BST 84300

Blue Mitchell - Collision in Black 

Released - April 1969

Recording and Session Information

RPM Studios, Los Angeles, CA, September 9, 11 & 12, 1968
Blue Mitchell, trumpet; Dick Hyde, Jack Richmond, trombone; Jim Horn, Ernie Watts, flute; Anthony Ortega, tenor sax; Monk Higgins, piano, organ, tenor sax, arranger; Miles Grayson, piano, percussion; Dee Ervin, organ, percussion; Al Vescovo, guitar; Bob West, bass; Paul Humphrey, drums; John Cyr, percussion.

2944 Collision In Black
2945 Deeper In Black
2946 Jo Ju Ja
2947 Blue On Black
2948 Swahilli Suite
2949 Monkin' Around
2950 Keep Your Nose Clean
2951 I Ain't Jivin'
2952 Digging In The Dirt
2953 Who Dun It
2954 Kick It
2955 Keep Your Soul

Track Listing

Side One
Title	Author	Recording Date
Collision in Black	Monk Higgins	September 9, 11, 12 1968
Deeper in Black	Peggy Grayson	September 9, 11, 12 1968
Jo Ju Ja	Virginia P. Bland	September 9, 11, 12 1968
Blue on Black	Monk Higgins	September 9, 11, 12 1968
Swahilli Suite	Monk Higgins	September 9, 11, 12 1968
Monkin' Around	Monk Higgins	September 9, 11, 12 1968
Side Two
Keep Your Nose Clean	Bland	September 9, 11, 12 1968
I Ain't Jivin'	Bland	September 9, 11, 12 1968
Digging in the Dirt	Monk Higgins	September 9, 11, 12 1968
Who Dun It?	Monk Higgins	September 9, 11, 12 1968
Kick It	Bland	September 9, 11, 12 1968
Keep Your Soul Together	Monk Higgins	September 9, 11, 12 1968

Liner Notes

LET ME clarify my position. I'm a Blue Mitchell fan or rather a Blue Mitchell nut. So if these liner notes seem prejudicial... Sorry about that. Blue’s version of Portrait Of Jennie, which appeared on Blue Note LP 4228, is the theme I employ on my early morning radio show here on St Louis 24 hour jazz station.

I discovered that there was a Blue Mitchell as a leader about 2½ years ago when his High Heel Sneakers broke through all my aversions to the translation of popular music into the jazz idiom. Since than I've listened a great deal to the young man whose early development as a leader was influenced so much by people like Art Blakey, Horace Silver. etc... and I’ve learned a lot about his musical background, training and the like. I suppose, if the situation warranted. I could talk about his use of harmonics or ramifications of his melodic line, his writing ability or even the way he builds sound on sound with variations in chromatic structure, all of which I’m sure would sound very erudite and scholarly. But that’s an area I think we should leave to the serious students of music. Personally, I’m one of that breed of jazz buffs known as appreciators who, contrary to popular belief, make up most of the national jazz audience. We feel our jazz and that’s what makes Blue Mitchell. More than any skill or technique he possesses, you can "feel" him, He communicates on your level.

The big word in jazz for several years has been “soul” and both layman and critic alike have tended to use this rather nebulous term as a yard stick by which to budge a specific musicians contribution to the world of jazz as well as all other popular forms of music. I suppose in its broad definition “soul” is that ability to place one's self in the music, to communicate what you feel in a universal form of expression. So “soul music” is music that feels, that identifies with the soul of the listener. But I submit that there may be a deeper kind of ‘thing”. What about ‘heart”? Music that plays to the soul, yet within a genuine framework of love of purpose and people. Saying through music, “this Is what I am, all of me Is here ... listen and hear me" Isn’t that deeper alter all than mere soul? I submit that as we approach the 1970’s looking forward to even more rapid changes in all of our world, we might consider ‘heart” as a new measure of a musician and musicianship.

If we do, then young Mr. Mitchell will live forever. For this vibrant young trumpeter plays from his heart, with his heart to our hearts. With every recording Blue lays even more of himself open for our examination, and each time he is new and refreshing.

Blue takes a new direction on this album, even more of a direction change than his last Lp Heads Up which sew Blue operating within the framework of a big band sound. On Collision in Black Blue looks inward toward the ghetto, toward the “soul” people and musically reflects the mood of today’s generation.

