BLP 4102

The Three Sounds - Hey There

Released - October 1962

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, August 13, 1961
Gene Harris, piano; Andrew Simpkins, bass; Bill Dowdy, drums.

tk.4 Sermonette
tk.15 You Are My Sunshine
tk.16 Nothin' But The Blues
tk.17 Dap's Groove
tk.18 The Masquerade Is Over
tk.19 Hey There
tk.23 Stompin' At The Savoy
tk.24 Little Girl Blue
tk.27 Street Of Dreams

Track Listing

Side One
Title	Author	Recording Date
Sermonette	Cannonball Adderley, Jon Hendricks	13 August 1961
You Are My Sunshine	Jimmie Davis, Charles Mitchell	13 August 1961
Little Girl Blue	Lorenz Hart, Richard Rodgers	13 August 1961
Dap's Groove	Gene Harris	13 August 1961
Hey There	Richard Adler, Jerry Ross	13 August 1961
Side Two
Nothin' But the Blues	Gene Harris	13 August 1961
Stompin' at the Savoy	Benny Goodman, Andy Razaf, Edgar Sampson, Chick Webb	13 August 1961
Street of Dreams	Sam M. Lewis, Victor Young	13 August 1961
The Masquerade Is Over	Herbert Magidson, Allie Wrubel	13 August 1961

Liner Notes

ALL timing systems were going beautifully for me as this liner assignment coincided with the appearance of The Three Sounds at the famous Pep's in Philadelphia. While scrutinizing the performance of the "Sounds" many "moments of truth" (other than my tab)' kept cropping up in my mind. The thought nagged me, during a Gene Harris piano romp, that a trio, consisting of piano, bass and drums, has many obstacles confronting it. The absence of horns-a-plenty puts a great creative burden on the pianist as well as his helpers. To the minds' eye of the pseudo jazz aficionado sitting in on a session, a trio obviously suggests background music for trivial conversation. Fortunately, in this respect, The Three Sounds have no problem holding the attention of their audiences. The ever changing attack on their repertoire of tasty goodies keeps one constantly anticipating what lies ahead.

The dalliance of The Three Sounds in lyrical beauty, freshly creative ideas and drive suggests to the listener their preoccupation with good jazz tastes. These Blue Note artists not only have an identity in sound but accomplish degrees of individuality. Hence, an avid listener finds an excitingly pleasant task, digging simultaneously, Gene Harris' piano, the incredible flexibility of the Andrew Simpkins bass and the artistically virile drumming of Bill Dowdy.

What purpose do The Three Sounds serve as jazz voices? Obviously their forte lies not in innovation. Jazz critics would waste time with prickles of comparison. They do not merit the classification of a "school" although they may have garnered "imitators." These artists do contribute greatly to spreading jazz good will. They create in their music happy moods and good feeling; through sound and concept they communicate messages that swing, a pulsating beat that compels "digmanship." In summary, they entertain.

Hey There. Blue Note's Three Sounds extend themselves into brighter jazz horizons. From their roots on Blue Note 1600 through their exciting jazz journeys on 4014, 4020, 4044, and 4088 The Three Sounds have displayed a continuous jazz growth. Devotees of the group will no doubt join in a massive praise session when this new jazz word gets out. Hey There serves not only in its capacity titlewise, but beckons and entices jazz lovers to listen to the good things...The listener will be constantly titillated track after track as The Three Sounds blithely convey the meaning of the fat parts of jazz.

Sermonette. A gospel influenced ditty composed by Nat Adderley, trumpet playing brother of the earthy Cannonball Adderley. The group makes short swift work of this bouncy opus. Gene Harris' piano carries the weight as he pours on brash notes with deftness of hand. Bill Dowdy's percussioning complete with a tambourine sparks throughout. Andrew Simpkins' bass artistry makes itself felt through this loot tapper...Amensville!

You Are My Sunshine. The Davis-Mitchell western classic comes in for a bit of urban sophistication. With slight western influences being quite in vogue, Sunshine as interpreted by The Three Sounds will gas many a soulster. Gene opens this tune with a flashy intro then plunges into a chord attack backed by a crisp mambo beat. The middle chorus solo by Gene really gives this hill-billy sonata some real class.

The mood changes as one of the most touching and nostalgic tunes, Little Girl Blue, penned by the combined genius of Rodgers & Hart, receives tender treatment by the group. Gene skips and prances lightly but the seriousness of mood is not lost. The bridge chorus gathers slight momentum as Gene builds beautifully, displaying creative agility.

Dap's Groove is a soulful concoction with 3/4 time embellishment provided by Bill Dowdy's rim shot and cymbal. The subtleness of the "dap" is portrayed by the very large Harris piano. Andrew's bass continuously walks throughout with the brash braggadocio as the identifying image of all "Dap" citizens.

The Adler and Ross tune that helped launch the career of Sammy Davis Jr. appears on this disc as a jazz rarity. On Hey There Gene emerges as a piano personality, that is, he solos as if he wasn't thinking in trio terms. However, chorus after chorus Andrew and Bill make their presence felt.

Nothin' But The Blues. This Gene Harris original jam-a-ditty is a musical peek at funk-lore. Gene tickles freely in this hard cooker. Andrew Simpkins then dominates the second chorus with some heavy walking behind a building Harris crescendo of notes. The romp is climaxed by a Three Sounds custom built ending.

Stompin' At The Savoy will delight the listener especially when Andrew's bass comes in view; he pushes, coaxes and is generally showcased on this number. Yet the effort of "togetherness" prevails and consistently reminds the listener that this is The Three Sounds.

Street of Dreams. This ballad was popularized by Tommy Dorsey and Orchestra with vocal chorus provided by a very youthful Frank Sinatra during the early forties. One could venture to say that this might be the only other recording of this beautiful showpiece. Gene bares his soul as an obviously incurable sentimentalist as he modulates tastefully, retaining the ballad effect, tenderly, soothingly.

The Masquerade Is Over. The Wrubel and Magidson standard solidifies this whole entertaining caper. This is a trio effect with all systems in a climatical go. Gene, of course, opens the fanfare with a crisp solo, followed by a fine bass solo in plucksville. We are even treated to a brief but effective drum solo by the classy Bill Dowdy... a blithe trip indeed.

Again The Three Sounds have artistically demonstrated why they are top favorites among the jazz cognoscenti. Hey There is blaringly indicative of even greater things to come.

- DUDLEY WILLIAMS

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