BLP 4107

Don Wilkerson - Preach Brother!

Released - October 1962

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, June 18, 1962
Don Wilkerson, tenor sax; Sonny Clark, piano; Grant Green, guitar; Butch Warren, bass; Billy Higgins, drums; Jual Curtis, tambourine #5,6; Don Wilkerson, tambourine #6.

tk.3 Jeanie-Weenie
tk.4 Pigeon Peas
tk.6 The Eldorado Shuffle
tk.8 Homesick Blues
tk.9 Camp Meetin'
tk.13 Dem Tambourines

Track Listing

Side One
Title	Author	Recording Date
Jeanie-Weenie	Don Wilkerson	18 June 1962
Homesick Blues	Don Wilkerson	18 June 1962
Dem Tambourines	Don Wilkerson	18 June 1962
Side Two
Camp Meetin'	Don Wilkerson	18 June 1962
The Eldorado Shuffle	Don Wilkerson	18 June 1962
Pigeon Peas	Don Wilkerson	18 June 1962

Liner Notes

BLUE NOTE has consistently led the field in presenting new jazz talent to lovers of the idiom. Its continual search for fresh jazz faces and creative innovations has reaped swinging harvests. Blue Note 4107 introduces a new dynamic tenor sax virtuoso in Don Wilkerson. Though a new personality, he is truly concept-wise in the ways of the ever changing jazz scene.

Born in 1932, in the sleepy town of Moreauville, La., Don Wilkerson received early musical education at home. His educational itinerary, musical and formal, included brief high school stays at Shreveport, La. and Houston, Texas. It was at Houston's Jack Yates High that Don began playing alto sax in a beginner's band. He made his professional debut for a $3.00 gross at Dayton, Texas. In 1948, however, he earned a chair with Amos Milburn, then an up and coming pianist and band leader. Later, on the coast, he alternated between the bands of Milburn and Charles Brown (Three Blazers fame) and recorded with both. It was during this '48, '49 period in Los Angeles that Don received his first jazz exposure by jamming with fast company such as Dexter Gordon, Wardell Gray and Sonny Clark. Don left the west to return home to Houston, Texas.

Ray Charles had organized a band in the summer of 1954. By October of the same year Don joined the band that was destined for greatness. Ray Charles' classics as "I Got A Woman", "Come Back", "This Little Girl Of Mine" and "Hallelujah", etc. feature Wilkerson tenor solos that are recognizable by all Charlesion devotees. Don Wilkerson horn influences lie in the realms of both tenor and alto. He such tenormen as Jacquet, Cobb, Ammons, and Rollins; Parker and Hodges for alto inspiration. Special mention, however, is reserved for Sonny and Ike Quebec. Stitt is recognized by all as a great encourager. Don can attest for this. It was Ike Quebec who brought this talent to the attention of Blue Note.

The listener will undoubtedly acquiesce to the fact that Brother", Blue Note 4107, features six virile portraits of "Soul". Although all of the featured tunes are Wilkerson originals general feeling of Ray Charles acts as an influential catalyst. Jazz-wise, the listener will react favorably to the expressive talents of Don, tenor; Grant Green, guitar; Clark, piano; Butch Wareen, bass; and Billy Higgins, drums. This session is distinctly a "shouter" affair with down home overtones. This should not prevent, however, urbane cries of "OOWHEE!" from more sophisticated aficionados, whether in a mass wild chant or individually.

Side I.

Jeanie—Weenie: This brisk shuffler opens this session with Don's tenor Vividly jumping for joy in the first chorus. This opus features good jazz guitar with bluesy connotations flourishingly displayed by Green. Fluid Wilkerson tenor sounds permeate throughout.

Homesick Blues reminds this writer vividly of "Big Leg Woman", an anatomical survey in form of an old blues classic. Don manages adequately to affect an alto sound in Home Sick. This lush blues also features expressively, in solo, excellent piano and guitar by Sonny Clark and Grant Green, respectively. The insistency of Billy Higgins' drums pulsates throughout.

Dem Tambourines: A shouter enmeshed in what could be termed as Afro-Creole. Billy Higgins' drums parallel the tambourines, making this basically a rythymical jazz '"troika". The Wilkerson tenor concocts an uninhibited flow of ideas throughout Amensville!

Side II.

Camp Meetin': A veritable '"wailer" that compounds solos between Don and Grant Green. Grant employs no boppish cliches as he displays Charlie Christian like ideas. With all jazz systems in "go", the listener will agree that these are no lazy lads.

The Eldorado Shuffle: Don opens this stanza creatively with a tastily contrived tenor solo. Green's guitar seconds this funky motion. Sonny Clark comes in for a short, uncomplicated stay but makes his presence felt.

Pigeon Peas: This palatable jazz delicacy shows Don's preoccupation with the Arnett Cobb influence. This choice stomp waxes more in the modern idiom. This is especially evident in Sonny Clark's piano. Butch Warren's bass along With Billy Higgins' drums gives this opus great depth. Don's tenor leads this stanza home to its delightful conclusion.

We feel the listener in his pursuit in the field of "Digsmanship" will embrace the creative influence of Don Wilkerson...

— DUDLEY WILLIAMS
Jazz Editor of Philly's "Nite Owl"

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