Abbey Lincoln: That's Him

An intriguing byproduct of the current vinyl renaissance, Record Store Day has become a proving ground for labels looking to balance archival reverence with commercial opportunity. Craft Recordings has carved out a particularly compelling niche, frequently issuing mono editions of classic titles from its catalog. Following previous releases featuring Gerry Mulligan, Bill Evans, Max Roach, and Chet Baker, the label now turns its attention to Abbey Lincoln's second Riverside outing, That's Him. Cut all-analog by Kevin Gray and pressed at Fidelity Record Pressing, the release reflects the high production standards increasingly expected in today's reissue market.

Lincoln's debut adhered to the prevailing late-'50s formula, pairing vocalists with lush, string-laden arrangements. By contrast, That's Him (1958) places her squarely in a small-group jazz setting, backed by the so-called Riverside Jazz Stars. At the time, Kenny Dorham, Sonny Rollins, and Wynton Kelly were central figures in the hard bop movement and already well established on the label. Lincoln's musical and personal partnership with Roach lends the session an added charge, and the ensemble's easy rapport makes for a consistently engaging listen. Notably, this mono reissue strips away much of the echo and sonic haze that marred earlier editions, revealing a more immediate and intimate soundstage.

Rollins' robust tenor sets the tone on the opening "Strong Man," an early composition by Oscar Brown Jr. Dorham's muted trumpet provides sly interjections beneath Lincoln's long, assured vocal lines. On "Happiness Is Just a Thing Called Joe," Rollins contributes a brief but eloquent solo, while Lincoln's impeccable intonation remains front and center. The remainder of side one leans toward balladry, highlighted by a striking a cappella reading of "Tender as a Rose," where Lincoln commands complete attention, shaping each phrase with remarkable control.

Side two opens with renewed energy as Lincoln and Roach engage in a subtle dialogue on "I Must Have That Man," before the tempo lifts and both Dorham and Rollins deliver spirited statements. Paul Chambers' bowed bass introduces "Porgy," complemented by Dorham's muted lines and Lincoln's finely shaded vibrato. Rollins reveals a less frequently heard side of his playing on the blues-inflected "When a Woman Loves a Man," channeling an earthy tone reminiscent of Coleman Hawkins. The set closes with a reflective "Don't Explain," which Lincoln inhabits fully, offering a reading that stands apart from the iconic version by Billie Holiday.

Taken as a whole, this reissue not only reaffirms That's Him as a pivotal entry in Lincoln's discography, but also presents it with a clarity and presence that surpass previous editions. A cornerstone recording, now heard closer than ever to its original intent.