Customer Reviews

A Blowing Session (The Rudy Van Gelder Edition)

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as the liner notes inform us, this album happened by accident. griffin and hank mobley were scheduled for a dual sax date, when on the way to van gelder's studio, they ran into john coltrane setting up an impromptu sax summit. and what a meeting it was! this album cooks from start to finish with the three tenors (jazz style), pushing and reaching for higher and higher moments. it is a lot of fun to go along for the ride. in one sense, its too bad because the rest of the musicians here are also outstanding (wynton kelly on piano and lee morgan on trumpet, for example) and they don't have a lot of room to solo with these three giants going at it. oh, well... maybe some day they'll unearth lost masters of this session with 30 or 40 minute workouts! this album is a good introduction to griffin, who has spent much of his career as an expatriate musician in europe. he took a full-bodied, r&b approach to music, but with a subtle and deep touch. a great re-release!

This is a great album for lots of reasons. It features three of the most distinct stylists on tenor saxophone, as well as an up-and-coming star on trumpet; the tunes (two standards and two Griffin tunes) bring out the best in the first-rate musicians; and the jam-session nature of the recording gives it a relaxed, spontaneous feeling. Johnny Griffin, the least known of the saxophonists, is unbelievable -- you won't believe your ears as he rockets through several choruses of the warp-speed "The Way You Look Tonight" but nevers loses sight of the blues. Hank Mobley's mellow, lyrical playing provides a great foil to his more aggressive counterparts. John Coltrane, then in his layoff from the Miles Davis group and beginning his tenure with Thelonious Monk, shows his rapidly evolving, harmonically challenging style. Lee Morgan is really inspired on this recording, and the rhythm section is incredible: Wynton Kelly, Paul Chambers, and Art Blakey. Blakey is on fire here, by the way; just listen to him trading choruses with Griffin! This is essential listening for anyone who likes 50s hard bop.

Few occasions can produce as much musical excitement as a gladiatoral meeting of tough tenors. An all too rare event these days, if you came of age in Chicago in the '60's and '70's you had bountiful opportunities both on the South Side (McKee's Show Lounge) and North (Joe Segal's Jazz Showcase) to hear the strongest and most personal voices on the instrument--Stitt, Jug, Dex, Moody, Jaws, Cohn, Sims, Turrentine, Ira, and Griff-- taking after each other in pairs, threes, and sometimes in fours. No recording can do justice to capturing such moments, but few, in my (apparently minority) opinion, fall as short as "Blowin' Session."

Some of the blame lies with the programming. There's no shortage of Griffin to be heard, but the presence of Lee Morgan simply deprives both Mobley and Trane of comparable blowing time. But the real downer on this session is the quality of the audio. Who would have ever thought it possible to practically "homogenize" voices as distinctive as those of Griffin, Mobley, and Coltrane? The sonic canvas is depthless and dimensionless, the horns miked so closely that each is constantly on the verge of breaking up. Griffin's sound, in fact, is distorted throughout much of the program, a relentlessly grating roughness that makes it difficult to appreciate his normally crisp articulations and fluent melodic lines. Mobley and Coltrane, though artificially boosted in the sonic mix, come off better, thanks to Hank's less aggressive approach and to Trane's characteristically unforced use of the altissimo register. Overall, Coltrane's playing is surprisingly conservative on this session and his role quite limited. Of the three players, the real surprise, for some listeners, may be Mobley, who eschews charging ahead like a locomotive in favor of some thoughtful, "reactive" musical ideas. (Dig, especially, his masterfully constructed solo on the "Alternate Take" of ""Smoke Stack," which also features the best Coltrane on the date.) Unfortunately, Blakey's drums take their place in the foreground with the horns on Van Gelder's flat aural canvas, overshadowing both Paul Chambers' bass and Wynton Kelly's piano except for the solos.

If you really want to compare the different and utterly unique sounds of Coltrane and Mobley, pick up "Someday My Prince Will Come," the Miles Davis session on Columbia that features both tenor players. If you want to hear the undistorted, "natural" sound of Johnny Griffin, go to his work on Riverside with Monk or on Jazzland with Lockjaw Davis or on Delmark with Ira Sullivan. If you're a musician and wish to hear and transcribe note for note (as I did several of the solos) some marvelous playing by Coltrane, Mobley, Al Cohn, and Zoot Sims, pick up "Tenor Conclave" on Prestige (it's still Van Gelder, but at Prestige Miles and the musicians were more in control of the sound than the engineer). Mobley opens the session on "Rhythm" changes and closes it (following Coltrane's solo!) with a knock-out solo and cadenza on "How Deep Is the Ocean." A recording with lots of notes, but all equally beautiful to those who have the ear for it.

Unless I simply received a bad pressing (from BMG), "Blowin' Session," especially after all the hype that it's received, is one of the most overblown recordings I've ever come across.

