roosevelt "Baby Face" Willette (September 11, 1933 – April 1, 1971) was a hard bop and soul-jazz musician most known for playing Hammond organ. It is unclear whether he was born in Little Rock, Arkansas, or New Orleans, Louisiana.

Artist Biography by Steve Huey

Highly underrated as a soul-jazz organist due in large part to a scanty discography, Baby Face Willette remains a somewhat mysterious figure, a quiet, reserved man who disappeared from the jazz scene after the first half of the '60s. Born Roosevelt Willette on September 11, 1933 (there is some dispute as to whether he was born in New Orleans or Little Rock), his parents were heavily involved in the church, and thus his music had deep roots in gospel. Studying with his pianist uncle Fred Freeman, Willette played in several gospel groups as a teenage pianist and soon branched out into R&B, which gave him the opportunity to tour the country with numerous outfits. He settled in Chicago for a time and began concentrating on jazz organ in 1958, but didn't make much headway on the scene until he moved to New York and met Blue Note mainstays like Lou Donaldson and Grant Green. He played on Donaldson's Here 'Tis and Green's Grant's First Stand in January 1961, and the same month recorded his own debut, Face to Face. A few months later, he recorded the follow-up, Stop and Listen, which is generally regarded as his best work. After that initial burst of activity, Willette went on to form his own regular trio in 1963, and moved over to the Argo label, where he recorded two sessions in 1964: Mo-Roc and Behind the 8 Ball. He had a regular engagement at a South Side Chicago lounge from 1966-1971 (approximately), but largely vanished from the jazz scene afterwards and died in obscurity.

http://www.allmusic.com/artist/baby-face-willette-mn0000071587/biography

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Roosevelt "Baby Face" Willette (September 11, 1933 – April 1, 1971) was a hard bop and soul-jazz musician most known for playing Hammond organ. It is unclear whether he was born in Little Rock, Arkansas, or New Orleans, Louisiana.

Artist Biography by Steve Huey

Highly underrated as a soul-jazz organist due in large part to a scanty discography, Baby Face Willette remains a somewhat mysterious figure, a quiet, reserved man who disappeared from the jazz scene after the first half of the '60s. Born Roosevelt Willette on September 11, 1933 (there is some dispute as to whether he was born in New Orleans or Little Rock), his parents were heavily involved in the church, and thus his music had deep roots in gospel. Studying with his pianist uncle Fred Freeman, Willette played in several gospel groups as a teenage pianist and soon branched out into R&B, which gave him the opportunity to tour the country with numerous outfits. He settled in Chicago for a time and began concentrating on jazz organ in 1958, but didn't make much headway on the scene until he moved to New York and met Blue Note mainstays like Lou Donaldson and Grant Green. He played on Donaldson's Here 'Tis and Green's Grant's First Stand in January 1961, and the same month recorded his own debut, Face to Face. A few months later, he recorded the follow-up, Stop and Listen, which is generally regarded as his best work. After that initial burst of activity, Willette went on to form his own regular trio in 1963, and moved over to the Argo label, where he recorded two sessions in 1964: Mo-Roc and Behind the 8 Ball. He had a regular engagement at a South Side Chicago lounge from 1966-1971 (approximately), but largely vanished from the jazz scene afterwards and died in obscurity.

