8-21281-2

The Three Sounds - Standards 

Released - 1998

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, October 8, 1959
Gene Harris, piano; Andrew Simpkins, bass; Bill Dowdy, drums.

tk.10 Alone Together
tk.25 Thinking Of You
tk.26 Goodnight, Ladies
tk.43 Lights Out

Van Gelder Studio, Englewood Cliffs, NJ, February 4, 1962
Gene Harris, piano, organ; Andrew Simpkins, bass; Bill Dowdy, drums; + Ike Quebec, tenor sax #9.

tk.2 Sometimes I'm Happy
tk.22 Makin' Whoopee

Van Gelder Studio, Englewood Cliffs, NJ, June 27, 1962
Gene Harris, piano; Andrew Simpkins, bass; Bill Dowdy, drums.

tk.12 The Best Things In Life Are Free
tk.13 Cry Me A River
tk.24 Again

Van Gelder Studio, Englewood Cliffs, NJ, June 28, 1962
Gene Harris, piano; Andrew Simpkins, bass; Bill Dowdy, drums.

tk.30 Witchcraft
tk.32 Stay As Sweet As You Are
tk.39 Red Sails In The Sunset

Track Listing

Title	Author	Recording Date
Makin' Whoopee	Donaldson-Kahn	February 4 1962
Cry Me A River	Arthur Hamilton	June 27 1962
Witchcraft	Coleman-Leigh	June 28 1962
Again	Corcoran-Newman	June 27 1962
Sometimes I'm Happy	Youmans-Caesar	February 4 1962
Stay As Sweet As You Are	Revel-Gordon	June 28 1962
The Best Things In Life Are Free	De Sylva-Brown-Henderson	June 27 1962
Red Sails In The Sunset	Williams-Kennedy	June 28 1962
Alone Together	Schwartz-Dietz	October 8 1962
Lights Out	Billy Hill	October 8 1962
Thinking Of You	Ruby-Kalmar	October 8 1962
Goodnight, Ladies	Van Alstyne-Williams	October 8 1962

Liner Notes

DURING the mid-to-late 50's, jazz piano trios sprung up across the nation. Perhaps it was the popularity of Oscar Peterson or Errol Garner or the stylization of the intimate image a piano trio can evoke, but for whatever reason, the piano trio explosion was in full gear. There was The Ahmad Jamal Trio, The Red Garland Trio, The Ray Bryant Trio, The Bill Evans Trio, The Ramsey Lewis Trio just to name a few. They were all modern jazz units. Some trios served as the core group backing up a singer. Ella Fitzgerald had The Tommy Flanagan Trio, Joe Zawinul's Trio backed up Dinah Washington (after Wynton Kelly's trio had done the same).

The Art of the Trio is taken by jazz musicians as seriously as the Art of the Fugue is studied by organists. Even though the basic instrumentation is the same (piano, bass and drums), an avid listener could easily discern the differences between the Hampton Hawes Trio and The Sonny Clark Trio. Each trio had its own signature, a way of weaving various influences into a cohesive statement and direction.

The THREE SOUNDS were part of the trio explosion. Begun in 1956 in Benton Harbor, Michigan as the FOUR SOUNDS and consisting of Gene Harris on piano, Andrew Simpkins on bass and Bill Dowdy on drums (the saxophonist was dropped by the time the group moved to Washington, D.C. in 1957). The "Sounds" eventually migrated to New York City where they were 'discovered' by Lou Donaldson. After a single record for Riverside with Nat Adderley, the THREE SOUNDS signed an exclusive contract with Alfred Lion of Blue Note Records.

This move was fortuitous for Blue Note. The THREE SOUNDS had a natural chemistry and beautiful rapport with the audience. The national audience began to build for the group, and soon the THREE SOUNDS were playing clubs across the country. The group did very well in the booming jukebox business evidenced by the large number of singles that Blue Note released on 45-rpm vinyl.

Alfred Lion's strategy for the group was simple; record them as often as possible, playing material rehearsed in clubs and fine tuned for the recording session. Sometimes a single session would yield not one, but LP's worth of material. Over the course of 5 years (1958-62, the 'classic' trio years), the "Sounds" released 9 LP's. But there is still much more material in the vaults as demonstrated by this compilation.

"Standards" is a fitting title for a THREE SOUNDS CD. The group brought new life to material that spanned the decades. This collection contains a popular song from 1911 ("Goodnight, Ladies") as well as a current hit from 1957 ("Witchcraft"). In between, the history of the American Popular Songbook is given a fresh, refined twist by the THREE SOUNDS.

