As written in the liner notes, Harry Allen and Joe Cohn "fit together like pieces of a jigsaw puzzle. Joined by Joel Forbes (bass) and Chuck Riggs (drums), Allen's tenor sax and Cohn's guitar play their way through several originals and a collection of standards that have not been overexposed.
Both Allen and Cohn have been influenced by some of the major musicians on their respective instruments while developing their own styles. They also share a similar sense of humor. A "working band," the four players operate as a single organism.
The opening "With The Wind And The Rain In Your Hair, one of the not-overdone standards favored by Allen, functions as a salute to Stan Getz (who recorded it in the early '50s). Three of the originals ("Take Four, "Travisimo and "Danielle ) were written by Cohn's father, tenor man Al Cohn. The first two are up-tempo, Cohn playing contrapuntally against Allen's solo, while the last is a lovely ballad done as a bossa. Forbes gets a chance to shine on "Pick Yourself Up and Riggs shows off his tasty drumming on "It's Been A Long, Long Time and "Seven Come Eleven. One of the high spots is Allen's perceptive reading of "I'll Only Miss Her When I Think of Her.
Track Listing: With the Wind and the Rain in Your Hair; Take Four; It's Been A Long, Long Time; Hey, Look
Me Over; Seven Come Eleven; I'll Only Miss Her When I Think of Her; Travisimo; Get Out; Pick
Yourself Up; Danielle.
Personnel: Harry Allen: tenor saxophone; Joe Cohn: guitar; Joel Forbes: bass; Chuck Riggs: drums.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.