http://www.allmusic.com/artist/baby-face-willette-mn0000071587/biography

Baby Face Willette • Face To Face

While it's true that Baby Face Willette's Stop and Listen is widely regarded as his finest recording, this, his Blue Note debut from January of 1961, should not by any means be overlooked. After all, before this session he had the same lot as most Blue Note artists at the time; they played as sidemen on other's recordings before being allowed to headline their own dates. Willette performed on dates by Grant Green (Grant's First Stand) and Lou Donaldson (Here 'Tis). Face to Face boasts a mighty meat and potatoes soul-jazz lineup: Green on guitar, Fred Jackson on tenor, and drummer Ben Dixon. Comprised of six cuts, five of them are Willette originals. The evidence of the rough and rowdy side of Willette's playing is evident from the opener, "Swinging at Sugar Ray's." His approach to the B-3 is far more percussive than Jimmy Smith's, each note is a distinct punch; not only in his solos, but in his chord and head approaches. His solo is a nasty, knotty blues sprint that encompasses gospel licks and R&B fills, too. The other notable thing about the cut is Green's guitar break that shows a side of him we seldom got to hear early on, where he's bending strings, playing in the high register, and using intense single-note runs. It's nearly a breathless way to open a record. Things slow down on the blues "Goin' Down" that features a nice emotive solo by Jackson. The mambo-infused "Whatever Lola Wants" by Richard Adler and Jerry Ross comes next and includes some beautiful stop-and-and start moves in the melody, as well as beautiful call and response between Jackson and Willette, while Dixon's drums shift around the outside before the whole thing breaks down into a groover. The poppin' funky title track has one of those beautiful hard bop heads that's instantly memorable. Sure, it's not terribly sophisticated but it's full of soul and a relaxed yet quick group of changes before Jackson begins to blow. "Somethin' Strange" is pure blues, Chicago style, before moving into tough funky soul. The set closes with "High 'N' Low," a relaxed show-closing groove joint; it's all blues with fine contributions from Green, Jackson, and Willette. The two alternates are not necessarily revelatory, but they do keep the solid vibes happening for another 13 minutes or so. Certainly it's true that these compositions don't show a ton of imagination conceptually, but that doesn't mean anything. The group interplay here is the thing, it works seamlessly. The other notable is the looseness with which Green was playing on the date, and the true introduction of Willette's trademark approach to the B-3. That's all here. These tunes have their own little trademark knots and notches all over them. Highly recommended.  

https://www.allmusic.com/album/face-to-face-mw0000595874

Roosevelt "Baby Face" Willette (September 11, 1933 – April 1, 1971) was a hard bop and soul-jazz musician most known for playing Hammond organ. It is unclear whether he was born in Little Rock, Arkansas, or New Orleans, Louisiana.

Artist Biography by Steve Huey

Highly underrated as a soul-jazz organist due in large part to a scanty discography, Baby Face Willette remains a somewhat mysterious figure, a quiet, reserved man who disappeared from the jazz scene after the first half of the '60s. Born Roosevelt Willette on September 11, 1933 (there is some dispute as to whether he was born in New Orleans or Little Rock), his parents were heavily involved in the church, and thus his music had deep roots in gospel. Studying with his pianist uncle Fred Freeman, Willette played in several gospel groups as a teenage pianist and soon branched out into R&B, which gave him the opportunity to tour the country with numerous outfits. He settled in Chicago for a time and began concentrating on jazz organ in 1958, but didn't make much headway on the scene until he moved to New York and met Blue Note mainstays like Lou Donaldson and Grant Green. He played on Donaldson's Here 'Tis and Green's Grant's First Stand in January 1961, and the same month recorded his own debut, Face to Face. A few months later, he recorded the follow-up, Stop and Listen, which is generally regarded as his best work. After that initial burst of activity, Willette went on to form his own regular trio in 1963, and moved over to the Argo label, where he recorded two sessions in 1964: Mo-Roc and Behind the 8 Ball. He had a regular engagement at a South Side Chicago lounge from 1966-1971 (approximately), but largely vanished from the jazz scene afterwards and died in obscurity.

http://www.allmusic.com/artist/baby-face-willette-mn0000071587/biography

 

