mike.holmes's Full Review: Mellow * by Houston Person
First, a correction. The Epinions database listing for this CD states that the genre is "Rock and Pop." Now, I have nothing against either of those genres of music, but, folks, Houston Person's "Mellow" is pure, unadulterated jazz tinged with blues and soul.
This is my third review of a Houston Person album. I've been fortunate to see him at several local jazz parties in the Odessa-Midland, Texas area over the years. Mr. Person never disappoints me in person (not meant as pun) or in his recordings. In the excellent liner notes for this album, jazz DJ Sid Gribetz of WKCR in New York city describes Houston's playing this way:
"When Houston Person plays, there is an immediate emotional connection that makes it all matter and reawakens the soul."
Houston is now 75 years old, an age in which many horn players often "lose" their sound (there are exceptions such as Benny Carter). Mr. Person still plays with the power of some of the tenor sax greats of the past such as Gene Ammons, Sonny Stitt and Stanley Turrentine. Houston has recorded with such jazz, R & B, and soul greats as Lena Horne, Bill Charlap, Lou Rawls, Horace Silver, Eddie Harris, Doc Ellis and Cedar Walton.
Born in 1934, Houston started getting noticed in the 60's as a powerful sax player. He then spent 30 years plus backing the great Etta James. While he is certainly an expert player of hard bop and swing, he is perhaps best known for his soul jazz playing.
On this album, Houston is joined by a number of jazz masters including John Di Martino on piano, James Chirello on guitar, Ray Drummond on bass, and Lewis Nash on drums. The album was recorded at the scene of many of the greatest jazz albums of the last 6 decades, the Rudy Van Gelder Studios.
The first song on the album is Bobby Hebb's pop tune, "SONNY" (maybe that's why the genre is misidentified as a pop album). From the very first notes, it's clear this is not a pop tune. Houston and the rhythm section play the song at a rapid tempo and even as Houston improvises, he never strays too far from the melody. As the song progresses, Person's soulful style is more eviden with long, impassioned phrases and gorgeous runs. Drummond and Nash are powerful accompaniment but never overpowering. Chirillo has a nice solo as does Di Martino. Great start.
"TOO LATE NOW" by Burton Lane and A.J. Lerner is up next. This is a ballad that should be required listening for aspiring sax players (or any jazz players for that matter). Houston's powerful tone gives me goosebumps. Chirillo backs Person along with the rest of the quintet in a tasteful manner. My first "favorite" sax player was the great Coleman Hawkins who also player with a powerful tone and an understanding of the entire song, melody and lyrics. Houston has the same thorough knowldedge of the songs he plays. This is unbelievably beautiful.
Ellington's "IN A MELLOW TONE" has been covered by countless artists. "Mellow" it is, but Houston and the gang play it uptempo with some fine guitar work by Chirillo who often "answers" Person's statements note for note. Chirillo also plays a great solo of his own on the cut.
J. Livingston and R. Evans wrote "TO EACH HIS OWN", which was popular in 40's movies according to the liner notes. Di Martino intros the song quietly on piano and then we hear the soulful, longing sound of Houston's tenor sax as he virtually "says" the words of the song through his horn. Want a great romantic song to dance to in a darkened room? You can't miss with this beauty.
"WHAT A DIFFERENCE A DAY MAKES" by Adams and Grever is another standard which starts off with an achingly gorgeous tenor sax tone in pure ballad form before switching to a Latin jazz style. Chirillo is tremendous here as he backs Houston. Indeed, the entire rhythm section is strong (as it is on the entire CD). Houston and the cats gradually pick up the tempo here but never really leave the soulful context of the old love song.
Frisch and Wayne composed the next number, "TWO DIFFERENT WORLDS". Played in ballad form, the song nevertheless has a soulful feeling that is right down Houston's alley. He lightens up a bit on his tone and plays in a higher register, but the song is still a great soul jazz creation. Di Martino plays a very nice piano solo before Houston finishes up.
Houston and Di Martino composed the next song, "BLUES IN THE AM". Drummond intros the song with a fine bass solo and then the blues gets heavy with the strong tones of Houston's tenor groovin' in and gradually increasing the blues passion. Both Di Martino and Chirillo add great solos on the cut. Another wonderful dancing song.
"WHO CAN I TURN TO?" by Bricusse and Anthony Newley is often sung or played as a ballad but here Houston and the boys "turn the son into a medium tempo swing vehicle." And, the vehicle rides smoothly with just the right amount of soulful, somewhat playful, energy.
Billie Holiday and A. Herzog wrote the standard "GOD BLESS THE CHILD". Again, the song has been covered extensively, but seldom this effectively. Drummond opens up again on bass and then Houston brings his huge tenor sound to the forefront. This performance is what the melding of blues and jazz is all about. You can almost hear Billie sing the lyrics as Houston plays. Absolutely gorgeous.
Lester Young's "LESTER LEAPS IN" provides quite a contrast. As the liner notes point out, the group "finishes off the date with a romping, rollicking version of Prez's" song. Each musician gets a few quick bars as the album ends on an up note.
I consider myself fortunate to have seen Mr. Person play. It's almost as great just listening to this CD.
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