The Three Sounds - Black Orchid
Released - March 1964
Recording and Session Information
Van Gelder Studio, Englewood Cliffs, NJ, March 7, 1962
Gene Harris, piano; Andrew Simpkins, bass; Bill Dowdy, drums.
tk.4 Secret Love
tk.6 Oh Well, Oh Well
tk.7 Black Orchid
tk.8 A Foggy Day
tk.10 For All We Know
Van Gelder Studio, Englewood Cliffs, NJ, March 8, 1962
Gene Harris, piano; Andrew Simpkins, bass; Bill Dowdy, drums.
tk.18 Saucer Eyes
tk.19 Don't Go, Don't Go
tk.21 At Last
Track Listing
Liner Notes |
THE music of The Three Sounds is spiced with three ingredients beginning with sound, soul and style. Upon listening to this, their newest album, I would like to add another component. Theirs has become a style of eloquent simplicity.
Since Blue Note Records introduced this lithesome group to the jazz public, we have experienced a collection of excellent musical albums of which this current "Black Orchid" is a worth-while addendum.
I am almost certain that through the years the group has been tempted to debase their musical approach by switching to one of the so-called temporary popular styles then in vogue. Thank God, they have stuck to their guns and remained uncompromising.
No group of artists are more subject to the diverse criticism that constantly plagues performers than those of the jazz arts. Therefore, when a group of artists remains true to themselves; can command a fair amount of working weeks in jazz clubs; sell a fair number of records; develop a fair following; they have mare than paid their dues. And such a group is The Three Sounds: Individually, Gene Harris, Andrew Simpkins and Bill Dowdy.
In an earlier Blue Note album (Here We Come, BLP4088) we wrote: "They're nicely, pleasantly serious and musically dedicated to taking care of business and considering the listener. Their music tells you that they believe, as we do, that you must first listen to hear — in this case — their lyrical music, their musical message, not comprised of some mysterious, unfathomable essence directed Only to the initiated. Theirs has melody, beat and feeling."
Since that time, the only change that has come about is they have added a degree of maturity in their growth. This added awareness has brought more depth to their execution, which is expected after some eight years of studying, learning and playing together.
Sound - Soul - Style are liberally heard throughout, from Neil Hefti's "Black Orchid" to Randy Weston's "Saucer Eyes". Each tune is treated with a graceful, quiet joy that has become the style of The Three Sounds. There is no affectation or gimmickry in their interpretations. These are beautiful musicians at work and working beautifully together.
Neil Hefti's musical excursions into structural botany through such previous compositions as "Rose Bud" and "Coral Reef" is continued with "Black Orchid". Since the orchid is known for its complexity, The Three Sounds use mambo, bossa nova and jazz flavorings to advantage in a setting of varied sound colorations.
Gershwin's "A Foggy Day" for a less imaginative group can be sluggish when it is swung, or maudlin when the tempo is moderate. In the hands of The Three Sounds it becomes a hip little blue walk through the early evening. There is nothing unclear about their sound. Harris' piano work is exceptionally adventurous and the support Andy and Bill Offer, gives it The Three Sounds' personal stamp.
"For All We Know" has become one of the many pop tunes adopted by jazz musicians and is now a jazz standard. The piano again is the main voice heard and Gene vocalizes beautifully. From the melody to the improvisational line, the sensitivity of the tune is deeply felt.
"Oh Well Oh Well", a Harris original, skirts the gospel-jazz trend, without dipping too deep in the bag. You will note that the style of The Three Sounds is not lost even when interpreting this kind of tune.
"At Last" is a display of finesse, style and pleasant sound. It has come a long way from the early Frank Sinatra, Modernaires, Tommy Dorsey era. Here it is a deliberate slow study, bringing out the melancholy sadness and relief the tune evokes. As the writer penned, "My lonely days are over and life is now a song ....I found a dream that I can speak to, a dream that I can call my own..." Their treatment makes the song believable.
"Secret Love" has rapidly found its way into the books of jazz groups since it was first introduced in the motion picture "Calamity Jane". The Sounds Weave and embroider their style around its infectious melody and once again produce a new fiavor. "Don't Go Don't Go" ...one of the lasting imprints of the Sounds is to delve in the blues and build slowly as its raw emotionalism is felt. Or in the vernacular of the jazz idiom it's called "gettin' to the gritty". "Don't Go" is pure soul with no apologies.
Randy Weston's "Saucer Eyes" is an example Of this pianist's fine writing. Randy's arrangement is not intended for the pianist who does not believe in playing full piano. He has sketched an intriguing arrangement that demands full and broad technical application in the interpretation. Gene obliges, gently nudged and quietly persuaded by Bill and Andy.
In reviewing the collection of the fine Three Sound albums released by Blue Note, it comes to mind this group has never found the need to re-record tunes, so vast is their repertoire. As you listen to past albums you gain a great appreciation for their enticingly, inventive, adventurous and melodic treatment of tunes. They are not dated and remain constantly fresh.
Earlier in our notes, we mentioned Sound, Soul and Style.
You'll find it all here in this album, with a touch of eloquent simplicity.
—DEL SHIELDS
"Sound Of Modern Music"
WDAS/FM-Philadelphia, Pa.
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