Anthony E. Nelson Jr.: Swinging Sunset

The fascination with Hammond B3 organ trios, which were so prevalent in the '50s and '60s, remains undiminished. And rightly so as there were some stellar organists who were plying their trade in that period, including Jimmy Smith, Milt Buckner and Wild Bill Davis. However, the mystique around the clubs in which these performers played may be more idealized than the reality. In large part, the clubs were dingy with little or no decor, had poor sound systems and, possibly, were owned and operated by individuals of sketchy character who were frequently unable to make the payroll at the end of the week. Saxophonist Anthony E. Nelson Jr., Hammond B3 organist Kyle Koehler and veteran drummer Cecil Brooks III are featured on Swinging Sunset which pays homage to the great jazz organ trios of that era.

The opening track is "Canadian Sunset" composed by Eddie Heywood Jr. There is no evidence that Heywood ever visited Canada and accordingly never saw a sunset there. Nevertheless, the song became a popular favorite and peaked at No. 2 on the Billboard Charts in 1956. The piece percolates along in jocular style with Nelson demonstrating a clean tone and unwavering technique. Koehler digs out the good stuff on the B3, with stellar ride-cymbal time-keeping from Brooks. Nelson wrote "Uno Mas Por Roberto" for his Spanish speaking uncle Bob. This bossa-soul chart was written for one of Nelson's favorite tenor saxophonists Johnny Griffin. The arrangement touches all the appropriate bases with the precisely calibrated rhythms established by Brooks. Nelson and Koehler showing a keen sense of collaboration as they spin out the number.

Tenor saxophonist Stanley Turrentine spent many years working with organists such as Shirley Scott and Jimmy Smith, and so he was immersed in that combo style. His number "Minor Chant" was written for Smith's 1960 release Back at the Chicken Shack. This funky soul blowing-session from Nelson stays close to Turrentine's intent with the number; all the while Koehler's B3 efforts ripple ahead, covering all the corners of the rendition. One of the signs of a fully formed tenor saxophonist is the capability to show sensitivity on slower tempos. There are two perfect examples on which Nelson can demonstrate this capacity, firstly "Why Did I Chose You" and then Tadd Dameron's classic "On A Misty Night." Supported by the rich voicing from Koehler's organ, Nelson covers the numbers with sensitivity, subtlety, and curiosity.

The album closes with another Nelson original "Last Call ( for Gryce)" written for tenor saxophonist Tommy Gryce. This is a slow blues done in a soulful and expressive style with both Nelson and Koehler digging in with solos which are sonorous, warm, and alert.

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