BST 84308

Duke Pearson - Now Hear This

Released - November 1969

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, December 3, 1968
Jim Bossy, Randy Brecker, Burt Collins, Joe Shepley, Marvin Stamm, trumpet; Garnett Brown, Jimmy Cleveland, Benny Powell, trombone; Kenny Rupp, bass trombone; Jerry Dodgion, Al Gibbons, alto sax; Lew Tabackin, tenor sax; Frank Foster, tenor sax, arranger; Pepper Adams, baritone sax; Duke Pearson, piano, arranger; Bob Cranshaw, bass; Mickey Roker, drums; Andy Bey, vocals #9.

3061 tk.25 Make It Good
3062 tk.35 Amanda
3063 tk.43 Dad Digs Mom
3060 tk.47 Disapproachment
3056 tk.53 The Days Of Wine And Roses
3057 tk.54 Here's That Rainy Day
3058 tk.55 Minor League
3064 tk.60 Tones For Joan's Bones
3059 tk.62 I'm Tired Of Cryin' Over You

Track Listing

Side One
Title	Author	Recording Date
Disapproachment	Frank Foster	December 3 1968
I'm Tired Crying Over You	Buddy Johnson	December 3 1968
Tones for Joan's Bones	Chick Corea	December 3 1968
Amanda	Duke Pearson	December 3 1968
Dad Digs Mom (and Mom Digs Dad)	Duke Pearson	December 3 1968
Side Two
Minor League	Duke Pearson	December 3 1968
Here's That Rainy Day	Jimmy Van Heusen, Johnny Burke	December 3 1968
Make It Good	Duke Pearson	December 3 1968
Days of Wine and Roses	Henry Mancini, Johnny Mercer	December 3 1968

Liner Notes

...

75th Anniversary Reissue Notes

This was the second album by Duke Pearson's big band (the first being Introducing The Duke Pearson Big Band). These are projects that Blue Note could not have afford on its own but that were made possible once the larger Liberty label bought Blue Note. Pearson's big band was one of several started around York as rehearsal bands. Thad Jones and Mel Lewis as well as Joe Henderson Kenny Dorham led others. Only the Jones/Lewis band survived as a live touring and recording orchestra and the Henderson/Dorham band, though legendary, never recorded. Duke Pearson however got to record two albums of his band with Blue Note and toured the band on rare occasions. An April 1969 gig at the Left Bank Jazz Society in Baltimore just surfaced on Uptown Records.

Like its predecessor, "Now Hear This" blends standards with Duke Pearson originals that have appeared on various Blue Note small group sessions by a variety of artists like "Amanda" and "Minor League." The surprise entry here is Chick Corea's "Tones For Joan's Bones" that was first recorded in an arrangement by the composer on Blue Mitchell's "Boss Horn".

Michael Cuscuna

UK Press Release

This second album from Duke Pearson's Big Band has been awaited with eager anticipation by enthusiasts who enjoyed this outfit's initial and well-received effort (Blue Note BST 84276). They will not be disappointed either because NOW HERE THIS! is even better than that first L.P. Duke's men had been together - on steady weekend gigs and regular rehearsals - for almost two years when the new set was taped. Their rapport as a unit and their understanding of Pearson's music had grown accordingly with familiarity.

A glance at the personnel will show the stability of the line-up. In the twelve months between INTRODUCING DUKE PEARSON'S BIG BAND and NOW HEAR THIS! there were only two new faces brought into the ranks - Jimmy Cleveland (trombone) replaces Julian Priester and Jim Bossy was added to the trumpet section.

To Duke himself, the band fulfils a childhood ambition. He once told me: "I've always felt I could express my music, completely achieve my aims, through the medium of an orchestra. Like so many others, I was raised on the sound of big bands - Basie, Ellington, Harry James, Goodman. They were my first musical love, so to speak, and the thrill of hearing sixteen or twenty men swinging as one has never lost its great attraction to me."