The CD begins with "Makin' Whoopee", a Walter Donaldson-Gus Kahn classic from the 1928 stage play "Whoopee". The "Sounds" give the song a loping, groovy feel.

Arthur Hamilton's "Cry Me A River" (popularized in 1955 by Julie London) brings out the late-night feel that the trio creates. "Witchcrat", by Cy Coleman and Carolyn Leigh, showcases the trio's love for swinging. Frank Sinatra had made this song a standard in 1957.

"Again", Lionel Newman and Dorcas Cochran's love theme from the 1 948 film "Roadhouse", gets the group back down into romance time. Gene's touch brings out the sentimentality of the melody.

"Sometimes I'm Happy" was composed by the legendary songwriting team of Vincent Youmans and Irving Caesar for the 1927 stage musical "Hit The Deck". The trio swings brightly, and gives the impression that they are always happy!

Harry Revel and Mack Gordon composed "Stay As Sweet As You Are" for the 1934 film "College Rhythm". Gene puts the blues into a mellow mood for this version, and Bill Dowdy's taste and musicianship come into full view on this performance.

Another trademark of the trio was the way bassist Andrew Simpkins would set up the feeling during the introductions. "The Best Things In Life Are Free" (the Henderson-DeSylva-Brown standard from the 1927 musical "Good News") aptly demonstrates this trait. After Simpkin's set up, the trio launches into the song in a full swinging mode.

"Red Sails In The Sunset" (by Will Grosz, under the pseudonym of Hugh Williams, and Jimmy Kennedy) was introduced in the US in 1935. It was recorded hundreds of times, and yet, the trio manages to personalize the mood, and one gets the impression that this boat left the dock closer to midnight.

"Alone Together", the Arthur Schwartz-Howard Dietz standard from the 1932 stage musical "Flying Colors", is both a popular standard and a jazz standard, a test for improvisers and a challenge for any group to make their own version. The "Sounds" get the groove out of the tune, and boy do they swing hard. Andy Simpkins's solo on this track is a gem.

"Lights Out", composed by the obscure Billy Hill in 1935, is given the 'lowdown' treatment, and is turned into a slow blues, with Gene digging into the backroom. This is classic "Sounds". The group's treatment of "Thinking Of You", composed by Harry Ruby and Bert Kalmar for the 1927 musical "The Five O'clock Girl", is a pure "Sounds" groove. Gene pushes the beat with his left hand commenting on the feel, and then brings the band on home with a great ensemble. Hard core swing!

"Goodnight, Ladies", composed in 1911 by Egbert Van Alstyne and Harry H. Williams, is turned into a blues of great groove. hard to believe that this song could go all the way from Tin Pan Alley to the alley behind the bar, but Gene's sense of Blues is exceptional.

After the group left Blue Note for Verve (two albums in 1962) and then both Limelight and Mercury (1962-66), the THREE SOUNDS returned to Blue Note, but with a different series of drummers. Gene Harris kept the band going until he signed with Blue Note as a solo artist in 1973. But for those classic years in the late fifties and early sixties, the THREE SOUNDS were a fantastic, dynamic group. "Standards" is just a small demonstration of the range and style of the THREE SOUNDS.

—BOB BELDEN

Additional Session Information

Van Gelder Studio, Englewood Cliffs, NJ, October 8, 1959
Gene Harris, piano; Andrew Simpkins, bass; Bill Dowdy, drums.

Love For Sale rejected
Blue 'N Boogie -
tk.5 Wrap Your Troubles In Dreams unissued
tk.6 Stars Fell On Alabama -
Star Eyes rejected
tk.10 Alone Together
tk.11 My Funny Valentine
Will You Still Be Mine
Blues
tk.18 Takin' A Chance On Love
tk.20 Blue 'N Boogie
tk.25 Thinking Of You
tk.26 Goodnight, Ladies
Body And Soul
tk.29 If I Should Lose You
tk.30 Everything Happens To Me
tk.31 But Not For Me
Bags' Groove
My Little Suede Shoes
tk.34 C Jam Blues
Out Of The Past
tk.36 Moonlight In Vermont
Babe's Blues
They Can't Take That Away From Me
tk.40 Lover Man
tk.42 Sweet And Lovely
tk.43 Lights Out
This Can't Be Love
tk.48 Autumn Leaves

