The legendary Prestige label had added soul jazz to its cutting-edge modern jazz catalogue in the early sixties. In fact, by putting numerous hi-profile advertisements of their stock in magazines like Downbeat, continuously stressing the ‘soul’ of Eddie “Lockjaw” Davis, Shirley Scott, Jimmy Forrest, Groove Holmes, Gene Ammons and many others, it was a deciding factor in the invention and popularization of soul jazz. By the late 60s, when interest in mainstream jazz dwindled, Prestige focused on funky, bluesy jazz in sync with contemporary popular music and its buying public. So you’d get the barroom organ blues of Sonny Philips or the mean, greasy tenor of Houston Person, who scored one of the last Prestige hits with Jamilah. And Prestige had signed tenor saxophonist Buddy Terry, who’d assisted organist Freddie Roach on Soul Book in 1966. Terry released his debut album as a leader, Electric Soul in 1968. You mean like, soul? In the late sixties, label boss and artists of Prestige still didn’t have to think twice about picking titles.
Buddy Terry had played in the organ groups of Rhoda Scott, Dee Dee Ford, Dayton Shelby and Larry Young and cooperated with Sonny Rollins and Johnny Coles. A couple of years were spent in the band of Lionel Hampton. For Natural Soul Natural Woman, the tough tenor with a ‘far out’ edge assembled his Newark, New Jersey pals – pleasant surprise! – Larry Young, Woody Shaw and Eddie Gladden, weathered cats like tenorist and flutist Joe Thomas, as well as the so-called Terry Girls on vocals – perhaps including the beautiful lady on the front cover? So then you get Don’t Be So Mean, a lurid boogaloo tune with a tacky twist, absolutely the album’s highlight. You get Pedro, The One Arm Bandit, obscure folk music jazzed up upliftingly, following the path Rollins famously paved.
You get Natural Woman, Aretha Franklin’s anthemic soul ballad, that features the Terry Girls and Buddy Terry hollering mercy, mercy; Quiet Days And Lonely Nights, a solid ballad. And finally, The Revealing Time, a mid-tempo blues that passes the 11-minute mark, ample opportunity to stretch out for Terry and Young. Woody Shaw only has short bits of solo space. Honestly, the brilliant, last great innovator of the trumpet’s worthwhile statements are overshadowed by rather lackluster, staccato ad-libs. Sleepy, perhaps.
Buddy Terry, on the other hand, is spry as the cow that line-dances onto the field in Spring. He’s a minister arousing the flock. And a captain of the Enterprise reaching out to the aliens around the Ring of Saturn. His dirty playing style and harmonic sophistication brings to mind Eddie Harris. Buddy Terry took matters in his own hands and also provided the liner notes to his album of raucous soul jazz. A curious mix of bio and exegesis. Terry states: “The entire album is my song of praise to God.”
Hallelujah time well-spent.
http://flophousemagazine.com/2019/04/28/buddy-terry-natural-soul-natural-woman-prestige-1968/
Buddy Terry had played in the organ groups of Rhoda Scott, Dee Dee Ford, Dayton Shelby and Larry Young and cooperated with Sonny Rollins and Johnny Coles. A couple of years were spent in the band of Lionel Hampton. For Natural Soul Natural Woman, the tough tenor with a ‘far out’ edge assembled his Newark, New Jersey pals – pleasant surprise! – Larry Young, Woody Shaw and Eddie Gladden, weathered cats like tenorist and flutist Joe Thomas, as well as the so-called Terry Girls on vocals – perhaps including the beautiful lady on the front cover? So then you get Don’t Be So Mean, a lurid boogaloo tune with a tacky twist, absolutely the album’s highlight. You get Pedro, The One Arm Bandit, obscure folk music jazzed up upliftingly, following the path Rollins famously paved.
You get Natural Woman, Aretha Franklin’s anthemic soul ballad, that features the Terry Girls and Buddy Terry hollering mercy, mercy; Quiet Days And Lonely Nights, a solid ballad. And finally, The Revealing Time, a mid-tempo blues that passes the 11-minute mark, ample opportunity to stretch out for Terry and Young. Woody Shaw only has short bits of solo space. Honestly, the brilliant, last great innovator of the trumpet’s worthwhile statements are overshadowed by rather lackluster, staccato ad-libs. Sleepy, perhaps.
Buddy Terry, on the other hand, is spry as the cow that line-dances onto the field in Spring. He’s a minister arousing the flock. And a captain of the Enterprise reaching out to the aliens around the Ring of Saturn. His dirty playing style and harmonic sophistication brings to mind Eddie Harris. Buddy Terry took matters in his own hands and also provided the liner notes to his album of raucous soul jazz. A curious mix of bio and exegesis. Terry states: “The entire album is my song of praise to God.”