Though this CD gets 5 stars from most of your reviewers, and appears on a number of "best ever" lists, I'd like to offer an emphatic dissent.First the good things. The rhythm section is excellent,(even if Art Blakey is typically a bit overpowering), both generally and in its limited solo space. And Lee Morgan's playing is excellent. I've never heard him play less than well; he had it all--ideas,tone,technique,fire,taste.Mobley and Coltrane play well, though nothing here will startle or excite anyone familiar with their work around this time.
As for the Johnny Griffin of the 50's:sure,he's one of the fastest horns in the West,but as a musician his talent ended at the wrists.Endless cockroach-on-the-keys scrambling up and down his horn,very little in the way of ideas,a harsh and at times plain out-of-tune upper register that sometimes sounded like somebody had stepped on a poodle. If you want to hear the difference between a real improvising musician and a cram-everything-in speed demon, compare the Monk-Sonny Rollins version of "Misterioso" with the Monk-Griffin version (each recorded right around this time). But JG is the dominant force/voice on this album,unfortunately. Sheer technical virtuosity has always played a role in jazz, but in the best jazz there's always a lot else besides. That's not the case here.

Griffin challenges Mobley and Coltrane to pick up the pace, and the result is a wickedly fast paced, hard-driving album of be-bop saxophone. Inexplicably, the speed induces melody. Perhaps not surprisingly given the cast, each tenor retains a well defined voice. But wait, that's not all -- Lee Morgan steps up with his signature trumpet groove, further supporting the tunefullness of the album.

Rudy van Gelder's recording is superlative on this album, as it is on the others from this series. I used this album as a test when I was auditioning loudspeakers because of its beautiful range of tones and engaging feeling of 3D space.

If you're wondering how good Johnny Griffin is, why not try him out with an album that also boasts Lee Morgan, Hank Mobley, and John Coltrane? That's what I did, and let me tell ya, this album swings so hard it's practically gyroscopic. Hell, it's even got Art Blakey on drums, for godsake! The big names never get in each other's way though, spurring each other on rather than cutting each other down. Wynton Kelly on piano and Paul Chambers on bass are as solid and musical as ever, too. This is a dream group that raises the concept of "blowin' session" to the sublime.

Great session with an amazing lineup of musicians. I have the Toshiba-EMI Japanese pressing, which sounds very nice. The Penguin Guide to Jazz is way off on this one, giving it only 3 out of a possible 5 stars. In fact, that guide is way off on a number of discs. It only gives Coltrane's Giant Steps 4 stars, which is laughable.

This is one of those sessions you hear so much about but never actually get around to hearing until you go the mile to pick it up. And a line-up of Griffin, Trane, Mobley, Morgan, Kelly, Chambers, and Blakey is a session that simply needs to be heard to be believed. Well, now or later, pick it up and start believing.

This record is considered by some to be Griffin's crowning achievement (even better than Introducing Johnny Griffin), which could very well be rationalized by this release on the edge of creativity. After finally believing that these wizards actually combined in the studio, give it a listen and get caught up in the sizzle of sounds.

Just look at the rhythm section. The cast of Wynton Kelly, Paul Chambers, and Art Blakey was heralded as THE rhythm section of the late 50's, and, consequently, their most celebrated work can be heard on Hank Mobley's SOUL STATION. Wynton Kelly rolled out chords effortlessly, which matched PC's (heard here at age 22) unbelievably precocious rhythm and thickness, and Blakey's omnipresent aura. His rimshots feel like shooting stars in an already lit sky, and the way he prods soloists (especially soloists who are searching for their next lick) into excited sounds.

It doesn't take a Stephen Hawking to realize that this is a tenor player's dream. A triple foil, so to speak. Griffin already planned to have Mobley in the studio with him a duel, but running into Trane earlier in the day, he couldn't resist to add some fuel to the fire. Griffin plays as full-bodied as he's known to play, his notes conjuring the image of shoes crunching on many leaves. Coltrane's tone and flowing lines (not to mention harmonic wizardry) will cause most saxophonists, if not musicians in general, to lose sleep in amazement. Mobley is considered the weak link of this group, for some odd reason. Just because he doesn't aggressively attack each beat of the measure and actually uses space does not make him an odd man out. Rather, fans of his relaxed, melodic, and warm sound can be thankful that he brought it to this date, tempering the hot steel of Griffin and the harmonic complexity of Coltrane. The tenor battle conceals nothing and any and every idea was unleashed into the musical pool.

Discover Young Lee Morgan! 1957 was Morgan's brash, youthful, and fiery coming out year. This session along with Coltrane's BLUE TRAIN caused many to proclaim him as the heir to Clifford Brown (which couldn't be rightfully claimed by the flubbing and ungraceful playing of Donald Byrd and Bill Hardman during this period), carrying this torch until Freddie Hubbard joined (and helped) him in 1960. Morgan sounds noticeably eager and keen in his improvising, if a bit overexcited, which Blakey masterfully tames with his rimshots.

