Hank Jones > Groovin’ High
Hank Jones
Groovin’ High
Produced by Fred Seibert
1. Algo Bueno
2. Anthropology
3. Sippin’ at Bells
4. Blue Monk
5. Groovin’ High
6. I Mean You
7. Jackie-Ing
Hank Jones: Piano
Sam Jones: Bass
Mickey Roker: Drums
Thad Jones: Cornet
Charlie Rouse: Tenor Saxophone
As soon as we saw the incredible reaction to our first release with Hank Jones, Bop Redux , in 1977 it was clear to Muse Records’ founder Joe Fields and me we needed to record a sequel. Hank’s absence from the scene for 25 years (in the CBS Orchestra) had only made him better, and the yearning for the emotion and craft of originators of bebop was burning a hole in the hearts of 70s jazz fans. We moved recording from my base at CI Recording in Manhattan (the former Mercury Records studios) to Rudy Van Gelder’s in Englewood Cliffs, New Jersey, the most famous studio for jazz in the world.
The moment of discord with Hank came when I insisted he replace his choice of drummers (Billy Hart) with a more bop era specific pick (Mickey Roker could take the booking), in keeping with the tunes, and my interest in “authenticity.” (I still think that I was right, though in retrospect, I can’t believe I overrode the ultimate musician, HJ. I would never do it today.)
The moment of discord with the record company came when I casually mentioned Dizzy Gillespie had stopped by to groove on the session (Hank performed two of Dizzy’s tunes on the date).
“Why didn’t you have him play?!” Joe demanded. “He’d double the sales of the album.”
“Dizzy didn’t have a horn, only a Jew’s harp,” I protested.
“So?!!!”
Joe was right.
…..
Credits
Muse Records MR 5169
Hank Jones
Groovin’ High
Hank Jones: Piano, Sam Jones: Bass, Mickey Roker: Drums, Thad Jones: Cornet, Charlie Rouse: Tenor Saxophone
Produced by Fred Seibert
Engineered by Rudy VanGelder, VanGelder Studios, Englewood Cliffs, New Jersey
January 25, 1978
Original Release 1979, Cover Photograph by Carol Friedman, Cover Design by Ron Warwell
Muse Records Discography
LINER NOTES
From the 1997 reissue:
There are certain artists who are in complete command of their powers. They take the less obvious route, stunning you with nuance, suggestion and subtlety rather than relying on flash. The great English actor Paul Scofield comes to mind, so does the painter Mark Rothko. So, too, does Hank Jones.
Adjectives such as “elegant” and “immaculate” always pop up when Hank’s playing is discussed. Possessed of as much technique as any of the other gians of modern jazz piano, Hank has always dispensed it with restraint. When other pianists cite their favorite players, Hank Jones is always on everyone’s short list.
Because the songs on the two albums contained herein draw on the bebop tradition, they’re especially easy to listen to together. But in reality any two Hank Jones records go well together. Simply stated, he’s one of the ones.
Keep A Light In The Window
Joel Dorn
Spring ‘97
Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.
»