Hallelujah time well-spent.
http://flophousemagazine.com/2019/04/28/buddy-terry-natural-soul-natural-woman-prestige-1968/
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La legendaria discográfica Prestige había añadido el jazz soul a su catálogo de jazz moderno de vanguardia a principios de los sesenta. De hecho, al poner numerosos anuncios de alto perfil de sus acciones en revistas como Downbeat, destacando continuamente el "soul" de Eddie "Lockjaw" Davis, Shirley Scott, Jimmy Forrest, Groove Holmes, Gene Ammons y muchos otros, fue un factor decisivo en la invención y popularización del soul jazz. A finales de los 60, cuando el interés por el jazz convencional disminuyó, Prestige se centró en el jazz funky y bluesy en sintonía con la música popular contemporánea y su público comprador. Así que se obtendría el blues del órgano de bar de Sonny Philips o el malvado y grasiento tenor de Houston Person, que anotó uno de los últimos éxitos de Prestige con Jamilah. Y Prestige había contratado al saxofonista tenor Buddy Terry, que había asistido al organista Freddie Roach en Soul Book en 1966. Terry lanzó su álbum de debut como líder, Electric Soul en 1968. ¿Quieres decir como, soul? A finales de los sesenta, el jefe de la discográfica y los artistas de Prestige todavía no se lo pensaban dos veces a la hora de elegir los títulos.
Buddy Terry había tocado en los grupos de órgano de Rhoda Scott, Dee Dee Ford, Dayton Shelby y Larry Young y cooperó con Sonny Rollins y Johnny Coles. Pasó un par de años en la banda de Lionel Hampton. Para Natural Soul Natural Woman, el duro tenor con un toque 'lejano' reunió a sus amigos de Newark, New Jersey - ¡una agradable sorpresa! - Larry Young, Woody Shaw y Eddie Gladden, gatos curtidos como el tenorista y flautista Joe Thomas, así como las llamadas Terry Girls en la voz - quizás incluyendo a la bella dama de la portada? Así que entonces obtienes Don't Be So Mean, una espeluznante melodía de boogaloo con un toque de mal gusto, absolutamente lo más destacado del álbum. Tienes a Pedro, The One Arm Bandit, música folk oscura y alegre, siguiendo el camino que Rollins pavimentó.
Tienes "Natural Woman", la balada de soul de Aretha Franklin, que presenta a las Terry Girls y a Buddy Terry gritando "mercy, mercy"; "Quiet Days And Lonely Nights", una sólida balada. Y finalmente, The Revealing Time, un blues de medio tiempo que pasa la marca de los 11 minutos, amplia oportunidad para estirarse para Terry y Young. Woody Shaw sólo tiene un pequeño espacio para los solistas. Honestamente, el brillante, último gran innovador de la trompeta de las declaraciones que valen la pena son eclipsados por bastante deslucido, staccato ad-libs. Dormido, quizás.
Buddy Terry, por otro lado, es ágil como la vaca que baila en línea en el campo en primavera. Es un ministro que despierta al rebaño. Y un capitán de la Enterprise que se acerca a los extraterrestres alrededor del Anillo de Saturno. Su estilo de juego sucio y su sofisticación armónica recuerdan a Eddie Harris. Buddy Terry tomó el asunto en sus manos y también proporcionó las notas de su álbum de jazz soul estridente. Una curiosa mezcla de bio y exégesis. Terry afirma: "El álbum entero es mi canción de alabanza a Dios".
Tiempo de aleluya bien empleado.
http://flophousemagazine.com/2019/04/28/buddy-terry-natural-soul-natural-woman-prestige-1968/
Tracks:
1 - A Natural Woman - 3:30
2 - Natural Soul - 6:00
3 - Pedro, The One Arm Bandit - 5:37
4 - Don't Be So Mean - 5:35
5 - The Revealing Time - 12:35
6 - Quiet Days And Lonely Nights - 7:35
Credits:
Baritone Saxophone – Robbie Porter
Drums – Eddie Gladden
Electric Bass [Fender] – Jimmy Lewis
Flute – Joe Thomas
Guitar – Wally Richardson
Organ – Jiggs Chase, Larry Young
Piano – Larry Young)
Tenor Saxophone – Joe Thomas
Tenor Saxophone, Flute, Liner Notes – Buddy Terry
Trumpet, Flugelhorn – Woody Shaw
Vocals – The Terry Girls
Recorded on November 15, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey
1 - A Natural Woman - 3:30
2 - Natural Soul - 6:00
3 - Pedro, The One Arm Bandit - 5:37
4 - Don't Be So Mean - 5:35
5 - The Revealing Time - 12:35
6 - Quiet Days And Lonely Nights - 7:35
Credits:
Baritone Saxophone – Robbie Porter
Drums – Eddie Gladden
Electric Bass [Fender] – Jimmy Lewis
Flute – Joe Thomas
Guitar – Wally Richardson
Organ – Jiggs Chase, Larry Young
Piano – Larry Young)
Tenor Saxophone – Joe Thomas
Tenor Saxophone, Flute, Liner Notes – Buddy Terry
Trumpet, Flugelhorn – Woody Shaw
Vocals – The Terry Girls
Recorded on November 15, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey
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