Brother Jack McDuff - Silk And Soul (1965)

In most people, there are usually two sides—one personality differing greatly or slightly from the other. Jack McDuff is no exception, however, in this album, you will be listening to two musical sides of a man both of which were nutured in the voluminous, indigenous folds of time and experience. The abilities exemplified on either side (of his musical personality) are equiponderate; one does not supersede the other in meaning.

It is obvious, upon listening to him, that he has deep gospel roots but, aside from that, he has absorbed some of the beauties of life and through appreciation and understanding, evinces it esthetically in his music. He is a ferocious, charging beast; he is a graceful swan on a shimmering lake; he is what he wants to be.

Jack McDuff, too, is restless—restless in the sense that he is never fully satisfied doing the same things in the same way; he is constantly revising. This restlessness is healthy and necessary if one is to progress. In fact, it is one of the basic ingredients of progress.

A couple of years ago I was called upon to write an album for McDuff and being quite familiar with his approach to the organ, I was afforded an unprecedented pleasure. When I came face to face with him, I met a man who had limitless ability, indefatigable energy and enthusiasm. The rapport that emanated between us was spontaneous and lasting. Ever since, each album has proved to be more rewarding than the one before.

Of course, the support that McDuff receives within the Quartet can’t be overlooked.

Red Holloway, a star in his own right, adds another meaning-full timbre to the overall sound of the group with his big-sounding tenor. He is liquid or punctuating equally as well.

George Benson, young guitarist from Pittsburgh, brings with him the fire of youth. His awareness of the many nuances possible on the guitar makes him invaluable.

Joe Dukes whose propensity toward swinging and his seeling for a strong rhythmic pulse, make him like a metronome, floating in a sea of music.

Take all of these elements, put them together and the axiomatic result is, not merely fingers, but rather, a strong commanding fist of unity.

The big band tracks were recorded in Europe while we were all there last year. Unquestionably they are among the best recordings we’ve done together. McDuff never loses his own identity even with a large number of instruments, as in Lexington Line (which numbered thirty five). He weaves soulfully through the modulatory phrases with extra-ordinary command. From The Bottom Up, is a slight up-tempo blues in F (that I wrote for him) in which he swings with such fervor that it soon becomes infectious (as is evidenced in Benson’s solo). Hey Lawdy Mama, originally a vocal blues of some twenty years ago, begins with a relaxed but funky McDuff, gradually building into a screaming McDuff, being assisted on the way by Benson’s guitar and Holloway’s tenor. On If Ever I Would Leave You, another extremely large instrumentation, McDuff approaches every note with philoprogenitivity—he feels and loves every note as it comes forth and handles each with tender loving care. The result is a beautiful, colorful picture painted by a sensitive artist.

On Silk And Soul notice the most unusual introduction and interludes which gives it an etheral quality. One could never detect from the opening phrases what mood (or groove) will follow. McDuff plays as if both his shoes have been cast into a faraway corner and with the dirt from the cornfields still between his toes goes on to play some of the funkiest organ I’ve ever heard.

Scufflin’ is actually anything but scufflin’. The melody is simple yet deep rooted because of McDuff’s syncopated figure in the background. It flows on and on like a river with the helpof Joe Dukes and his tip-tip-tip rhythm. It seems as if all of the fellows pulled out their “Funk Stops” on this track, which makes the groove pandemic.

A nice change of pace is The Morning Song, on which Holloway changes to flute to share the melody with McDuff. Both Benson and Holloway play solos that are soulful yet in keeping with the nature of this tune. McDuff uses a sort of bell effect in his solo which makes the track sparkle. The way they return to the melody, with a pause, accentuates the “cuteness” of it.

What’s Shakin’?, has that quality about it that makes one want to jump up and begin dancing—whether he can or not. The rhythmic pulse is very strong, partly because of the addition of the conga drum of Montego Joe, and partly because of the enthusiasm within the group.

As you are compelled to play this album over and over again, you will soon become aware—if you are not already aware—that Jack McDuff is fiery, funky, beautiful, capricious, jubilant and plaintive. Jack McDuff is Silk And Soul.

Notes: Benny Golson (Aug. 1965)
Produced by Lew Futterman

- Источник оцифровки: автор новости (plastinka aka nickhome)
- Тип сохранности винила: G
- Проигрыватель: Victor QL-Y44F
- Картридж (звукосниматель): Goldring Elite
- Предварительный усилитель (фонокорректор): Musical Fidelity MX-VYNL
- АЦП: Tascam UH-7000 (ASIO 2.0)
- Обработка: без обработки
- Формат записи (Bit/kHz): 32 float/192