Van Gelder Studio, Englewood Cliffs, NJ, February 4, 1962
Gene Harris, piano, organ; Andrew Simpkins, bass; Bill Dowdy, drums; + Ike Quebec, tenor sax #9.

tk.2 Sometimes I'm Happy
tk.4 Easy Does It unissued
tk.6 Azule Serape BLP 4155 CD Issue
tk.7 Out Of This World BLP 4197
tk.9 Girl Of My Dreams BLP 4197
tk.10 Old Lamplighter unissued
tk.11 Just In Time BLP 4197
tk.14 I Thought About You unissued
tk.18 Blues On Trial 5-21484-2
tk.20 Softly, As In A Morning Sunrise unissued
tk.22 Makin' Whoopee
tk.23 For Dancers Only BLP 4155 CD Issue
tk.24 Nature Boy BLP 4155 CD Issue
tk.25 Remember unissued
tk.26 Wadin' -
tk.27 Mountain Greenery -
tk.29 What A Difference A Day Makes -
tk.30 Tadd's Delight BLP 4155 CD Issue

Van Gelder Studio, Englewood Cliffs, NJ, June 27, 1962
Gene Harris, piano; Andrew Simpkins, bass; Bill Dowdy, drums.

tk.4 My Romance unissued
tk.6 El Dormido unissued
tk.7 June Night unissued
tk.8 But Beautiful unissued
tk.11 There They Go unissued
tk.12 The Best Things In Life Are Free
tk.13 Cry Me A River
tk.14 Back Home BLP 4155 CD Issue
tk.18 You Dig It BLP 4155 CD Issue
tk.21 Moon River unissued
tk.22 In A Little Spanish Town -
tk.24 Again
tk.25 Theme From M Squad BLP 4155 CD Issue

Van Gelder Studio, Englewood Cliffs, NJ, June 28, 1962
Gene Harris, piano; Andrew Simpkins, bass; Bill Dowdy, drums.

tk.30 Witchcraft
tk.31A Blues For Beth unissued
tk.32 Stay As Sweet As You Are
Drivin' Home rejected
tk.36 For Me And My Gal unissued
tk.39 Red Sails In The Sunset

BNJ-61019

The Three Sounds Volume 2

Released - February 21,1985

Recording and Session Information

Van Gelder Studio, Hackensack, NJ, September 16, 1958
Gene Harris, piano; Andrew Simpkins, bass; Bill Dowdy, drums.

tk.8 Bobby
tk.9 Mo-Ge
tk.15 Soft Touch

Van Gelder Studio, Hackensack, NJ, September 28, 1958
Gene Harris, piano, celeste; Andrew Simpkins, bass; Bill Dowdy, drums.

tk.2 Don't Get Around Much Anymore
tk.14 It Might As Well Be Spring
tk.16 Goin' Home (alternate take)

Track Listing

Side One
Title	Author	Recording Date
Bobby	Gene Harris	September 16 1958
Mo-Ge	Gene Harris	September 16 1958
It Might As Well Be Spring	Rodgers-Hammerstein	September 28 1958
Side Two
Soft Touch	Gene harris	September 16 1958
Don't Get Around Much Anymore	Duke Ellington	September 28 1958
Goin' Home (Alternate Master)	Traditional	September 28 1958

Liner Notes

The lives of Gene Harris and Bill Dowdy paralleled each other in many ways. They were born within 15 days of each other in 1933 in the town of Benton Harbor, Michigan. Harris began playing the piano at age nine with no formal training. His first loves were Albert Ammons and Pete Johnson and later Erroll Garner. Dowdy did not become engrossed with the drums until the age of sixteen, but he was a quick learner. While still in high school, the two young men had a trio.

Upon graduation, they both entered the armed services and in 1954, they were both released. Harris freelanced with a variety of bands throughout the South and the Midwest. Dowdy settled in Chicago where he studied his instrument and worked with blues bands and such notable soloists as J.J. Johnson and Johnny Griffin.

Their paths crossed again for the first time since high school when they formed The Four Sounds in 1956 in South Bend, Indiana, with bassist Andy Simpkins and a succession of tenor saxophonists. Simpkins, born in Richmond, Indiana, in 1932, was originally a clarinetist and pianist. Sometime between his years at Wilburforce College and his Army stint that he discovered the bass.

