egroj world: Gene Ludwig • Hands on

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Monday, February 1, 2021

Gene Ludwig • Hands on



This is a very likeable B3 album, and notably for people who are not enamored of tenor sax-organ dates. Gene Ludwig, a longtime Pittsburgh musician with a history of 40 years of plugging away at this genre, has pulled out all the "stops." Ludwig has recorded seven sessions including one on Muse in 1979, all with local musicians, and on independent labels. You've got to hand it to someone who has consistently produced quality sessions and still comes back with more.
Ludwig has smartly programmed this album with two originals, three standards and, on the remaining tracks, five "organ party anthems." Sam Jones' "Unit 7" ostensibly has no connection with the B3 but it was Cannonball Adderley's intro and outro theme for a long time and it fits the bill perfectly. Jerome Richardson's "Groove Merchant" (which came first, the song or the record label?) is a highly under-recorded bounce tempo from the late '60s with the Hammond filling in the horn riffs. "Baby Don't You Go Away Mad," which I remember quite distinctly as Illinois Jacquet's "Black Velvet," swings mightily, as when Sinatra had it in his repetoire.
Pianist Carl Perkins' "Groove Yard," popularized by the Montgomery Brothers, is a fine medium tempo blues. "Willow Weep for Me" is done as a boozy, crying-in-your-beer mode just as if Jimmy Smith and Hank Mobley were blowing it. Ludwig's own "Louie and Jazz" is a perfect '50s-'60s Blue Note hard bop melody line, and until I read the composer credits I was searching mentally for the tune's name and songwriter. I was only disappointed in the closer "Spiritual" which is a solo B3 recitation that you might hear as recessional music at Sunday morning services.
This combo is one that Ludwig has worked with consistently over the past few years. Ken Karsh, a good melody player on guitar, gets ample solo time and makes his point concisely. Tom Wendt, takes care of the percussion, keeps the album moving along nicely. Saxophonist Eric DeFade is the son of Ray DeFade, who played sax for Ludwig in the early '60s. He is a young follower of the organ-tenor sax stars who are no longer on the scene and provides the appropriate sermon when called upon.
https://www.allaboutjazz.com/hands-on-gene-ludwig-blues-leaf-records-review-by-michael-p-gladstone.php 
 
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Este es un álbum de B3 muy agradable, y en particular para la gente que no está enamorada de las citas de saxo tenor-órgano. Gene Ludwig, un veterano músico de Pittsburgh con un historial de 40 años de trabajo en este género, ha sacado todas las "paradas". Ludwig ha grabado siete sesiones, incluida una en Muse en 1979, todas con músicos locales y en sellos independientes. Hay que reconocer a alguien que ha producido constantemente sesiones de calidad y que todavía vuelve con más.
Ludwig ha programado inteligentemente este álbum con dos originales, tres estándares y, en las pistas restantes, cinco "himnos de fiesta de órgano". "Unit 7" de Sam Jones no tiene aparentemente ninguna relación con el B3, pero fue el tema de introducción y salida de Cannonball Adderley durante mucho tiempo y encaja perfectamente. "Groove Merchant" de Jerome Richardson (¿qué fue primero, la canción o el sello discográfico?) es un bounce tempo de finales de los 60 muy poco grabado con el Hammond rellenando los riffs de las trompas. "Baby Don't You Go Away Mad", que recuerdo claramente como "Black Velvet" de Illinois Jacquet, se balancea poderosamente, como cuando Sinatra la tenía en su repertorio.
"Groove Yard" del pianista Carl Perkins, popularizado por los Montgomery Brothers, es un buen blues de tempo medio. "Willow Weep for Me" se hace en modo borracho, llorando en la cerveza, como si Jimmy Smith y Hank Mobley lo estuvieran soplando. Louie and Jazz", del propio Ludwig, es una perfecta línea melódica de hard bop de Blue Note de los años 50-60, y hasta que leí los créditos del compositor estuve buscando mentalmente el nombre de la melodía y el compositor. Sólo me decepcionó el cierre, "Spiritual", que es un recitado en B3 en solitario que podría escucharse como música de receso en los servicios del domingo por la mañana.
Este combo es uno con el que Ludwig ha trabajado constantemente en los últimos años. Ken Karsh, un buen intérprete de melodías a la guitarra, tiene un amplio tiempo en solitario y hace su punto de vista de forma concisa. Tom Wendt, que se encarga de la percusión, mantiene el álbum en movimiento. El saxofonista Eric DeFade es el hijo de Ray DeFade, que tocó el saxo para Ludwig a principios de los 60. Es un joven seguidor de las estrellas del saxo tenor que ya no están en escena y aporta el sermón adecuado cuando se le llama.
https://www.allaboutjazz.com/hands-on-gene-ludwig-blues-leaf-records-review-by-michael-p-gladstone.php


Track Listing:
1 - Louie and Jazz
2 - Unit 7
3 - Groove Yard
4 - Willow Weep for Me
5 - Groove Merchant
6 - Groovy Samba
7 - Baby Don't You Go Away Mad
8 - Pete Kelly's Blues
9 - Layin' Back
10 - Have You Met Miss Jones
11 - Spiritual

Personnel: Gene Ludwig,Hammond B-3 Organ; Ken Karsh,guitar; Tom Wendt,drums; Eric DeFade,sax

Title: Hands On | Year Released: 2004 | Record Label: Blues Leaf Records










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3 comments:

  1. Hi!

    Thanx for this one. A "new" artist here = "new" hears here. Presently listening to some VERY cool YT tracks @ his Discogs page here:

    https://www.discogs.com/artist/1106121-Gene-Ludwig

    Cheers!
    Ciao! For now.
    rntcj

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