Featured on the album is Monk Higgins, one of my favorite tenor men. Monkin’ Around, Kick It, Keep Your Soul and Collision In Black spotlight Monk on either piano, organ or tenor sax. I think that says something about his versatility. The rest of the group consists of Jim Horn and Ernest Watts on flutes; Anthony Artego, tenor sax: Jack Redmond and Dick Hyde on trombones: Bob West, baas; Al Vescovo on guitar; Miles Grayson, piano; Paul Humphries, drum; Dee Ervin on organ; John Cyr, Miles Grayson and Dee Ervin, percussions. As you can see this is a big band, but a big band with a big difference, they’ve got Blue Mitchell as their leader! To say that the groups performance was excellent would be an understatement. You’ll just have to hear for yourself.

Side 1 opens with the title tune Collision in Black, a swing piece that really sets the tone for the album. There’s the driving rhythm section of Paul Humphries, Dee Ervln, John Cyr and Miles Grayson setting up a moving tempo that forms the framework for Blue’s opening statement and a nice exchange of harmonics between him and Monk Higgins.

Next comes Deeper in Black which switches to a minor mood and seems to be searching below the surface for the true underlying feelings. Once again Blue Mitchell welds his group together in total uniformity in this brooding, yet swinging piece.

Jo Ju Ja is the third selection on Side 1 and is introduced by the flutes, but manages to stay well within the minor feeling set up by Deeper in Black though the tempo is quickened a bit. Bob West can be heard with his steady bass beat and there are some fine counterpoint changes, particularly between Mitchell and the flutes near the end.

Blue on Black is a journey into a sad soul. Blue opens up with some fine ballad phrasing on a haunting theme, while other members of the aggregation form a solid wall of sound upon which he can bounce his chromatic meanderings. With the right kind of luck this could get to be a standard!

Swahili Suite is an up tempo mover that recognizes roots and Mitchell seems to be paying direct homage to the African influence in modern jazz. All the elements of a hit are here in this selection: effective counterpoint, a strong rocking percussion, and a light yet powerful melodic line. The guitar of Al Vescovo provides the impetus, I think, in Swahili Suite.

Monkin’ Around is bowed in by bassist Bob West. Blue Mitchell is joined in an opening statement by Monk Higgins and right away you know it’s a fast track. Blue takes the flrst solo spot in his own inimitable style and leads into Monks statement. Listen as Monk once again proves that on tenor sax, he is a force to be reckoned with.

Side II opens with Keep Your Nose Clean, a medium tempo swinger with the kind of beat that has had instant appeal for jazz audiences all over the world. Once again Blue’s sidemen form that solid wall of sound for his excursions behind some excellent tenor voicings by Anthony Artego. This one's a real knee slapper. If you don’t believe me try not to slap your knee while it’s on.

I Ain’t Jivin’ puts Blue in a different bag. With the rhythm section going into a semi-rock beat behind him, the irrepressible Mr. Mitchell attacks the melodic line with a vengeance and from there it’s just drive on home.

Diggin’ In The Dirt finds Al Vescovo out front with a little soul guitar pickin'. Blue moves in almost immediately and it’s jam time again. Vescovo moves back into the spotlight with some hard driving guitar and with Blue punctuating every so often...they make it a tasty item.

Who Dun It is more of the same with a bit more flute work and Blue treading lightly in between.

Kick It provides a vehicle for Monk Higgins’ return once again and the entire group gets in a word or two to let you know what to do. It’s an up tempo sound that could even break well for Blue on the Top 40 or pop music stations across the country. Wouldn’t that be a gas?

The last sound of the outing is Keep Your Soul, a 3/4 jazz waltz that features Monk Higgins again as him and Blue Mitchell, in unison effectively answer the question laid down by the flute. Blue takes a short solo and then it’s home again, home again, all!

Around our station there’s a great deal of talk about flag wavers which means the one tune on the album that makes the whole thing worthwhile. I couldn’t find one. Instead I found twelve. But if you must have just one may I suggest that you close your eyes and drop your hand. Wherever your finger falls, that’s it! Now stop reading these notes and play the record. Later!!

RON NICHOLS
K.A.D.I. FM St. Louis, Missouri