The Four Sounds soon became The Three Sounds. This may have been because they were unable to find a suitable or permanent saxophonist, but more likely because it is more economical to work as a trio and also be able to back up travelling musicians. They worked throughout Ohio as a group and backing up such dignitaries as Lester Young, Al Hibbler and Sonny Stitt. During this period, they became friends with Horace Silver, who often played Cleveland at the time. Horace introduced them to Alfred Lion of Blue Note Records.

A tour with Sonny Stitt led them to settle in Washington, D.C (Stitt's home), where they worked as a trio and again as a house rhythm section for soloists passing through. Kenny Burrell and Miles Davis were among those who added their praise to that of Silver and Stitt.

In September, 1958, the trio finally came to New York to work the Offbeat Club, opposite Stuff Smith. Things began happening quickly. Alfred Lion heard them, signed them to Blue Note and did two initial sessions with them. They were also the rhythm section for a Nat Adderley quintet date on Riverside which also included Johnny Griffin. Their career began to grow rapidly. In February of the next year, they recorded a third session and also an album with Lou Donaldson entitled LD Plus Three (Blue Note BLP 4012).

Unfortunately, their recorded encounters with a horn were all too rare. In 1960 they recorded two albums with Stanley Turrentine, out of which has come only one album Blue Hour (BLP 4057). Hopefully, the second volume of this meeting will eventually be released. Then in early 1962, at one of their sessions, Gene Harris switched to organ for one long blues performance with Ike Quebec.

With The Three Sounds, Blue Note entered into a very popular form of jazz during the late fifties, that of the bluesy, funky piano trios who worked a constant jazz club circuit and did a great juke box business. Ahmad Jamal, Ray Bryant, Ramsey Lewis and Red Garland were among the leaders in the field. Typically, The Three Sounds would blend their catchy originals with standards and jazz classics (mostly the works of Ellington, Benny Golson and Randy Weston).

From September of 1958 until June of 1962, The Three Sounds went into Rudy Van Gelder's studio on fourteen different occasions. The result was ten issued albums and material enough for probably eight more. Since they were a working unit that constantly tested their material, they would rarely need more than one or two takes to get a tune down. A single session could yield anywhere from six to twenty tunes.

The initial sessions of September 16 and 18, 1958 produced all eight tunes on BLP 1600 and Angel Eyes, Time After Time, and Falling In Love With Love on BLP 4014. The remainder of the sessions is included here.

All titles, except Mo-Ge are previously unissued. Bob Porter recently wrote of Mo-Ge, which was issued at the time on 45-1723, "The offbeat rhythmic figure used here is somewhat typical of attempts used by various groups at the time to present something a bit different in what was a decidedly limited context". This and Gene Harris' two other originals come from the first September date.

The three standards come from the second. It should be noted that the version of Goin' Home included here is a loner alternate take to the performance on BLP 1600. Producer Alfred Lion had preferred the longer version, but he felt that the length of the album required using the shorter take. As always, Harris digs into Ellington (this time Don't Get Around Much Anymore with robust delight.

The combine of Harris-Simpkins-Dowdy left Blue Note in mid-1962 and recorded a number of albums for Mercury and Verve before returning to Blue Note in October of 1966. But success had diluted the trio's original impact, and their repetoire had become overrun with fanciful, inferior pop tunes of the day.

Bill Dowdy left in early 1967, to be replaced by long time Jimmy Smith drummer Donald Bailey. But by the end of 1968, both Simpkins and Bailey were also gone. The albums made under the banner The Three Sounds were generally Gene Harris albums with heavy orchestration. Harris continued to use the name, but eventually dropped it in the early seventies. Even if the name had survived that long, the sound was long gone.

Harris continued to record for Blue Note until 1976. adding an array of electronic keyboards to his set-up and a clear R & B direction to his music. Simpkins began a long association with George Shearing immediately upon leaving The Three Sounds, an association that lasted on record and in personal appearances until 1974. Recently, he recorded with Kenny Burrell, Bill Dowdy, who was the group's business manager as well as drummer, has not be heard on the jazz scene since leaving the trio.

This album is a reminder of that the real Three Sounds were all about.

-MICHAEL CUSCUNA

35338

The Three Sounds - Live At The 'It' Club

Released - 1996

Recording and Session Information

"The It Club", Los Angeles, CA, March 6, 1970
Gene Harris, piano; Henry Franklin, bass, electric bass; Carl Burnett, drums.

Funky Pullett
I'm Still Sad
Baby Man
Love For Sale
Sittin' Duck

Full Session information

"The It Club", Los Angeles, CA, March 6, 1970
Gene Harris, piano; Henry Franklin, bass, electric bass; Carl Burnett, drums.