Griffin's trying to chase the other tenors out of the studio. Perhaps the addition of Trane pushed Griffin a bit too much. While many consider him to be "the fastest player in jazz," moderation is the name of the game. He draws out melodic idea upon melodic idea, but his improvisations tend to intoxicate after awhile. Also, since he is the leader of this date, he makes it known by elongating his solos, hence taking away ample opportunities from Mobley and Trane. It's possible that Lee Morgan was added to the album to prevent it from becoming a total tenor cutting session, which helps to an extent; it's only Griffin's playing that implies competition.

At the end of the day, it's still just a "blowin session." This session didn't break ground or win awards. But why should it have? It was advertised as what it was: just letting seven all-stars congregate for their first and only time all together, and letting them blow the afternoon away. Those looking for jazz that stings day and night in cutting edge invention will probably be disappointed. The music is probably 10% melody, 90% improvisation.

Why only record four tunes? Why not have Lee sit out a tune to focus more on the tenor triumvirate? Why not some variety in song selection (two standards, a blues, and an exercise in 2-5-1's (BALL BEARING))? This session, as much as it glows like blue flame, had enough promise to be considered as the best blowin' session to go down in history. It's memory will not fade for its excellence, but the set list could have been doubled in output and the album would be considered a top 50 essential jazz recording.

Trane's still young and undiscovered. It was through hard bop sessions and bow-and-arrow accuracy against other musicians like this that he strung together his reputation, which reached its peak in 1959 and exploded in 1960. Listen for his immediately recognizeable tone and the danger of embarrassment it provides to Mobley and Griffin, but note that he is cautious enough to not overblow or try to steal the show.

This album may not stick in your memory forever, for it its memorable moments are not as plentiful as one may like. For example, most jazz enthusiasts can readily sing out each melody and probably each line that Coltrane played on BLUE TRAIN, but this album is memorable more as a JAM SESSION rather than one that has a sum of unforgettable parts.

The music and improvisations on this album are deep and crawling with melody. Those that love horizontal improvisation as well as lines that are deep in the rhythmic pocket will indulge in the masterful sounds of these musicians for years to come. Musicians that love to learn by transcribing solos will enjoy A BLOWIN SESSION's knack for pleasing successions of flowing, musical tones.

The best track is the opener, THE WAY YOU LOOK TONIGHT. The musicians' deftness in improvisation (and the flawless timekeeping of bassist Paul Chambers) in such a fire-breathing tempo will excite and incite admiration in the calmest of listeners.

If jazz had scents, this record would smell of fresh cinnamon - spicy with numerous edges, with a little sweetness added by Hank Mobley.

Except for the fact that this is a testosterone session in full
bloom,I would have added Sonny Stitt on Alto Sax. What can you do
with half of Miles Davis's side men & half Jazz Messengers... Listen to the opening tune, The Way You Look Tonight, Jerome Kern never envisioned it at this "greyhound" pace . The best way to describe the intensity of this album is to imagine tossing a juicy steak into a yard with hungry pitbulls & rotweilers and see who prevails. Ballbearing is sort of platform for the young Trane to show his skills as a deep-rooted Bebopper from the Dexter Gordon-"Bird" School, while Griffin conjures up a Don Byas or LockJaw feel. Morgan chides in with a succinct Fats Navarro/Clifford Brown solo.Hank is sort of the low man on the totem pole on this cut, but he still manages to "do some damage."

All the Things You Are again finds Johnny Griffin dominating the joint. Two weeks with Monk can do that,1957 was also a good year for Trane wih his stint with Monk at the Five Spot sessions.
The sleeper of the album is Smokestack. Everybody gets to stretch out on this piece... pay attention to the fine rhythmn unit of Wynton,Paul and "Master" Blakey,as they have herculean stamina for this session of Titans assembled here. This is a Hipster's crown jewel or atleast a precursor to "No Room for Squares."
R.J.Carmack
Atlanta International Jazz Society

One, two, three plus Lee. It's good. Lookin' at the names on it you know it can't. Everyone, and I mean everyone burns.

Coltrane and Griffin are the meanest speed demons, taking all sorts of chances, dodging left and right, up and down. And Mobley just kind of brings everyone down to the ground. Man his voice is so great. Mobley is good on this album. He's different. And I think that Wyn, Blakey and Paul Chambers get a bit of room to solo. They all just sound nice.

If you don't got it, get it. It's a jam, but they all play hard and they're are some great names. Lee Morgan is only is just 18, but already he was making waves on the scene. It's good hard bob. Go out and enjoy it...