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Si bien es cierto que Stop and Listen, de Baby Face Willette, está considerado como su mejor grabación, este, su debut con Blue Note en enero de 1961, no debería pasarse por alto. Después de todo, antes de esta sesión tenía la misma suerte que la mayoría de los artistas de Blue Note de la época; tocaban como sidemen en las grabaciones de otros antes de que se les permitiera encabezar sus propias fechas. Willette actuó en fechas por Grant Green (Grant's First Stand) y Lou Donaldson (Here 'Tis). Face to Face cuenta con una poderosa alineación de soul-jazz de carne y patatas: Green en guitarra, Fred Jackson en tenor y el baterista Ben Dixon. Consta de seis cortes, cinco de los cuales son originales de Willette. La evidencia del lado áspero y bullicioso del juego de Willette es evidente en el primer partido, "Swinging at Sugar Ray's". Su acercamiento al B-3 es mucho más percusivo que el de Jimmy Smith, cada nota es un golpe distinto; no sólo en sus solos, sino también en su acorde y en sus acercamientos de cabeza. Su solo es un desagradable y nudoso sprint de blues que incluye lamidas de gospel y R&B también llena. La otra cosa notable del corte es la rotura de la guitarra de Green que muestra un lado de él que rara vez oímos desde el principio, donde dobla las cuerdas, toca en el registro alto, y usa intensas corridas de una sola nota. Es una forma casi sin aliento de abrir un disco. Las cosas se ralentizan en el blues "Goin' Down" que cuenta con un emotivo solo de Jackson. La infusión de mambo "Whatever Lola Wants" de Richard Adler y Jerry Ross viene a continuación e incluye algunos hermosos movimientos de parada y arranque en la melodía, así como una hermosa llamada y respuesta entre Jackson y Willette, mientras que los tambores de Dixon se mueven por el exterior antes de que todo se rompa en un groover. El poppin' funky título pista tiene uno de esos hermosos hard bop heads que es instantáneamente memorable. Claro, no es terriblemente sofisticado, pero está lleno de alma y un relajado pero rápido grupo de cambios antes de que Jackson empiece a soplar. "Somethin' Strange" es blues puro, al estilo de Chicago, antes de pasar a un alma funky. El set se cierra con "High 'N' Low", una relajada unión de ranura de cierre de show; todo es blues con finas contribuciones de Green, Jackson y Willette. Los dos alternos no son necesariamente reveladores, pero mantienen las vibraciones sólidas durante otros 13 minutos más o menos. Ciertamente es cierto que estas composiciones no muestran una tonelada de imaginación conceptual, pero eso no significa nada. La interacción del grupo aquí es la cosa, funciona a la perfección. El otro aspecto notable es la soltura con la que Green estaba jugando en la fecha, y la verdadera introducción del enfoque de la marca Willette en el B-3. Eso es todo aquí. Estas melodías tienen sus propios nudos y muescas por todas partes. Altamente recomendado.
https://www.allmusic.com/album/face-to-face-mw0000595874


Roosevelt "Baby Face" Willette (September 11, 1933 – April 1, 1971) was a hard bop and soul-jazz musician most known for playing Hammond organ. It is unclear whether he was born in Little Rock, Arkansas, or New Orleans, Louisiana.

Artist Biography by Steve Huey

Highly underrated as a soul-jazz organist due in large part to a scanty discography, Baby Face Willette remains a somewhat mysterious figure, a quiet, reserved man who disappeared from the jazz scene after the first half of the '60s. Born Roosevelt Willette on September 11, 1933 (there is some dispute as to whether he was born in New Orleans or Little Rock), his parents were heavily involved in the church, and thus his music had deep roots in gospel. Studying with his pianist uncle Fred Freeman, Willette played in several gospel groups as a teenage pianist and soon branched out into R&B, which gave him the opportunity to tour the country with numerous outfits. He settled in Chicago for a time and began concentrating on jazz organ in 1958, but didn't make much headway on the scene until he moved to New York and met Blue Note mainstays like Lou Donaldson and Grant Green. He played on Donaldson's Here 'Tis and Green's Grant's First Stand in January 1961, and the same month recorded his own debut, Face to Face. A few months later, he recorded the follow-up, Stop and Listen, which is generally regarded as his best work. After that initial burst of activity, Willette went on to form his own regular trio in 1963, and moved over to the Argo label, where he recorded two sessions in 1964: Mo-Roc and Behind the 8 Ball. He had a regular engagement at a South Side Chicago lounge from 1966-1971 (approximately), but largely vanished from the jazz scene afterwards and died in obscurity.

http://www.allmusic.com/artist/baby-face-willette-mn0000071587/biography

Grant Green • Blue Note Retrospective

 

Simply put, this is a very decent four-disc collection of the work of guitarist Grant Green. It features tracks from his many albums as a leader and some as a sideman with others, such as Lee Morgan, John Patton, Baby Face Willette, and Sonny Clark. His early-’60s sides are here along with most of his defining cuts from the ’60s, from hard bop to soul-jazz to ballads to gospel — everything most fans would ever want is here, including his late blues sides recorded in the bars of Detroit in 1970. While Green’s own albums can never be replaced, this is a solid portrait of one of the most influential jazz guitarists in history.
 

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En pocas palabras, esta es una muy decente colección de cuatro discos del trabajo del guitarrista Grant Green. Presenta temas de sus muchos álbumes como líder y algunos como acompañante de otros, como Lee Morgan, John Patton, Baby Face Willette y Sonny Clark. Sus lados de principios de los 60 están aquí junto con la mayoría de sus cortes definitorios de los 60, desde el hard bop al soul-jazz a las baladas y al gospel - todo lo que la mayoría de los fans querría está aquí, incluyendo sus lados de blues tardío grabados en los bares de Detroit en 1970. Aunque los álbumes de Green nunca podrán ser reemplazados, este es un sólido retrato de uno de los guitarristas de jazz más influyentes de la historia.
 
