BLP 4094

Fred Jackson - Hootin' And Tootin'

Released - May 1962

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, February 5, 1962
Fred Jackson, tenor sax; Earl Van Dyke as Earl Vandyke, organ; Willie Jones, guitar; Wilbert Hogan, drums.

tk.4 Dippin' In The Bag
tk.11 That's Where It's At
tk.12 Easin' On Down
tk.13 Southern Exposure
tk.20 Preach Brother
tk.22 Hootin' 'N Tootin'
tk.24 Way Down Home

Session Photos

Fred Jackson

Photos: © Francis Wolff/ Blue Note Records

Track Listing

Side One
Title	Author	Recording Date
Dippin' in the Bag	Fred Jackson	05 February 1961
Southern Exposure	Fred Jackson	05 February 1961
Preach Brother	Fred Jackson	05 February 1961
Hootin' 'n Tootin'	Fred Jackson	05 February 1961
Side Two
Easin' on Down	Fred Jackson	05 February 1961
That's Where It's At	Fred Jackson	05 February 1961
Way Down Home	Fred Jackson	05 February 1961

Liner Notes

CURRENTLY the jazz scene presents a more "earthy" atmosphere for the aficionado. Hard bop, or the tendency to swing modern, contains certain basic jazz influences which have added new vigor and vitality to the idiom. Soul jazz has become a new gateway for further pursuit of freedom of expression. The virility of the "down home" influence combined with African roots are now the basic jazz theories used for further exploration.

Out of this new soulful world of jazz has emerged one amusing paradox which is the current trend today. New faces are cropping up from the obscure seats of rock and roll or rhythm and blues orchestras. Orchestras that back many a blues shouter or prominent rock and roll exponent are fast becoming the nucleus for new jazz blood. This trend was introduced by a few commercially astute leaders who wisely included in their libraries a few modem tunes so the boys in the bands could let off a little steam of individuality.

It was successfully noticed by many jazz followers, whose mouths would fly open in amazement, that these bands could adequately conform with modern jazz concepts. Bands now exist, in a sense, in a sort of schizoid personality that appeals to both rock and roll lovers and lovers of modern jazz. Many fail to realize that bands of all phases are manned by personnel who are accredited jazz musicians who seek security in Gritsville even though, in reality, the inter-orchestral mainstream that pays their room and board may not be to their particular creative tastes.

In Hootin' 'N Tootin' the listener is afforded the opportunity of hearing members of a famous orchestra noted for its smart arrangements along the rhythm and blues influence. Like orchestras preoccupied with many other musical phases, this band hardly affords its musicians any opportunity for personal expression.

The moods expressed on Hootin' 'N Tootin' are in the "down home" and "down to earth" groove. Under the leadership of Fred Jackson, tenor sax artist, the listener is propelled into the world of the new truth. Fred, as well as the other musicians on this session, is a stellar member of the popular Lloyd Price orchestra. This is the second recording venture for Fred Jackson. Many listeners will remember his tenor work on the cooking "Baby Face" Willette's Face To Face, 4068. The reaction of the vox populi of the jazz world to Fred's work on Face To Face set off a clamor for this inventive tenor saxist's return as a leader of his own group.

The listener will respond to the infectious beat that is dominant throughout this session. The titles of the tunes are indicative of this era of jazz funk and soul the usage of the colorful idiomatic language. Fred Jackson has surrounded himself with constituents who have worked together, solidifying each others' mode of creative expression through constant intimate jam sessions; thus welding a tight relationship within the group in which spontaneous ideas flow constantly.

The listener is transported musically to the land of blues and roots. There are absolutely no social problems that motivate retrospection nor is there room for controversial comparison. The listener is entertained by jazz that is clean and uncomplicated by wayout clichés. Fred Jackson and cohorts adequately prove their mettle in matters musical as messengers of sound and jazz goodwill, serving the purpose of exploiting the passion and warmth of the "new truth."

The music heard on this session was composed by Fred Jackson who displays many variances in his approach to the minor sound. The general feeling of "swinging" prevails; every solo predudes any doubts in the listener's mind as to the ability of this group to express true jazz. "Dippin' In The Bag:" this ear opener is a little reminiscent of the spiritual "This Train." Fred rides tastefully through the opening chorus with some beautiful "comping" from Earl Vandyke on organ. The guitar of Willie Jones adequately takes up the cause, displaying the dash and verve of a flamboyant artist. Fred takes over for the closing stanza.

"Southern Exposure:" this group obviously enjoys this lowdown blues affair. Willie Jones fingers tenderly, setting the pattern on this interesting blues change. The big-toned tenor of Fred Jackson concocts a flow of fluent jazz ideas. Earl Vandyke's organ appears aggressively to add musical comment. Fred closes this quaint blue opus with the aid of titillating side guitar comments by Willie Jones.

"Preach Brother!:" a "shouter" or short sermon with Fred swinging in a wide arc, aided by good drum work by Wilbert Hogan, pushing and goading the group. Everything on this fast swinger is "go." The Vandyke organ grinds with some swashbuckling right hand exercises; a rousing session of unbridled swing ensues, ending with hot rapport between all concerned.

"Hootin' 'N Tootin':" an up-tempo swinger featuring the Hogan drumming magic. Wilbert's cymbal beat will undoubtedly keep the listener's head nodding in knowing assent. Fred's tenor is prominent in its strong, aggressive tone. The guitar and organ solos are extremely well executed, but Wilbert Hogan's drums dominate throughout.

"Easin' On Down:" in this ditty the "function" really rolls; this group approaches soul with many modern ideas that defy cries of traditionalism or retrogression as they modernize ideas of blues and roots. Fred opens with some marvelously executed tenor ideas with a dash of cute little Coltraneisms. Willie second solos with nice clean finger impressions; Earl Vandyke's organ sensitivity makes one predict great future possibilities.

"That's Where It's At:" a catchy swinger that wades in hot jazz waters soulfully. A finger snapper designed to lure wayward twisters into the jazz fold. The listener will probably accede to my opinion that this group is tighter than the proverbial hat band. Fred Jackson's good tenor judgement again prevails on the opening chorus with Earl and Willie following with terse solo commentaries with the Hogan drums an ever present influence.

"Way Down Home:" Earl Vandyke opens this finale briefly, playing pretty without becoming involved with boisterous overdone effects. Fred Jackson's solo exudes a passion and dexterity in technique that earmarks him for future stardom as a jazz voice. Willie's guitar ideas are earthy and sincere. Earl takes another chorus; this time he invents, probes and searches for expression. Needless to say, he accomplishes his mission as planned.

—DUDLEY WILLIAMS

Cover Photo by FRANCS WOLFF
Cover Design by REID MILES
Recording by RUDY VAN GELDER

IKE QUEBEC must have liked the group assembled for Fred Jackson's first Blue Note album. At the end of the date, Ike cut 4 tunes with the group for single releases. One week later, Ike reassembled the group adding bassist Sam Jones to cut more singles. Two months later, Jackson made his second Blue Note album also with Jones added to the same band. For three of the tunes (the last three on the CD), an unidentified percussionist joins them on congas and shaker. Alfred Lion's session notes indicated that he liked this album very much, but that its playing time was short (which is why it can nicely fit on this reissue). One can only speculate whether it was the album length or poor sales of "Hootin' 'N Tootin'" that caused this wonderful session to remain unissued.

Jackson cut a still-unissued novelty single in June Of '62 (with John Patton on piano!) and appeared on Patton's "Along Came John" in 1963 and "The Way I Feel" in 1964. Nothing more was heard from him on the jazz scene since that time.

—MICHAEL CUSCUNA 1997