Funky Pullett
I'm Still Sad
Baby Man
Love For Sale
Sittin' Duck
On Green Dolphin Street
Tammy's Breeze
John Brown's Body

"The It Club", Los Angeles, CA, March 6 & 7, 1970
Gene Harris, piano; Henry Franklin, bass, electric bass, sand blocks, jawbone #1,6,8-10,12,13, bass, electric bass #2-5,7,11; Carl Burnett, drums, congas, tambourine #1,6,8-10,12,13, drums #2-5,7,11; Monk Higgins, cabasa, claves, jawbone, vibraslap #1,6,8-10,12,13.

Put On Train
Virgin Pearl
I'm In Love
Down Home
Girl Talk
Black Fox
This Guy's In Love
Apollo 21
Eleanor Rigby
Get Back
Judy, Judy, Judy
How Insensitive
Come Together

Track Listing

Side One
Title	Author	Recording Date
Funky Pullett	Monk Higgins	March 6 1970
I'm Still Sad	Gene Harris	March 6 1970
Side Two
Baby Man	Monk Higgins	March 6 1970
Love For Sale	Cole Porter	March 6 1970
Sittin' Duck	Monk Higgins	March 6 1970

Liner Notes

In every major city that had somewhat of a jazz scene, there would exist a club that defined the word 'in'. They would always come and go, but there would always be that brief flowering where by performing or hanging out at the 'spot' would qualify one as 'in'. New York had the "Vanguard" and the "Gate", Chicago had the "London House" and the "Sutherland", and Los Angeles had "Shelly's Manne Hole" and the "It Club."

The "It Club" was located at Harcourt and Washington (near La Brea) and existed from the early '60s till the early '70s. The man who owned the club and booked the bands (and only the artists that he liked) was John T. McLain. Mr. McLain was Dorothy Donegan's husband at the time, so must have had a refined ear and great taste, and he knew who was good for the club.

The 'It Club' was the 'in' club in Los Angeles at the time and was considered a hip joint by musicians. Monk recorded there in 1964 for Columbia (although these tapes were not released until the '80s. The room was frequented by celebrities (Steve Allen was there every night when Monk played), students, hippies and jazz aficionados. When Miles or Dizzy would work the club, people would wait in the rain to get in. You would see the latest fashions worn by the 'beautiful people' clientele. All in all it was quite a scene.

Mr. McLain was fond of great pianists like Art Tatum, Horace Silver, and especially Phineas Newborn (who was the intermission pianist at the club for a while). During that hot time for the club, Gene Harris was living on the West Coast. Mr. McLain hired the Three Sounds for a week, and by doing great business, opened the door fir Gene to work the room on a regular basis. Gene and Mr. McLain are still in touch today.

This set represents Gene's playing and the Three Sound's concept at the time. The blues and gospel roots were there, but the rhythm had a funkier edge, and the beat was contemporary. A large part of the great groove and funky feel can be attributed to drummer Carl Burnett. Carl joined the Three Sounds in early '68 (replacing Donald Bailey). He brought all of the assets of a great jazz drummer to the stand plus something extra, the funky groove. Henry Franklin replaced Andy Simkins (the original bassist) in late '69. With Burnett and Franklin, this became Gene's working band until shortly after this recording. You can hear the tightness of the group, the effortless nature of their swing and the solid groove that only comes from working together night after night. (Monk Montgomery eventually replaced Franklin but this group never recorded).

The Three Sounds had made, prior to this recording, three 'orchestral' albums COLDWATER FLAT 4286, ELEGANT SOUL 4301 and SOUL SYMPHONY 4341. This session may have been recorded to be a 'live' 2-LP set for Blue Note, judging from the company's recording activity on both coasts in 1970. (Lee Morgan made his LIVE AT THE LIGHTHOUSE 2-LP set in July of 1970, and both Grant Green and Lonnie Smith were captured in live performance).

But for some reason, this set was never released. Perhaps jazz/fusion never made it as big as jazz/rock fusion. Gene felt there was no crossover market for his orchestral albums so eventually he moved to more of a produced sound. Herbie Hancock's writing influenced Gene to change to different colors and rhythms. Like Herbie, Gene wanted to broaden his audience base to include younger people. The Three Sounds played clubs like the 'Bottom Line' to try to capture this set of ears. However, by the late '70s, Gene Harris even disappeared from his own LP's, buried under the production. He stopped recording for Blue Note in 1977..