 

VA • Night Sounds - The Genesis Of Soul-Jazz Organ Combos [1956-1962]

 

Editorial Reviews

The most detailed CD exploration yet into the early 1960s rise of Jazz organists featuring the greatest exponents of the genre: Jimmy Smith, Jimmy McGriff, Brother Jack McDuff, Booker T and many others. Includes the defining hits like "Walk On The Wild Side", "I Got A Woman" and of course "Green Onion". One of the greatest things about this most popular sub-genre of jazz is how fresh most of the records still sound over fifty years after they were recorded. Many of these songs were covered by British bands during the blues boom and the genre was an important element in the emerging Mod movement.

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Reseñas editoriales

La exploración más detallada de CD hasta ahora en el auge a principios de los años 60 de los organistas de Jazz con los más grandes exponentes del género: Jimmy Smith, Jimmy McGriff, el hermano Jack McDuff, Booker T y muchos otros. Incluye los éxitos definitorios como "Walk On The Wild Side", "I Got A Woman" y, por supuesto, "Green Onion". Una de las mejores cosas de este subgénero más popular del jazz es la frescura con la que la mayoría de los discos todavía suenan más de cincuenta años después de haber sido grabados. Muchas de estas canciones fueron interpretadas por bandas británicas durante el boom del blues y el género fue un elemento importante en el emergente movimiento Mod.

Jimmy Smith, Bill Doggett, Hank Marr, Larry Young, Brother Jack McDuff, Richard ''Groove'' Holmes, Shirley Scott,  Lou Donaldson, Baby Face Willette, Booker T. & The MG's ...

VA • High Fidelity Jazz-Blues Jazz

 

Baby Face Willette, Benny Green, Dexter Gordon, Freddie Hubbard, Grant Green, Hank Mobley, Horace Silver, Jimmy Smith, Lou Donaldson ...

 

 

 

VA • Blue Note's Six Vital Organs

 

VA • The Most Essential Jazz Organ

Larry Young, Bill Doggett, Shirley Scott, Jimmy Smith, Jimmy McGriff, Joey Defrancesco, Baby Face Willette, Dr. Lonnie Smith …

Baby Face Willette • Stop and Listen

Stop and Listen was the last session that organist Baby Face Willette made for Blue Note. He came in with guns blazing on Lou Donaldson's Here 'Tis, made his and Grant Green's debut recordings, and then this fiery trio album in May 1961. Willette was an earthy, exciting player and he, Green, and Ben Dixon would have become one of the premier organ trios in jazz had he stuck around. This great album includes three standards (one a bonus track), four originals, and Nat Adderley's "Work Song." The whole affair cooks from first tune to last. Remastered by original recording engineer Rudy Van Gelder from the original analog masters.

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Traducción Automática:

Stop and Listen fue la última sesión que el organista Baby Face Willette hizo para Blue Note. Entró con las armas encendidas en Here 'Tis de Lou Donaldson, realizó sus primeras grabaciones y las de Grant Green, y luego este ardiente álbum de trío en mayo de 1961. Willette era un jugador apasionante y terrenal, y él, Green y Ben Dixon se habrían convertido en uno de los principales tríos de órgano en el jazz se había quedado. Este gran álbum incluye tres estándares (uno extra), cuatro originales y "Work Song" de Nat Adderley. Todo el asunto cocina de primera a última. Remasterizado por el ingeniero de grabación original Rudy Van Gelder de los maestros analógicos originales.

VA • The Greatest Jazz Organists

 

Larry Young, Milt Buckner, Bill Doggett, Jimmy Smith, Jimmy McGriff, Hammond, Baby Face Willette, Richard ''Groove'' Holmes, Booker T. & The MG's …

VA • The Organ

Dr. Lonnie Smith, Larry Young,  Joey DeFrancesco,  Jack McDuff,  Shirley Scott,  Baby Face Willette,  Walter Wanderley,  Bill Doggett, Jimmy Smith ...

