St. Paul recorder., 1963-03-21
BY ALBERT ANDERSON
Charles, jackson In 2nd Soul
Meeting

Derore the waxing OF the previous
ly released first Soul Meeting of
Ray and Milt But, as released,
this Soul session is a fine follow
up to the first one 1t is a
bluesy session, with only "Hallelu-
jah " and Love " being
outside that category, although
those tunes, also, contain strong
blues strains . Solowise, Charles
carries the bulk of the load, adding
a unique touch to his soulful sing
ing and piano playing with his sur
prisingly able playing Of the alto
horn His best solo work is on
Genius" but his piano is also put
to good use on the other numbers.
Jackson, one of the most enterpris-
ing musicians on the jazz scene, is
outstanding on "Hallelujah," and
on the title number But the
big feature of the album is the
combined efforts of Charles and
Jackson They play easily to-
gether, in a kind of conversational
manner, with deep blues feeling
In this respect, their Soul
Meeting" tune is the best Of the
tracks heard here I tab this
album a potential CHART TOP
PER for Ray and Milt Dig?
MIDNIGHT MOOD: - Argo
LIP (7o2) featuring the Milt Buck
ner trio. Tunes: IT Almost Lost
My Mind; I'm Just a Lucky So
and So"; IF Should Lose YOU;
I've Got the World on a String;
zone for My Baby; Cocktails
for Two; Little White Lies;
There Is No Greater Love-;
Love Is the Thing; Baby, Baby,
All the Time; "A Sunday Kind Of
Love-; Bouncing at Dawn" Per-
sonnel: Buckner, organ; Johnny
Pate, bass; Maurice Sinclaire,
drums.
On this tuneful Listening" disc,
Buclner, the nimble-fingered form
er Lionel Hampton pianist, plays
a collection Of fine evergreens,
mostly love ballads In samp-
ling the ballads, Bucl1ner departs
from his usual rollicl1ng style
The tunes are well suited to his
playing style, however, as Buck
ner is basically keys runner, and
this enables him to give special
treatment to such sentimental
pieces as Cocktails for Two" and
Sunday Kind of Love How
ever, his best effort is on "One for
My Baby" when he takes off in
more or less characteristic fasion.
A big entry for Buckner & Co.
Shirley Scott plays Horace Sill
ver": - Prestige LIP 7240) featur-
ing the Shirley Scott trio. Tunes:
"Senor Blues; Moon Ray; ISIS
ter Saidie"; "Doolin"; THE Preach
err; "Strollin": Personnel: Miss
Scott, organ; Henry Grimes, bass;
Otis Finch, drums.
Miss Scott as a performer is like
a singer who usually finishes her
song on a long, loud note That
is, she builds constantly toward a
climax, using such musical ciches
as the pause, and matching rhythm
|. This Is not to imply that
Miss Scott is a noisy pianist or
organist However, it is my
view that her playing style puts
her at a disadvantage in treating
the imaginative works Of Silver . E.
There is no rapport between the
two artists So If one is look
ing for a genuine Interpretation
of Silver's compositions, this album
is not the dish Yet, Shirley
plays with both Wgor and enthus-
iasm, and her treatment Of Moon
Ray" is particularly tuneful . .
She gets also fine support from
her sidemen, Grimes, in particular
This is a fairly good LIP but
Shirley does not play Horace Sill
yer, period.
Jazz kaleidoscope: - Wee Jay
LIP (3O32). Bill Marx, son Of the
famous comedian, Harpo, leads an
ASSORTED group Of musicians.
Tunes: 'Tt Amt Necessarily So;
"somewhere"; II Believe In You;
Brother jack; blue Hue; An