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  Исполнитель(и) :
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  Наименование CD :
   Patcha, Patcha, All Night Long



Год издания : 1985

Компания звукозаписи : Original Jazz, Galactic, (ru)

Музыкальный стиль : Jump Blues, Urban Blues, R&B

Время звучания : 42:38

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Blues (Man Voice)      

Joe Turner meets Jimmy Witherspoon

The Silver collection. recorded April 11 1985

This CD reissue, which is subtitled "Joe Turner Meets Jimmy Witherspoon," tdoes not quite deliver on its promise. Turner (who would pass away within a year) and Witherspoon only actually meet up on the first two numbers and, other than some interplay on "Patcha, Patcha," the matchup generates few sparks. However the individual features (two songs apiece) are excellent, particularly Witherspoon's "You Got Me Runnin"' and Turner's "The Chicken and the Hawk." In addition there are many fine solos from altoist Red Holloway, Lee Allen on tenor and guitarist Gary Bell. This is a worthwhile and obviously historic set, recommended as much to blues as jazz collectors.

All Music Guide

========= from the cover ==========

Mingus wanted to hear some music, but it had to be music you could shout to and feel all the way through you. So we went to a place in Greenwich Village, the Cookery, to listen to Joe Turner. He sang, sitting in a chair, but he had more presence than if he'd been ten feet tall and striding among the tables. He had that much presence because his voice filled the room, and then some. Lining out the blues, Turner made me remember how Billie Holiday-who knew the blues even though she seldom sang formal blues-described this deepest common language of American classical music: "The blues to me is like being very sad, very sick, going to church, being very happy. The blues is a sort of mixed up thing. You can tell any kind of a story in the blues, just so long as you feel it."

Jimmy Witherspoon also makes that definition resound. I used to hear him when he and Ben Webster worked together, and the warmth they generated on ballads as well as blues clearly came out of so much real-life experience that the mechanical music on the radio seemed all the emptier.

On this Pablo set, hearing Joe Turner and Jimmy Witherspoon together brings to mind how few giants are left in the blues as well as in instrumental jazz. How many singers could take care of themselves in the competition on these tracks? How many singers coming up even know the route to this summit? How many know the histories of these two resplendent survivors?

Big Joe Turner was tending bar and singing the blues at Piney Brown's Sunset in Kansas City in the early 1930s. There was another club across the street, the Lone Star, and Jo Jones remembers: "Joe Turner would start to sing the blues at the Sunset, and then he'd go across the street and sing the blues at the Lone Star ... At that time it wasn't unusual for one number to go on about an hour or an hour and half. Nobody got tired." (That's the feeling on this album-nobody got tired. The spirit keeps lifting you ahead.)

Joe Turner went on to New York, became an internationally fabled storyteller, made rhythm and blues hits, and in recent years had added to his classic blues legacy on Pablo. Joe sings with such a tidal beat that he can swing any band. But he doesn't have to help this band, because these players know the language, know the time, and feel the time just the way Joe does.

Jimmy Witherspoon started singing in a Baptist church in Arkansas when he was five years old. At sixteen he quit school and lit out for the California dream machine and became a protege of T-Bone Walker. While in the Merchant Marine, he sang with pianist Teddy Weatherford's jazz band in Calcutta and that, he says, was the first time he ever sang the blues. It came naturally to him though, as was evident when, back in the States, he worked with Jay McShann's band. Witherspoon got the job because McShann liked the way he sang Joe Turner's "Wee Baby Blues."

Spoon is also renowned in Europe and Japan, and gets a lot more television time there than at home. Joe and Spoon, of course, ought to be seen and heard in American schools-on records and videotapes-as bearers of essential American oral traditions, literary as well as musical.

On this set, Spoon, over a drivingly pulsing band, enters first on "Patcha, Patcha" and the proceedings keep building from there. The "Blues Lament" is like an anthology of vintage blues epiphanies, taken at an utterly easeful tempo that could keep the memories of the singers and the listeners going all night long. In the 1 940s, in certain jazz clubs, I'd hear long, nonstop blues like these, one of the most memorable nights being when Oran "Hot Lips" Page kept on spinning out the blues for an hour and a half without repeating a single lyric.

Although most of the blues images in "Blues Lament" are evocatively familiar, Spoon comes up with one I hadn't heard before-"Got to take you to the dentist tomorrow morning/ Because I'm knocking out your teeth tonight." "You Got Me Runnin'" is Spoon's number with, again, the band getting into an exactly mellow groove from note one. Big Joe goes back to Kansas City in "Kansas City on My Mind," but not exactly in triumph because a boyhood love (maybe the girl in "Wee Baby Blues") has married someone else and is raising a family. Also telling the story, as on the other tracks, is guitarist Gary Bell, a powerful raconteur. So too with tenor Lee Allen. Also dig the comping by pianist Bobby Blevins.

"J.T.'s Blues," in addition to Joe Turner's emphatic witnessing, has equally spirited turns by Jerry Jummonville on baritone saxophone, guitarist Gary Bell, and alto saxophonist Red Holloway. And "I Want a Little Girl," with a lyrical lead-in by Holloway, illuminates Witherspoon the romanticist, seasoned through the years by the lessons of the blues.

"Any time," Jimmy Rushing once said, "a person can play or sing the blues, he has a soul and that gives him a sort of lift to play anything else he wants to play. The blues are a sort of base, like a foundation to a building."

Listening to this album over a number of playings, I also thought of Art Blakey's comment:, 'The blues are the beginning of jazz. That's where it comes from. The last thing Charlie Parker said to me was he wondered when the young people would come back to playing the blues. I tell you, if you can learn how to play the blues, you can play anything."

And if you can sing the blues with the sweets and authority of Joe Turner and Jimmy Witherspoon, you can get anybody in the world to pay close attention to your story.

-Nat Hentoff


  Соисполнители :

Al Duncan (Drums)
Bobby Bleving (Keyboards)
Gary Bell (Guitar)
Jerry Jummonville (Baritone Saxophone)
Jimmy Williams (Trumpet)
Lee Allen (Tenor Saxophone)
Red Holloway (Alt Saxophone)
Ruddy Brown (Bass)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Patcha, Patcha         0:07:31 Joe Turner
   2 Blues Lament         0:12:07 Turner / Witherspoon
   3 You Got Me Runnin         0:03:36 Jimmy Reed
   4 Kansas City On My Mind         0:07:56 Joe Turner
   5 The Chicken And The Hawk         0:05:41 Leiber / Stoller
   6 I Want A Little Girl         0:05:47 Mencher / Moll

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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