 

 

 

VA • So Blue So Funky Blue Funky - Heroes of the Hammond

Grant Green, Larry Young, Freddie Roach, jazz, Lou Donaldson, Jimmy Smith, Jimmy McGriff, Brother Jack McDuff, Baby Face Willette, John Patton …

VA • So Blue So Funky Blue Funky - Heroes of the Hammond Vol. 2

 

Paul Bryant, Curtis Amy, Larry Young, Freddie Roach, jazz, Lou Donaldson, Jimmy Smith, Jimmy McGriff, Baby Face Willette, Richard ''Groove'' Holmes, John Patton …

VA • Groovy Jazz Organ

Baby Face Willette, Bill Doggett, Brother Jack McDuff, Freddie Roach, Jimmy McGriff, Jimmy Smith, Johnny 'Hammond' Smith, Lou Bennett, Larry Young, Lou Donaldson, Dave 'Baby' Cortez, Shirley Scott, Esquivel, Jackie Davis, Milt Buckner, Booker T, Fred Jackson, Phil Upchurch Combo ...

 

 

 

VA • Great Jazz Organ

 

VA • Organized!

Baby Face Willette, Barbara Dennerlein, Bill Doggett, Brother Jack McDuff, Hammond, Ingfried Hoffmann, James Brown, Jimmy Smith, Milt Buckner, Odell Brown, Rhoda Scott, Shirley Scott, Walter Wanderley ...

Lou Donaldson • Here 'Tis (RVG-edition)

Alto saxophonist Lou Donaldson is one of a slew of hornmen to emerge from the long shadow of Charlie Parker, one whose distinctive bluesy sensibility eventually became a leading voice in the soul jazz movement. Here 'Tis (recorded in 1961), Donaldson's 14th session as a leader for Blue Note, is a standout release in his catalogue, a high midpoint along a stylistic transition that began with 1958's Blues Walk and would crystallize with 1967's Alligator Bogaloo.

Here 'Tis boasts a stellar supporting cast of Grant Green (guitar), Baby Face Willette (organ) and Dave Bailey (drums) in a vibrant workout over four 12-bar blues tunes and a cover of the Gershwin's "A Foggy Day." Donaldson's playing here contains the best of bop and blues aesthetics; unhurried, fluent, expressive and eminently swinging, his ideas unfold with a seemingly effortless mix of heart and intelligence. As Robert Levin aptly describes it in the original liner notes, "If there is sometimes...a scent of the academy...there is also the vitality and conviction of insight."

Green, a fresh arrival on the New York scene at this point in his career, his talent in full flower, delivers solos that evince a masterful mix of space and density, stop and go. Willette is the emotional epicenter of the session, working the organ with a raw, undisciplined touch that pulls on the listener like a preacher's sermon, milking each phrase to its last emotive drop. While "A Foggy Day," Bird's "Cool Blues" and "Watusi Jump" are brisk swingers, showcasing the combo's driving verve, the title track and "Walk Wid Me" are moody dirges that would past muster with a down-home blues bar crowd.

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El saxofonista alto Lou Donaldson es uno de los muchos hombres de la bruma que emergen de la larga sombra de Charlie Parker, uno cuya sensibilidad blues distintiva se convirtió finalmente en una voz principal en el movimiento del soul jazz. Aquí 'Tis (grabado en 1961), la 14ª sesión de Donaldson como líder de Blue Note, es un lanzamiento destacado en su catálogo, un punto medio alto a lo largo de una transición estilística que comenzó con Blues Walk en 1958 y cristalizaría con Alligator Bogaloo en 1967.

Aquí 'Tis cuenta con un elenco de apoyo estelar de Grant Green (guitarra), Baby Face Willette (órgano) y Dave Bailey (batería) en un vibrante entrenamiento con cuatro canciones de blues de 12 compases y una versión de "A Foggy Day" de Gershwin. El juego de Donaldson aquí contiene lo mejor de la estética de bop y blues; sin prisas, fluidas, expresivas y eminentemente oscilantes, sus ideas se desarrollan con una mezcla de corazón e inteligencia aparentemente sin esfuerzo. Como Robert Levin lo describe acertadamente en las notas del forro original, "Si a veces hay ... un olor de la academia ... también existe la vitalidad y la convicción de la percepción".

