Milt Buckner's Hammond organ sound is quite different than others who followed in his footsteps. His choppy two-hand chord approach, thorny and biting sound, and his regular usage of a bass player identified him as a raw industrialist, coming from the Midwest hearths of St. Louis and Detroit. Buckner has largely been ignored as a pioneer of the organ in the '50s, so this reissue of his recordings for the Capitol label -- Rockin' with Milt, Rockin' Hammond, and Send Me Softly, plus five tracks from 7" EPs -- should reinforce why he was an important purveyor of the primordial soul-jazz movement. Buckner came out of the swing era as a pianist and sometimes cocktail lounge performer who was able to straddle the line between popular sounds of the day and more riveting and substantive jazz. The title Rockin' with Milt is apropos, as these tunes establish the rhythm & blues based beat that Elvis Presley, Bill Haley, and Chuck Berry turned into the seminal rock & roll that took over popular and dancehall music. The saxophonists who work with Buckner on these individual sessions are interesting picks, considering where their careers eventually landed. Danny Turner was a New York based alto and tenor saxophonist and a favorite of Sarah Vaughan and Count Basie, ex-Basie sax section stalwart Earle Warren's vibrato flavored alto was favorably compared to Earl Bostic, while tenor saxophone honker "Sam "The Man" Taylor" was well known in blues circles, also accompanying Cab Calloway, Louis Jordan, and Ray Charles, but could swing with the best. Tracks from the Rockin' with Milt sessions feature bassist Wendell Marshall and Duke Ellington drummer Sam Woodyard, including four Buckner originals like the R&B based "Movin' with Mitch," the fleet "Slaughter on 125th Street," and the cute unison organ/sax tune "Little Miss Maudlin." Boppers like the speedy "Bernie's Tune" and the easygoing "Robbins Nest" are hardcore classics. Overdubbing piano and organ, Buckner uses only guitarists and bass/drums rhythm mates for the stomping "Hey Now, Zorina!," and originals like the keyboards calling back and forth to each other on "Count's Basement," the shuffling "Wild Scene" and well after midnight "Mighty Low." Warren enters with pronounced, bent, flatted notes on Ahmad Jamal's "Night Mist" and the lovely, romantic "Dinner Date." Sam "The Man" Taylor and plucky guitarist Skeeter Best drench champagne and chocolate respectively over the bluesy melodies of "Good Time Express" and the jive "Second Section." The sessions from the Send Me Softly LP are distinctly more cocktail or martini induced than ale or stout, with some light calypso, cha cha, nonchalant background music, and themes of regret or loneliness. "All or Nothing at All" is a mysterious and unique Latin treatment of this standard, while Warren's somber reading of "Lullaby of the Leaves" will leave you breathless. "Our Engagement Day" is a sentimental theme that nuptials should discover. Master bassist Milt Hinton is all over the second CD, and provides a good study in supportive rhythm and swing for those learning the idiom. Aside from the contrasts of tinkling piano as opposed to stabbing organ chords on "One O'Clock Jump," or the slow and slinky "Blue & Sentimental," Buckner is regular and predictable for those who know his work. If you are unfamiliar with Buckner's style, surprises abound, especially considering how his Hammond sound would preclude the more legato Wurlitzer or Farfisa sonic palate that was too slow for jazz improvisation in the '60s. As there are too few Milt Buckner recordings in contemporary catalogs, this is as close to his essential period as is available. ~ Michael G. Nastos, All Music Guide
