[HAM] McDuff - Listen

[joe doria]

Yes!
Another killer cut.



>From: Organfreak <scott195 at centurytel.net>
>Reply-To: The Hammond Forum <hammond at zeni.net>
>To: The Hammond Forum <hammond at zeni.net>
>Subject: [HAM] McDuff - Listen
>Date: Fri, 08 Sep 2006 20:56:24 -0700
>
>
>Let's play the Jack McDuff feel good hit of the summer off some more of my
>old vinyl. I have seen this record ("Do It Now!," Atlantic) on CD, but
>rarely. It's bright yellow so you can't miss it.
>
>I'll do a write-up on it, but here's the link if you want to skip the 
>blather:
><www.organfreak.com/listen/McDuff-StrollingBlues.mp3>  (3.35 MB, MONO)
>MONO because that's the way the record is.
>
>When Jack came to Atlantic, he was missing his classic group of Geo.
>Benson, guitar, Red Holloway, tenor sax, and Joe Dukes, drums. So here we
>have Melvin Sparks, guitar, Leo Johnson and Danny Turner, saxophones, and
>Ray Appleton, drums. (I once knew his brother, Crabby.) That didn't slow
>him down much-- he still made these outrageous arrangements out of
>formerly-simple blues, like this one in 'F.'
>
>The tune features breaks that are two full choruses long where the soloist
>has to really hang it out there by himself-- both a compliment and a
>challenge from our diabolical band leader. These may not be the greatest
>soloists in the world, but McDuff's bass and comping are so much fun, so
>swinging and varied, and so clearly-recorded that I like to just sit and
>listen to him, to heck with the soloists.
>
>Something that Jack liked to do was make the one chord (F7) nice and noisy,
>with lots going on, then when going to the four (Bb7), there's a loud hit
>on a big Bb13th and then everything quiets down to let the soloist get into
>it. Countless organ players have done it since, but I think he started it.
>
>Bass line aficionados, if they haven't before, should really pay attention
>to how he makes his patented, subtle variations in his bass line. The
>pattern is somewhat set for the tune, but it never stays the same; it's
>always varying and moving in unexpected directions. And, here I go again on
>this, there are SPACES between the notes, unlike most of the other organ
>players. (His fingers were bouncing up in the air. Standing behind him, you
>should have heard all the clacking from his left-hand rings.) This makes
>the notes punchier, and it gives more space for the grace notes. Notice how
>prominent his decorations are, and it swings hard!
>
>The drum solo gets a whole new chord progression. It's a sort of musical
>joke, a never-ending vamp of II-Vs. Then back to the head. Being one of the
>uncommon jazz organists who could play full chords with his left hand on
>the LM, he then can rip off a few new ones after the closing chord.
>
>And yes, the percussion is set to slow decay. How 'bout that!
>
>
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