Green, un recién llegado a la escena de Nueva York en este momento de su carrera, su talento en plena floración, ofrece solos que evidencian una mezcla magistral de espacio y densidad, pare y comience. Willette es el epicentro emocional de la sesión, trabajando el órgano con un toque crudo e indisciplinado que atrae al oyente como un sermón de un predicador, ordeñando cada frase hasta su última caída emotiva. Mientras que "A Foggy Day", "Cool Blues" de Bird y "Watusi Jump" son enérgicos swingers, mostrando el vértigo del combo, la pista del título y "Walk Wid Me" son frases de mal humor que sobrepasarían a una barra de blues en casa. multitud.

Grant Green • Grant's First Stand

Artist Biography by Michael Erlewine

A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar. He combined an extensive foundation in R&B with a mastery of bebop and simplicity that put expressiveness ahead of technical expertise. Green was a superb blues interpreter, and while his later material was predominantly blues and R&B, he was also a wondrous ballad and standards soloist. He was a particular admirer of Charlie Parker, and his phrasing often reflected it.

Grant Green was born in St. Louis in 1935 (although many records during his lifetime incorrectly listed 1931). He learned his instrument in grade school from his guitar-playing father, and was playing professionally by the age of thirteen with a gospel group. He worked gigs in his home town and in East St. Louis, Illinois -- playing in the '50s with Jimmy Forrest, Harry Edison, and Lou Donaldson -- until he moved to New York in 1960 at the suggestion of Donaldson. Green told Dan Morgenstern in a Down Beat interview: "The first thing I learned to play was boogie-woogie. Then I had to do a lot of rock & roll. It's all blues, anyhow."

During the early '60s, both his fluid, tasteful playing in organ/guitar/drum combos and his other dates for Blue Note established Green as a star, though he seldom got the critical respect given other players. He collaborated with many organists, among them Brother Jack McDuff, Sam Lazar, Baby Face Willette, Gloria Coleman, Big John Patton, and Larry Young. He was off the scene for a bit in the mid-'60s, but came back strong in the late '60s and '70s. Green played with Stanley Turrentine, Dave Bailey, Yusef Lateef, Joe Henderson, Hank Mobley, Herbie Hancock, McCoy Tyner, and Elvin Jones.

Sadly, drug problems interrupted his career in the '60s, and undoubtedly contributed to the illness he suffered in the late '70s. Green was hospitalized in 1978 and died a year later. Despite some rather uneven LPs near the end of his career, the great body of his work represents marvelous soul-jazz, bebop, and blues.

Although he mentions Charlie Christian and Jimmy Raney as influences, Green always claimed he listened to horn players (Charlie Parker and Miles Davis) and not other guitar players, and it shows. No other player has this kind of single-note linearity (he avoids chordal playing). There is very little of the intellectual element in Green's playing, and his technique is always at the service of his music. And it is music, plain and simple, that makes Green unique.

Green's playing is immediately recognizable -- perhaps more than any other guitarist. Green has been almost systematically ignored by jazz buffs with a bent to the cool side, and he has only recently begun to be appreciated for his incredible musicality. Perhaps no guitarist has ever handled standards and ballads with the brilliance of Grant Green. Mosaic, the nation's premier jazz reissue label, issued a wonderful collection The Complete Blue Note Recordings with Sonny Clark, featuring prime early '60s Green albums plus unissued tracks. Some of the finest examples of Green's work can be found there.

https://www.allmusic.com/artist/grant-green-mn0000738855/biography

Artist Biography

Green was born on June 6, 1931 in St. Louis, Missouri. He first performed in a professional setting at the age of 13. His early influences were Charlie Christian and Charlie Parker; however, he played extensive R & B gigs in his home town and in East Saint Louis, IL while developing his jazz chops. His first recordings in St. Louis were with tenor saxophonist Jimmy Forrest for the Delmark label. Lou Donaldson discovered green playing in a bar in St. Louis. After touring together with Donaldson, Green arrived in New York around 1959-60. In a Down Beat interview from the early 60's, Green said “The first thing I learned to play was boogie-woogie. Then I had to do a lot of rock and roll. It's all blues, anyhow.”

Lou Donaldson introduced Green to Alfred Lion of Blue Note Records. Lion was so impressed that, rather than testing Green as a sideman, as was the usual Blue Note practice, he arranged for him to record as a bandleader first. This recording relationship was to last, with a few exceptions, throughout the 'sixties. From 1961 to 1965 Green made more Blue Note LPs as leader and sideman than anyone else. Green was named best new star in the Down Beat critics' poll, 1962. As a result, his influence spread wider than New York. Green's first session as a leader did not meet the approval of Lion and was shelved, not to be released until 2002 as First Session. Green's first issued album as a leader was Grant's First Stand. This was followed in the same year by two more Blue Note releases: Green Street and Grantstand. He often provided support to many of other great musicians on Blue Note. These included saxophonists Hank Mobley, Ike Quebec, Stanley Turrentine and Harold Vick, as well as organists Larry Young and Big John Patton.