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El sonido del órgano Hammond de Milt Buckner es muy diferente a otros que siguieron sus pasos. Su agitado enfoque de acordes a dos manos, su sonido espinoso y mordaz, y su uso regular de un bajista lo identificaron como un industrial inexperto, proveniente de los hogares del Medio Oeste de San Luis y Detroit. Buckner ha sido ignorado como pionero del órgano en los años 50, así que esta reedición de sus grabaciones para el sello Capitol -- Rockin' with Milt, Rockin' Hammond, and Send Me Softly, plus five tracks from 7" EPs -- debería reforzar la razón por la que era un importante proveedor del movimiento primordial del soul-jazz. Buckner salió de la era del swing como pianista y a veces como intérprete de cocktail lounge, quien fue capaz de transitar la línea entre los sonidos populares del día y el jazz más fascinante y sustantivo. El título Rockin' with Milt es apropiado, ya que estas melodías establecen el ritmo basado en rhythm & blues que Elvis Presley, Bill Haley y Chuck Berry convirtieron en el rock & roll seminal que se apoderó de la música popular y dancehall. Los saxofonistas que trabajan con Buckner en estas sesiones individuales son una selección interesante, teniendo en cuenta el lugar en el que finalmente aterrizaron sus carreras. Danny Turner era un saxofonista alto y tenor de Nueva York y uno de los favoritos de Sarah Vaughan y Count Basie, la sección de saxo del ex-Basie de Earle Warren fue favorablemente comparada con Earl Bostic, mientras que el saxofón tenor "Sam "The Man" Taylor" era bien conocido en los círculos del blues, también acompañando a Cab Calloway, Louis Jordan, y Ray Charles, pero podía columpiarse con los mejores. Los temas de las sesiones de Rockin' with Milt incluyen al bajista Wendell Marshall y al baterista de Duke Ellington Sam Woodyard, incluyendo cuatro originales de Buckner, como el basado en R&B "Movin' with Mitch", la flota "Slaughter on 125th Street" y la linda melodía al unísono de órgano y saxofón "Little Miss Maudlin". Boppers como el veloz "Bernie's Tune" y el desenfadado "Robbins Nest" son clásicos del hardcore. Con el piano y el órgano sobredoblando, Buckner sólo utiliza guitarristas y compañeros de ritmo de bajo/batería para el stomping "Hey Now, Zorina! y originales como los teclados que se llaman unos a otros en "Count's Basement", la barajada "Wild Scene" y mucho después de la medianoche "Mighty Low". Warren entra con notas pronunciadas, dobladas y planas en "Night Mist" de Ahmad Jamal y la encantadora y romántica "Dinner Date". Sam "The Man" Taylor y el valiente guitarrista Skeeter Best beben champán y chocolate respectivamente sobre las melodías blues de "Good Time Express" y el jive "Second Section". Las sesiones del LP Send Me Softly son claramente más inducidas por el cóctel o el martini que por la cerveza o la cerveza negra, con un poco de calypso ligero, cha cha cha, música de fondo indiferente y temas de arrepentimiento o soledad. "Todo o nada en absoluto" es un misterioso y único tratamiento latino de este estándar, mientras que la lectura sombría de Warren de "Lullaby of the Leaves" le dejará sin aliento. "Nuestro día de compromiso" es un tema sentimental que las nupcias deben descubrir. El bajista maestro Milt Hinton está en todo el segundo CD, y proporciona un buen estudio en ritmo y swing de apoyo para aquellos que están aprendiendo el idioma. Aparte de los contrastes del piano tintineante en vez de los acordes del órgano de apuñalamiento en "One O'Clock Jump", o el lento y delgado "Blue & Sentimental", Buckner es regular y predecible para aquellos que conocen su trabajo. Si no está familiarizado con el estilo de Buckner, las sorpresas abundan, especialmente considerando cómo su sonido Hammond excluiría el paladar sónico más legato de Wurlitzer o Farfisa que era demasiado lento para la improvisación de jazz en los años 60. Como hay muy pocas grabaciones de Milt Buckner en los catálogos contemporáneos, esto es lo más cercano a su período esencial que está disponible. ~ Michael G. Nastos, Guía de Música
