Search - Herbie Nichols :: Love Groom Cash Love (Mlps)

Welcome reissue now the place to start for Nichols

Thomas Aikin | San Diego, CA | 04/19/2001

(5 out of 5 stars)

"If you've heard the name Herbie Nichols, you'll have undoubtedly heard he's one of the great overlooked figures in jazz. Because of obscurity his recordings have been very difficult to obtain outside of collector-oriented boxed sets. Certainly his Complete Blue Note recordings are very much an essential purchase for anyone seriously interested in jazz. However, the daunting pricetag of that set is a lot to overcome if one hasn't heard his playing before. Thats precisely the reason the reissue of this session for Bethlehem is so welcome. The numbers here are on par with his Blue Note work, and actually a little more 'straight ahead' in feel. The session consists of predominantly originals with a few standards/interpretations thrown in for good measure. Nichols' Monk influence is fairly obvious, but then Monk influenced us all and calling Nichols merely a disciple falls short of crediting his talents. This trio session rounds out with George Duvivier on bass, and Danni Richmond on drums. The edgy lyricism of Nichols really shines throughout. If you've been hesitant to get into Nichols because of boxed set price tags, definitely pick up this disc: it'll be a revelation."

The Precious Magic of Herbie Nichols.

Michael F. Hopkins | Buffalo, NY USA | 03/14/2006

(5 out of 5 stars)

"(from an earlier article, copyright 2000,

2006 Michael F. Hopkins)



His sound sweeps with the swirl of ballroom

grandeur, strikes deep with a groove which

picks you up as you walk or ride, and bears

such an innovative focus of rhythm, harmony,

and melody that one is stunned at the ease

by which his song strolls its way into the

heart and soul, gracing the ears with the

flow of a most radiant balladry. His sound

is sheer swing and sophistication, dissonance

placing a fine edge to a deep-reaching, deeply

singing style advanced enough to anticipate

the first musings of Cecil Taylor, while

harmonically taking you by the hand into

thematic, chromatic, courageously romantic

wonderlands which could challenge Thelonious

Monk himself . Listen to the pianistry of

Herbie Nichols, and know the magic of Jazz

at its finest; provocative and soothing,

serenading and strengthening, all at once.



Those who know of this underappreciated genius

probably know him a) by his main body of

recordings for Blue Note Records in the mid-

1950s, b) through appreciation ensembles

assembled by disciples Roswell Rudd, Steve

Lacy or Misha Mengelberg, and c) by notable

recordings of his timeless compositions by

the likes of Billie Holiday, Mary Lou Williams,

Archie Shepp and, most recently, Geri Allen.

Yet many remain unaware of this 1957 date for

the Bethlehem label, which placed Nichols'

superb artistry in the kindred company of

bassist George Duvivier and drummer Dannie

Richmond.

All who wonder what this incomparable musician

was all about, yet find themselves unable to

afford the impeccable Blue Note box set, are

urged to pick up this rare gem, and be quite

enchanted. If there are any doubts about Nichols'

ability to interpret other people's standards,

his regal treatments of "Too Close For Comfort"

and "All The Way" wave all such delusions away

with vigor and authority. "Too Close For Comfort"

is a lyrical showcase stepping sharp with urbane

cool worthy of Nat King Cole, while "All The Way"

becomes a breathtaking rhapsody which does the

famous Frank Sinatra performance quite proud,

indeed. Don't miss Nichols' saucy rendition of

Denzil Best's renowned "45 Degree Angle", a

finger-popping smoker which anticipates the

head-tipping version performed by pianist

Phineas Newborn, Jr. (with composer Best on

drums) less than a year later on RCA's FABULOUS

PHINEAS.



If anything, Nichols' special take on standards

provides precious insight into the man's

unquestionable originality. Listen to the dawning

hope gathering spirit and sunshine in "Every Cloud",

the duwop sass infusing the line-drawing jamdown of

"Argumentative", or the lilting waltz of "Love,

Gloom, Cash, Love", and discover what a magnificent

composer this man was.

Travel the buoyant, breezy walk laid down in "Portrait

Of Ucha", and ponder how special Nichols must have

found her to be. "Beyond Recall" bears strong resolution

in its spritely march; of things which cannot be changed,

surely, yet with moments of call and response which

beckon the question of what one can do despite the

odds.

Nichols' ability to enrich and enrapture comes to roost

in the captivating solo performance, "Infatuation Eyes",

his play with dissonance particularly inviting and

evocative. "S'Crazy Pad" is the hipster's path to a

finer mellow, the album's climax a tipping piece of

Harlem Stride turned inside out; taking out all the

crooked places, leaving what's best for you to find,

or shape, and share.



A good half-century later, people talk about this artist

primarily in terms of hurtful tragedy, indignant that his

great genius went unrecognized in his lifetime, enraged

that such a kind, humble man died in such cruel, lonely

despair.

It's time to focus on the warmth and the genius that

Herbie Nichols brought us. More to the point, it's time

to ensure that such fortifying beauty is never forgotten

again."

Too Close For Comfort!

jive rhapsodist | NYC, NY United States | 01/09/2006

(5 out of 5 stars)

"Too Close For Comfort indeed! I love how he plays this standard. At one moment he sounds like he's channeling Ella, another Erroll. At another moment he sounds like he's at an ironic yet loving distance from the whole project known as "Jazz"...or is it "Jazz Piano Trio"...or "Piano Trio". Something...but he doesn't show his hand the way Monk does. You could put this version on right after Wynton Kelly or Ray Bryant and it wouldn't be shocking. Why was his career such a disaster? I mourn him and it. You have to read A.B. Spellman's book. Herbie's playing is so incisive, so tasty, so musical, so humble, so smart. He "reaches back": you can hear traces of Mary Lou Williams (they had some sort of connection), even Jelly Roll Morton at spots. I do NOT think he is that influenced by Monk, although there are obvious connections. Unfortunately he is poised somewhere between Teddy Wilson and Thelonious - and he fell through the cracks. The compositions on this disc are not, in general, on the level of his best Blue Note tracks (House Party Starting, The Gig, Shuffle Montgomery, Terpsichore,etc.) but this disc is nonetheless essential (Beyond Recall is a great piece). The trio sounds like it may have played together a bit more than the greats on the Blue Notes. They have a really interesting hookup. OK - convinced? If you love the more creative side of the piano trio you NEED it!"