Sunday Mornin' , The Latin Bit and Feelin' the Spirit are all loose concept albums, each taking a musical theme or style: Gospel, Latin and spirituals respectively. Green always carried off his more commercial dates with artistic success during this period. Idle Moments (1963), featuring Joe Henderson and Bobby Hutcherson, and Solid (1964) are acclaimed as two of Green's best recordings. Many of Green's Blue Note recordings, including a series of sessions with pianist Sonny Clark were not released during his lifetime. In 1966 Green left Blue Note and recorded for several other labels, including Verve. From 1967 to 1969 Grant was inactive due to personal problems. In 1969 Green, having relocated to Detroit, returned with a new funk-influenced band. His recordings from this period include the commercially successful Green is Beautiful and Live at the Lighthouse. Grant left Blue Note again in 1974 and once again recorded sporadically for different labels.

Green spent much of 1978 in hospital and, against the advice of doctors, went back on the road. While in New York to play an engagement at George Benson's Breezin' Lounge, Green collapsed in his car of a heart attack on January 31, 1979. He was buried in his hometown of St. Louis, Missouri, and was survived by six children.

https://musicians.allaboutjazz.com/grantgreen

 

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Biografía del artista por Michael Erlewine

Un jugador severamente subestimado durante su vida, Grant Green es uno de los grandes héroes anónimos de la guitarra de jazz. Combinó una amplia base en R&B con un dominio del bebop y la simplicidad que puso la expresividad por encima de la experiencia técnica. Green fue un magnífico intérprete de blues, y aunque su material posterior fue predominantemente blues y R&B, también fue un maravilloso solista de balada y estándares. Era un admirador particular de Charlie Parker, y su fraseo a menudo lo reflejaba.

Grant Green nació en St. Louis en 1935 (aunque muchos registros durante su vida mencionan incorrectamente 1931). Aprendió su instrumento en la escuela primaria de su padre guitarrista, y tocaba profesionalmente a la edad de trece años con un grupo de gospel. Trabajó en conciertos en su ciudad natal y en East St. Louis, Illinois -- tocando en los años 50 con Jimmy Forrest, Harry Edison y Lou Donaldson -- hasta que se mudó a Nueva York en 1960 por sugerencia de Donaldson. Green le dijo a Dan Morgenstern en una entrevista con Down Beat: "Lo primero que aprendí a tocar fue el boogie-boogie. Entonces tuve que hacer mucho rock & roll. Todo es blues, de todos modos."

A principios de los años 60, tanto su fluida y sabrosa interpretación en combos de órgano/guitarra/batería como sus otras fechas para Blue Note establecieron a Green como una estrella, aunque rara vez obtuvo el respeto de la crítica dado a otros músicos. Colaboró con muchos organistas, entre ellos Jack McDuff, Sam Lazar, Baby Face Willette, Gloria Coleman, Big John Patton y Larry Young. Estuvo fuera de escena por un tiempo a mediados de los 60, pero regresó con fuerza a finales de los 60 y 70. Green tocó con Stanley Turrentine, Dave Bailey, Yusef Lateef, Joe Henderson, Hank Mobley, Herbie Hancock, McCoy Tyner y Elvin Jones.

Lamentablemente, los problemas de drogas interrumpieron su carrera en los años 60, y sin duda contribuyeron a la enfermedad que sufrió a finales de los 70. Green fue hospitalizado en 1978 y murió un año después. A pesar de algunos LPs bastante desiguales cerca del final de su carrera, el gran cuerpo de su obra representa un maravilloso soul-jazz, bebop y blues.

Aunque menciona a Charlie Christian y Jimmy Raney como influencias, Green siempre dijo que escuchaba a los trompetistas (Charlie Parker y Miles Davis) y no a otros guitarristas, y se nota. Ningún otro jugador tiene este tipo de linealidad de nota única (evita tocar los acordes). Hay muy poco del elemento intelectual en el toque de Green, y su técnica está siempre al servicio de su música. Y es la música, simple y llanamente, lo que hace que Green sea único.