Track list
Disc 1
01 Movin' with Mitch Buckner 2:49
02 Lean Baby May 5:12
03 Bernie's Tune Leiber, Miller, Stoller 2:54
04 Easy to Love Porter 2:18
05 Rockin' with Milt Buckner 2:58
06 Blues for Me Turner 2:49
07 Robbin's Nest Jacquet, Robbins, Thompson 5:36
08 Slaughter on 125th Street Buckner 2:04
09 Little Miss Maudlin Buckner 2:25
10 Take the 'A' Train Strayhorn 2:44
11 Hey Now, Zorina! Gross 2:17
12 Deep Purple DeRose, Parish 2:04
13 Count's Basement Buckner 3:08
14 Wild Scene Buckner 2:52
15 We'll Be Together Again Fischer, Laine 2:26
16 The Late Late Show Berlin 3:35
17 The Beast Cavanaugh 2:30
Time: 50:16
Disc 2
01 Jumpin' at the Woodside Basie 2:29
02 Blue and Sentimental Basie, David, Livingstone 2:23
03 Mighty Low Buckner 2:52
04 One O'Clock Jump Basie 2:40
05 Jumpin' at the Zanzibar Buckner 2:25
06 When You Wish Upon a Star Harline, Washington 2:34
07 Night Mist Jamal 2:16
08 Good Time Express Handler 2:40
09 Dinner Date Cavanaugh, Dexter 2:23
10 Second Section Handler 2:13
11 Lullaby of the Leaves Petkere, Young 3:06
12 Easy Come, Easy Go Lover Cooper, Upham 2:39
13 Turquoise Koki 2:08
14 Our Engagement Day Buckner, Buckner 2:25
15 Let Me Love You Howard 2:21
16 When Sunny Gets Blue Fisher, Segal 2:57
17 All or Nothing at All Altman, Lawrence 2:35
18 You're My Girl Cahn, Styne 3:11
19 Someone Else's Love Berlin 2:54
20 Irresistible You DePaul, Raye 2:09
21 Idle Gossip Huddleson, Meyer 2:39
22 You Are My Love Bass 2:07
Time: 55:36
Personnel:
Bass – Milt Hinton (tracks: 1.11 to 1.17, 2.01 to 2.22), Wendell Marshall (tracks: 1.01 to 1.10)
Compiled By – Tomas Gonzalez
Drums – Osie Johnson (tracks: 1.11 to 1.17, 2.01 to 2.22), Sam Woodyard (tracks: 1.01 to 1.10), Shadow Wilson (tracks: 1.11 to 1.17, 2.01 to 2.06)
Guitar – Dick Garcia (tracks: 1.01 to 1.10), Everett Barksdale (tracks: 1.11 to 1.17, 2.01 to 2.06, 2.11 to 2.22), Mickey Baker (tracks: 1.11 to 1.17, 2.01 to 2.06), Skeeter Best (tracks: 2.07 to 2.10)
Organ – Milt Buckner
Piano – Milt Buckner (tracks: 2.07 to 2.10)
Piano [Overdubbed] – Milt Buckner (tracks: 1.11 to 1.17, 2.01 to 2.06)
Producer [Procuced For Cd Release By] – Jordi Pujol
Saxophone [Alto] – Danny Turner (tracks: 1.02 to 1.05), Earl Warren (tracks: 2.07, 2.09, 2.11 to 2.22)
Saxophone [Tenor] – Danny Turner (tracks: 1.01 to 1.10), Sam "The Man" Taylor (tracks: 2.08, 2.10)
Notes:
#1.01: New York, April 17, 1955. #1.06 to 1.10: New York, April 24, 1955. #1.02 to 1.05: New York, April 18, 1955. #1.11 to 1.13: New York, February 22, 1956. #1.15 to 1.17: New York, February 29, 1956. #2.01 to 2.03: New York, March 12, 1956. #2.04 to 2.06: New York, March 15, 1956. #2.07 to 2.10: New York, September 19, 1956. #2.11 to 2.16: New York, July 24, 1957. #2.17 to 2.22: New York, July 17, 1957.
Tracks 1.01 to 1.10 originally issued as Rockin' With Milt, Capitol 12" album, T 642.
Track 1.11 originally issued on Capitol 7", F 3424.
Tracks 1.12 to 1.17 and 2.01 to 2.06 originally issued as Rockin' Hammond, Capitol 12" Album, T 722.
Tracks 2.07 & 2.08 originally issued on Capitol 7", F 3578.
Tracks 2.09 & 2.10 originally issued on Capitol 7", F 3634.
Tracks 2.11 to 2.22 originally issued as Send Me Softly, Capitol 12" Album, T 938.
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