Gene is back on the scene now, recording for Concord and touring whenever he wants. His performing vehicle has returned to the piano trio. But as an artist who has stretched his musical palette and challenged himself, he can do anything he wants to do. We should dig it the same. It's the same set of fingers, isn't it?

- Bob Belden
1995

BST 84434

The Three Sounds - Babe's Blues

Released - 1986

Recording and Session Information

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

tk.1 Shiny Stockings
tk.9 Work Song
tk.14 Between The Devil And The Deep Blue Sea
tk.21 Walking The Floor Over You
tk.22 Sweet And Lovely
tk.26 Blue Daniel
tk.29 Wait A Minute
tk.30 Stairway To The Stars
tk.33 Lazy Cat

Van Gelder Studio, Englewood Cliffs, NJ, March 8, 1962
Gene Harris, piano; Andrew Simpkins, bass; Bill Dowdy, drums.

tk.16 Babe's Blues

Track Listing

Side One
Title	Author	Recording Date
Babe's Blues	Randy Weston	August 13 1961
Wait a Minute	Gene Harris	August 13 1961
Work Song	Nat Adderley	August 13 1961
Blue Daniel	Gene Harris	August 13 1961
Sweet and Lovely	Gus Arnheim, H. Tobias, Jules LeMare	August 13 1961
Side Two
Shiny Stockings	Frank Foster	August 13 1961
Walking the Floor Over You	Ernest Tubb	August 13 1961
Between the Devil and the Deep Blue Sea	Harold Arlen, Ted Koehler	August 13 1961
Stairway to the Stars	Matty Malneck, Mitchell Parish, Frank Signorelli	August 13 1961
Lazy Cat	Gene Harris	August 13 1961

Liner Notes

Gene Harris and Bill Dowdy were born within 15 days of each other in 1933 in the town of Benton Harbor, Michigan. Harris began playing the piano at age nine with no formal training. His first loves were Albert Ammons and Pete Johnson and later Erroll Garner. Dowdy did not become engrossed with the drums until the age of sixteen. But he was a quick learner, and while still in high school, the two young men had a trio. Both men entered the armed services upon graduation, and their paths parted momentarily.

Coincidentally, each man got released from service in 1954. Harris freelanced with a variety of bands throughout the South and the Midwest. Dowdy settled in Chicago where he studied his instrument and worked with blues bands and such notable soloists as J.J. Johnson and Johnny Griffin.

Their paths crossed again when they formed The Four Sounds in 1956 in South Bend, Indiana, with bassist Andy Simpkins and a succession of tenor saxophonists. Simpkins, born in Richmond, Indiana, in 1932, was originally a clarinetist and pianist. It was between his years at Wilburforce College and his Army stint that he discovered the bass.

The Four Sounds became, before long, The Three Sounds, working throughout Ohio with the likes of Al Hibbler, Lester Young, Sonny Stitt and other notables who travelled as soloists. It was during this time that they became friends with Horace Silver, who often played Cleveland at that time. Horace recommended them to Blue Note's Alfred Lion.

The trio later toured with Sonny Stitt and settled in Washington, D.C., where they worked as a trio and again as a house rhythm section for soloists passing through. Kenny Burrell and Miles Davis were among those who added to the praise of Silver and Stitt.

In September, 1958, the trio finally came to New York to work the Offbeat Club, opposite Stuff Smith. Things began happening fast. That month Alfred Lion signed them to Blue Note and did two recording sessions with them. They also served as the rhythm section for a Nat Adderley quintet date on Riverside with Johnny Griffin. It was clear that they had come to New York to stay. In February of the next year, they recorded a third session of their own and an album with Lou Donaldson entitled LD Plus Three (Blue Note 4012). Unfortunately, their only other lengthy recorded encounter with a horn was another session for Blue Note in 1960, which produced Stanley Turrentine's Blue Hour (4057). Another album's worth of material with Turrentine is still unreleased. They also cut one title with Ike Quebec in 1962 with Harris switching to organ.

From September, 1959, until June, 1962, The Three Sounds went to Rudy Van Gelder's on fourteen different occasions under the auspices of Blue Note, recording a vast amount of material. As a working unit, they usually needed only one or two takes to get a tune. A session could bear anywhere from six to twenty tunes.