El toque de Green es inmediatamente reconocible, quizás más que cualquier otro guitarrista. El verde ha sido casi sistemáticamente ignorado por los aficionados al jazz con una inclinación hacia el lado frío, y sólo recientemente ha empezado a ser apreciado por su increíble musicalidad. Quizás ningún guitarrista ha manejado nunca los estándares y baladas con la brillantez de Grant Green. Mosaic, el sello de reedición de jazz más importante del país, publicó una maravillosa colección The Complete Blue Note Recordings con Sonny Clark, que incluye álbumes de los primeros años de la década de los'60, además de temas no publicados. Algunos de los mejores ejemplos del trabajo de Green se pueden encontrar allí.

https://www.allmusic.com/artist/grant-green-mn0000738855/biography

Biografía del artista

Green nació el 6 de junio de 1931 en St. Louis, Missouri. Se presentó por primera vez en un ambiente profesional a la edad de 13. Sus primeras influencias fueron Charlie Christian y Charlie Parker; sin embargo, tocó en extensos conciertos de R & B en su ciudad natal y en East Saint Louis, IL, mientras desarrollaba sus habilidades de jazz. Sus primeras grabaciones en St. Louis fueron con el saxofonista tenor Jimmy Forrest para el sello Delmark. Lou Donaldson descubrió el verde jugando en un bar de St. Louis. Después de viajar con Donaldson, Green llegó a Nueva York alrededor de 1959-60. En una entrevista de Down Beat de principios de los 60, Green dijo: "Lo primero que aprendí a tocar fue el boogie-woogie. Luego tuve que hacer mucho rock and roll. Todo es blues, de todos modos."

Lou Donaldson presentó a Green a Alfred Lion de Blue Note Records. Lion quedó tan impresionado que, en lugar de probar a Green como sideman, como era la práctica habitual de Blue Note, se las arregló para que grabara primero como líder de banda. Esta relación de grabación iba a durar, con algunas excepciones, a lo largo de los años sesenta. De 1961 a 1965 Green hizo más LPs de Blue Note como líder y sideman que cualquier otro. Green fue nombrada mejor nueva estrella en la encuesta de los críticos de Down Beat de 1962. Como resultado, su influencia se extendió más allá de Nueva York. La primera sesión de Green como líder no contó con la aprobación del León y fue archivada, por lo que no fue lanzada hasta 2002 como Primera Sesión. El primer álbum que publicó Green como líder fue "Grant's First Stand". Esto fue seguido en el mismo año por otras dos versiones de Blue Note: Green Street y Grantstand. A menudo proporcionó apoyo a muchos otros grandes músicos en Blue Note. Entre ellos se encontraban los saxofonistas Hank Mobley, Ike Quebec, Stanley Turrentine y Harold Vick, así como los organistas Larry Young y Big John Patton.

The Latin Bit y Feelin' the Spirit son álbumes de concepto sueltos, cada uno con un tema o estilo musical: Evangelio, latín y espirituales respectivamente. Green siempre se llevó sus citas más comerciales con éxito artístico durante este periodo. Idle Moments (1963), con Joe Henderson y Bobby Hutcherson, y Solid (1964) son aclamados como dos de las mejores grabaciones de Green. Muchas de las grabaciones de Blue Note de Green, incluyendo una serie de sesiones con el pianista Sonny Clark no fueron lanzadas durante su vida. En 1966 Green dejó Blue Note y grabó para varios otros sellos, entre ellos Verve. De 1967 a 1969 Grant estuvo inactivo debido a problemas personales. En 1969 Green, después de haberse mudado a Detroit, regresó con una nueva banda influenciada por la música funk. Sus grabaciones de este período incluyen el comercialmente exitoso Green is Beautiful y Live at the Lighthouse. Grant dejó Blue Note de nuevo en 1974 y grabó esporádicamente para diferentes sellos.

Green pasó gran parte de 1978 en el hospital y, en contra de los consejos de los médicos, volvió a la carretera. Mientras estaba en Nueva York para tocar en el Breezin' Lounge de George Benson, Green se desplomó en su coche de un ataque al corazón el 31 de enero de 1979. Fue enterrado en su ciudad natal de St. Louis, Missouri, y le sobrevivieron seis hijos.

https://musicians.allaboutjazz.com/grantgreen

Traducción realizada con el traductor www.DeepL.com/Translator

 

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