This release presnts all of Grant Green and Baby Face Willette's collaborative albums as leaders. Recorded in 1961-62, they consist of the LP "Grant's First Stand" (Blue Note BST-84064), issued under the guitarist's name, and “Baby Face” Willette's albums "Face to Face" (Blue Note BST-84068) and "Stop and Listen" (Blue Note BST-84084). Other than their three LPs as leaders, Green and Willette only recorded together on Lou Donaldson's album Here ‘Tis, from which it has been added the title song, a long blues, as a bonus.
Stop and Listen was the last session that organist Baby Face Willette made for Blue Note. He came in with guns blazing on Lou Donaldson's Here 'Tis, made his and Grant Green's debut recordings, and then this fiery trio album in May 1961. Willette was an earthy, exciting player and he, Green, and Ben Dixon would have become one of the premier organ trios in jazz had he stuck around. This great album includes three standards (one a bonus track), four originals, and Nat Adderley's "Work Song." The whole affair cooks from first tune to last.
Organist Roosevelt "Baby Face" Willette is both a shadowy figure and something of a legend in the 1960s jazz scene. While he played with Blue Note heavyweights Grant Green and Lou Donaldson, he had drifted into obscurity by the '70s. But while on the scene, Willette made some fine music in the soul-jazz vein, and FACE TO FACE (1961) was his debut. Willette's Jimmy Smith-inspired organ pilots a combo of Fred Jackson's tenor and the aforementioned Green's ace guitar through some earnest, tasty, blues-tinged grooves. While it's no masterpiece, fans of soul-jazz should snap up FACE TO FACE while they can.
Probably the greatest set in Baby Face Willette's all-too-slim discography, Stop and Listen matches the organist with the hugely sympathetic team of guitarist Grant Green and drummer Ben Dixon (the same trio lineup who recorded Green's debut LP, Grant's First Stand). With no saxophonist this second time around, it's just Willette and Green in the solo spotlight, and they play marvelously off of one another. ~ AllMusic
Once I'd stopped asking loads of questions like "Why Now?" and "Who did this?" and I'd started listening to the music herein, I knew that this is a 'must have' pairing for anybody remotely interested in the genre of Hammond led organ albums. The first question was asked because it's 43 years since these two albums were recorded, and they've only been available intermitently in various forms in the intervening years,and it takes a Spanish based company to provide the answer to the second. The two albums are presented in the reverse order to which they were recorded with "Mo-Rock" coming from two sessions in March and April 1964 and "Behind the 8 ball" from a single session in November of the same year. ~ Amazon
It's not a surprise that professional athletes occasionally make records: back in the late '70s, Denver Broncos running back Jon Keyworth made a terrible soft rock album called Keys during the team's brief pre-John Elway heyday, and during their 2004 World Series season both pitcher Bronson Arroyo and general manager Theo Epstein of the Boston Red Sox were gigging around town with their own bands. However, there are two big surprises about the debut album from Ian Allen, a minor journeyman player for the New York Giants, Philadelphia Eagles, and Arizona Cardinals: rather than the usual lame jock-rock, this is mellow, loungey downtempo electronica. Also, it's really quite good! Allen's tastes run toward skittering drum machines and house beats, but there's also a languid, jazzy quality to most of Nova's Lounge, and that tension keeps the record from drifting too far into shapeless ambience. Allen is a canny synthesist who doesn't stick with one set of influences for very long, preferring to layer a variety of sounds and beats into an enjoyable whole.
Infusing traditional gospel music with Memphis soul, Detroit-based singer Rance Allen helped pave the way for the secularized gospel sound of the '80s and '90s. After signing with Stax in 1969, Allen and his group proceeded to bring their hip brand of gospel to the masses by scoring several chart hits and opening concerts for the likes of Isaac Hayes. This hits package covers the group's successful run in the '70s, spotlighting Allen's incredibly flexible and powerful voice (one listens to cuts like "Ain't No Need of Crying" and "Gonna Make It Alright" and it's easy to figure out where Prince picked up his misty falsetto from). The selections include Allen's biggest Stax hit, "I Got to Be Myself," the spiritually reconfigured cover "Just My Imagination (Just My Salvation)," and modern gospel pioneer James Cleveland's "That Will Be Enough for Me." Allen contributes a handful of slick and spirited groovers, like "I Give My All To You" and "I Belong to You," and even goes in for a little disco on another original, "Smile" (considering Allen's devout nature, it's hard to tell if the more commercial elements in the music came from him or hit-minded producers).