All but one title from this album of previously unissued material comes from the August 13, 1961, date that was also the source of their Hey There (4102). Typically, the set is balanced by a program of great thirties standards, big band jazz tunes such as Frank Foster's Shiny Stockings, contemporary jazz tunes such as Nat Adderley's Work Song and Gene Harris originals such as Lazy Cat.

One first here is the trio's flirtation with country music with their treatment of Walking The Floor Over You. This predates Ray Charles' transformation of country and western material into soulful masterpieces. And country tunes would later play an even larger role in the bands repertoire. The Three Sounds recorded a lot of Ellingtonia throughout their Blue Note sessions, but this solid version of Shiny Stockings and their slow reading of L'il Darlin ' from 4044 were their only ventures into Basie territory.

While it is not surprising to see The Work Song in their repertoire, it is delightful to see the late Frank Rosilino's Blue Daniel included. The trombonist originally wrote the tune in 1959 for Shelly Manne's band. Shelly recorded for Contemporary, and a year later Cannonball Adderley recorded it for Riverside. Coincidentally, both versions were cut live in San Francisco and included Victor Feldman at the piano. Phineas Newborn recorded it for Contemporary in 1964.

The tune's most recent recorded revival came in 1979 when Ben Sidran wrote and sang lyrics to it.

On March 8, 1962, the trio recorded a number of tunes which appeared on Black Orchid (4155) and Out Of This World (4197) as well as this rousing rendition of Randy Weston's Babe's Blues. It is interesting to note that their version of Weston's Saucer Eyes comes from the same session.

Babe's Blue is a classic Weston waltz blues, which the pianist first recorded for United Artists in 1958. Betty Carter gave it lyrics and recorded it the following year. Weston is responsible for so many major jazz compositions that too many have slipped by the wayside. This is one of them.

The combine of Harris-Simpkins-Dowdy left Blue Note in mid-1962 and recorded a number of albums for Mercury and Verve before returning to Blue Note in October of 1966. But success had diluted the trio's original impact, and their repertoire had become overrun with fanciful, inferior pop tunes of the day.

Bill Dowdy left in early 1967 to be replaced by longtime Jimmy Smith drummer Donald Bailey. By the end of 1968, both Simpkins and Bailey were gone. The albums made under the banner The Three Sounds thereafter were generally Gene Harris albums with heavy orchestration. Harris continued to use the name, but eventually dropped it in the early seventies. Even though the name had survived that long, the sound was long gone.

Harris continued to record for Blue Note until 1976, adding an array of electronic keyboards to his set-up and a clear R & B direction to his music. Happily, Gene returned to his lusty, rousing acoustic piano style in the early eighties. He has lent his talent to albums by a variety of artists and co-leads a trio with bassist Ray Brown. Recently, Stanley Turrentine has been a frequent guest artist with the band. Simpkins began a long association with George Shearing immediately upon leaving The Three Sounds, an association that lasted on record and in personal appearances until 1974. Recently, he recorded with Kenny Burrell. Bill Dowdy, who was the group's business manager as well as drummer, has not been heard on the jazz scene since leaving the trio.

This album is a reminder of what the real Three Sounds were all about.

—MICHAEL CUSCUNA

BST 84423

Gene Harris Of The Three Sounds

Released - 1972

Recording and Session Information

A&R Studios, NYC, June 29, 1972
Gene Harris, piano; Sam Brown, Cornell Dupree, guitar; Ron Carter, bass; Freddie Waits, drums; Johnny Rodriguez, congas; Omar Clay, percussion, vibes.

9949-8 Django
9950-7 John Brown's Body
9951-13 A Day In The Life Of A Fool

A&R Studios, NYC, June 30, 1972
Gene Harris, piano; Sam Brown, Cornell Dupree, guitar; Ron Carter, bass; Freddie Waits, drums; Johnny Rodriguez, congas; Omar Clay, percussion, vibes.

9952-12 Killer Joe
9953-4 Listen Here
9954-8 Emily
9955-7 Lean On Me
9956-2 C Jam Blues

Track Listing

Side One
Title	Author	Recording Date
Django	John Lewis	June 29 1972
Lean on Me	Bill Withers	June 30 1972
A Day in the Life of a Fool	Luiz Bonfá, Carl Sigman	June 29 1972
John Brown's Body	Traditional; arranged by Wade Marcus	June 29 1972
Side Two
Listen Here	Gene Harris	June 30 1972
Emily	Johnny Mandel, Johnny Mercer	June 30 1972
Killer Joe	Benny Golson	June 30 1972
C Jam Blues	Barney Bigard, Duke Ellington	June 30 1972

Liner Notes

Gene Harris, like so many other musicians, is one of those leaders in music who has been misfiled. Right up to now, he is still primarily recognized as only one of the supporting players in that finely etched musical groove that has become so well identified with The Three Sounds.

