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Jack McDuff - The Honeydripper
Prestige
As a rabid fan of the organ-groove sub-genre of jazz,
I've been waiting a few years for this classic album by organist
extraordinaire Jack McDuff to be re-issued. While I had seen
older versions of this album floating around both new and used,
I had heard through the grapevine this set was in the queue to
be given the remastering treatment as part of the Rudy Van
Gelder (the producer) series. The same thing Van Gelder has been
doing for Blue Note is done for Prestige with this album, which
is remastering done by Van Gelder himself. Believe me when I say
there is no one better to remaster an album than Van Gelder. He
was there when they were made and he knows how they are supposed
to sound.
But, I digress. Back to McDuff.
So, I waited. And waited. All the time wanting to hear
this legendary Holy Grail of an album. Eventually, I got this
newly remastered version in the mail and hurriedly took off the
shrink wrap (which can never actually be done in a hurry - why
is that?) and popped it in my player. After a few years of
anticipation, I figured I would end up thinking it wasn't all
the hype had said it would be. Guess what? The hype wasn't hype
enough! This album is fucking great! It's not just a classic of
the organ groove sub-genre of jazz, but is a masterpiece the
whole jazz world can look upon as something astounding and
groundbreaking. As much as Miles Davis' The Birth of The Cool is
held up as a classic example of jazz music, The Honeydripper
should hold that same distinction. That it probably doesn't says
a lot about how the jazz snobs sometimes look down on the organ
as a viable instrument in jazz despite how may fans enjoy it.
McDuff started his career as a bassist, which may be
one reason why the basslines he provides with his footpedals are
among the funkiest of all of the B-3 titans. That McDuff didn't
serve his musical apprenticeship on the piano as most organists
might be the reason his work is just a little more funky, a
little more rooted in R&B than most other organists. He later
did learn how to play piano, but never really let the rigors and
inherent qualities of that instrument overly influence his organ
playing. He always managed to keep his organ playing soulful and
direct, and never seemed to overplay as most pianists do.
Also featuring the talents of Grant Green on guitar
(his recording debut!), Jimmy Forrest on tenor sax, and drummer
Ben Dixon, this album shows McDuff embracing a smoother style as
he eschews his former hard-bop tack to go for a more R&B sound,
no doubt influenced by how well Jimmy Smith was doing. Besides
the exemplary work by McDuff, one need pay special attention to
what Green does on this album. Always more than just your
average sideman, Green shows a taste of what would soon make him
one of the most influential guitarists in jazz. Though I wish
McDuff and Green had recorded together more, soon McDuff helped
out a young guitarist by the name of George Benson and a lot of
equally great music was made with that tandem. Though he's gone
now, McDuff will always live through albums like this one. This
may be one of his best and best known, but McDuff has many, many
great albums that you should explore. I would start with this
one, though, as great organ playing doesn't get any greater than
what McDuff laid down on this album right here.
This album will appeal to fans of jazz and especially
fans of the B-3 groove as this is one of the stone-cold classics
of the groove jazz sub-genre. This is an album just made to be
played at parties as the groove is insistent and undeniable. You
can't keep a sad face while this music is playing. It is
impossible and topping that, to keep your feet still while
listening to it is a herculean task. It's music that just makes
you feel good inside and brings up only the great memories of
things like youth, love and anything fun you've ever done. This
is an album that will easily change your life if you let it. And
God, you should let it. - Scott Homewood
www.prestigerecords.com
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