The strength of the Pearson band lies not only in the deep attractive compositions and arrangements by Duke, but also in the magnificent section work, the dynamic rhythm team and the plethora of excellent soloists. Every member of this ensemble is capable of great solos which helps to account for the variety and excitement of each performance. In passing it should be noted that three of the guys - Garnett Brown, Jerry Dodgion and Pepper Adams - are also important cogs in the Thad Jones/Mel Lewis Band, another of the dedicated bands that play mainly for the kicks. Interestingly enough, Duke and Thad are close neighbours, in fact, they live in the same street and are firm friends. They come from a shrinking breed of musicians who place art before financial reward.

Several of the themes in this collection will be known already to Pearson collectors. Chick Corea's TONES FOR JOAN'S  BONES was on Blue Mitchell's, BOSS HORN (BST 84257); Duke has expanded his arrangement here. The original version of AMANDA will be found on WAHOO! (BST 84191) whilst MAKE IT GOOD was introduced on THE RIGHT TOUCH (BST 84267).

Frank Foster's DISAPPROACHMENT, featuring the composer on tenor sax, gets the album away to a spring-heeled start. Frank has learnt from Coltrane in recent years. Note his deft quotation from HAVE YOU MET MISS JONES? and his sorties into the upper limits of the horn. Garnett Brown takes a virile trombone solo and there is a sparse, gliding Pearson piano interlude. Vocalist Andy Bey (remember Andy and the Key Sisters?) is showcased on the soulful opus I'M TIRED CRYIN' OVER YOU. With Duke on electric piano, the band takes a sensitive supporting role behind Andy. Nice growl trombone from Garnett, too. TONES FOR JOAN'S BONES brings trumpeter Joe Shepley to the fore, only he is using flugelhorn on this occasion. His stark, lonely tone is reminiscent of Miles with Gil Evans. Dig the band's superb dynamics, not forgetting Duke's luminescent keyboard portion. Over an insistent beat set up by Bob Cranshaw and Mickey Roker, Pearson plays a searching introduction-cum-solo to AMANDA, ("one passionate and fiery young lady", according to Duke). There follows a forthright trombone solo by Kenny Rupp and an agile, mellow contribution from trumpeter Burt Collins, backed by appropriate Latin riffs, before we reach the delightful theme. Side One closes with a brief vignette, DAD DIGS MON (AND MOM DIGS DAD). This Pearson song has an almost Ellington0ish flavour with the restrained voicings and the piano weaving a delicate tracery.

Duke's fondness for baseball and American football are reflected in the title of MINOR LEAGUE, a genuine arrangement and not a mere succession of solos. Garnett, one of the true gentlemen of jazz, gives us a further sample of his biting, big-toned slidework. Then comes a fine scored passage opening the door to the alto sax of Al Gibbons. Stamm's cultured flugelhorn, negotiating one incredibly daring, descending run, is also prominent. The ending, like all Pearson endings, resolves perfectly. HERE'S THAT RAINY DAY belongs to Jerry Dodgion's alto sax. Love notes stream out in this tender, wistful treatment of a grade A melody. Mr. Dodgion makes one wish that the rainy day would never go away. Two of the reed section heavyweights - Lew Tabakin (tenor) and Pepper Adams (baritone) - step out front for some solid wailing on MAKE IT GOOD - and they do exactly that. Lew blows first and sends up the temperature with his heated thrusting. Pepper proves yet again that he is among the few baritone bosses. The pair get into a happy mingle at the conclusion. Rounding off this splendid package of Pearson is a fresh investigation of THE DAYS OF WINE AND ROSES replete with warm and relaxed tenor sax by Frank Foster and and a handsome bass trombone effort by Benny Powell.

Duke Pearson has said: "I believe that music gives to life in return for what life gives to music." To which one can only add that Duke Pearson has given his life to music and this in turn is imparted in joyous waves to the listener. If you doubt that - NOW HEAR THIS! Again and again.

MARK GARDNER

Jazz Journal