True, as a unit The Three Sounds have, and do, function with such an ease and resiliency that one is easily led to believe that to separate one from the others there would be a noticeable malfunction; This, of course, is not to be doubted when lifting the resounding keyboard artistry and prestidigitations of Harris out of that familiar mold. And, albeit credibility cannot be taken from the other members of that cohesive sound for their formative contributions of musicianship and feeling, it is the intrinsic .statements of Gene Harris that provided the sustenance.

It is, we believe, that very reason why George Butler and Wade Marcus, executive producer and producer, respectively, and conceivers of this date, decided to bring forth the sterling qualities inherent in Harris as a leader and soloist. But even more, we feel that Butler and Marcus envisioned the perfect musical experience that can come when removing an artist such as Harris from his customary musical environment and giving him the opportunity to experience the credo of a creative artist, of experiencing CHALLENGE and CHANGE.

For the aforementioned, Butler and Marcus surrounded the West Coast based (but Midwestern born and trained) pianist with musicians who are based in the East, but musically bound by no particular geographical setting. Anyone who has experienced the intuitive playing of Ron Carter on bass, Freddie Waits on drums, Sam Brown on guitar, Cornell Dupree on guitar, Johnny Rodriguez on congas, and Omar Clay on percussion, know from experience where they are, musically. For those who haven't the experience will come with hearing the able support they give the leader. Harris.

Indeed, this was the first step on the part of Butler and Marcus us to provide the element of CHANGE, because Harris had never played with any of the sidemen on is date before. And when they all gathered at the studio to do the eight tracks found in this album, the stage was set to offer to Harris the CHALLENGE that always comes with unfamiliarity.

The result speaks for itself. Immediately, and without reservations, the tone of the entire album is set with the moving portrait, DJANGO. Carter's bass lines, rich and succulent, sets an ebullient groove by which pianist Harris has only to flaunt that wonderful capability of his at the keyboard, of simply getting down to the blues of the subject.

In talking about the date and the experience Harris remembers most of all playing with the musicians, aside from their unequivocal professionalism and musicianship, he was pleased to find that through every take there was not the least bit of slack. That is to say, the musicians responded triumphantly because he had HIS stuff together And oddly enough, the success of LEAN ON ME is based exactly on the opposite of the song's title. Regarding the togetherness of this particular track, one listener candidly remarked that the musicians had undoubtedly "gone to the same church in order to make that song speak the way it does'.'

One of the nicest things that happens to a piano when Harris sits down to play something like A DAY IN THE LIFE OF A FOOL and EMILY (the theme song from the film, "The Americanization of Emily") is that all of its capabilities of making these ballads a thing of beauty is given the test, The truth, however, is that Harris has spent the last fifteen or more years discovering every nuance of his axe. "I have, and will continue to, put a lot of time in at the piano instead of spending my time writing because I prefer to play."

Harris' intuitiveness and giftedness, which appear to be as natural as his ability, also shows evidence of a great deal of homework when examining all of the properties he employs with his breathless and indefatigable delineations of JOHN BROWNS BODY and LISTEN HERE. Again, Carter, as well as the conga and percussion work of Rodriguez and Clay play a tributary role in the naturally swinging properties (something that is forgotten in these jazz times) that flow unforced from these two tracks.

KILLER JOE! Benny Golson's mythical musical figure, has been receiving some new life of late thanks to those musicians and leaders who know where to find the real soul of hipness. Like the hip craftsman he is, Harris skillfully tells a fingerpoppin' tale about a "Brother"' that really needs little explanation.

The inclusion of the stately evergreen, C-JAM BLUES, a composition that got its start in music some years before Harris, in this varied collection of songs, shows that a songlike this when put in the capable and creative hands of an artist like Gene Harris continues to grow because of its many viable characteristics.

The same can be said of the leader of this date who says that "I have grown, musically:' when thinking of the many years he's been active. "And I hope that twenty years from now I can say the same thing!'

The evidence provided in this album says there will be volumes of growth that will far exceed Gene Harris' modest twenty year wish, for which all of the music enthusiasts and jazz music will be the luckier.

LEROY ROBINSON