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Houston Person
by Russ Musto
Houston Person is jazz' working class hero, a true man of the people. Person who was born in Newberry, South Carolina in 1934, first received moderate national attention with a series of soulful albums recorded for Prestige back in the '60s. In 1968 he began a sympathetic and successful musical partnership with the great Etta Jones ...
Social Call
Label: Unknown label
Released: 2003
Track listing: 1. Social Call (Gryce) - 5:27
2. If You Could See Me Now (Dameron/Sigman) - 5:44
3. Juicy Lucy (Silver) - 5:54
4. Evening Star (Carter) - 5:02
5. The End of a Love Affair (Redding) - 5:13
6. Bewitched (Hart/Rodgers) - 4:40
7. I'll Let You Know (Walton) - 4:49
8. Stolen Sweets (Davis/Thompson) - 5:11
9. Day Dream (Ellington/Latouche/Strayhorn) - 5:03
10. Easy Walker (Lastion) - 4:50
11. Some Other Spring (Herzog) - 4:42
Houston Person: Social Call
by Jeff Stockton
Houston Person is the kind of player who sounds a little bit like a lot of people, but in the end most like himself. His tone can be burly and robust, but warm and romantic above all. His tune selection demonstrates impeccable taste and a commitment to the time before people changed the rules. Social Call ...
Houston Person: Trust In Me
by Derek Taylor
Tough tenors were a staple diet for many jazz listeners in the 1960s. Gene Ammons, Sonny Stitt, Eddie “Lockjaw” Davis, Stanley Turrentine, Arnett Cobb and so many others (the list could literally fill a ledger pages long) took ample measures of blues and soul-derived emotion and combined them with a no-nonsense emphasizing the tenor horn’s naturally ...
Houston Person: Blue Odyssey
by Derek Taylor
Much to the chagrin of many critics the late 1960s was a heyday of sorts for Soul Jazz. The number of cats dipping their paws into the sweet nectar of the style would never again reach such denominations as it did during the close of the decade. Person, a saxophonist with both soulful touch and a ...
Ron Carter: Brazilian Charm
by AAJ Staff
All About Jazz: You have said that Brazilian changes are different from the ways that Americans adapt Brazilian tunes. Do you think you were true to the Brazilian changes in your latest album, Orfeu? Ron Carter: Absolutely. Definitely. AAJ: What's different about Brazilian changes that Americans can't seem to grasp?
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