Search - Jack Sheldon :: Playing for Change

What a change - Jack just plays...

David J. Rutman | Etters, PA USA | 05/06/2004

(4 out of 5 stars)

"No singing on this album. The entire album is filled with what Jack does best: wail on his trumpet. Excellent combo performances, from soulful ballads to jazzy uptempo tunes. Jack is at the top of his game on this album. Jerry Dodgion assists on alto, along with Barry Harris on piano, Rufus Reid on bass, and Ben Riley on drums. 13 tracks and over 63 minutes of super mainstream jazz. Play on, Mr. Sheldon!"

Finally, a session worthy of Sheldon's talents (but not of s

Samuel Chell | Kenosha,, WI United States | 07/15/2008

(4 out of 5 stars)

"This is a session that at least begins to approach the artistry of Jack's sides with the Curtis Counce group. One only wishes the other musicians and recording engineer had listened to those early recordings made for Lester Koenig's Contemporary label because "Playing for Change," as worthy as it is, pales alongside sessions like "The Curtis Counce Group," "More Bounce with Curtis Counce," and "Carl's Blues."



Granted, there's no replacing Carl Perkins' piano, and Barry Harris is a veteran of choice. Still, a less conservative player (James Patterson and John Hicks were with us at the time) would have been ideal. Dodgion, while he's no Harold Land, comes close to the level of Jack, though more interesting textures (as well as more excitement) would have been possible with a cutting-edge tenor player--Marsalis, Christlieb, Menza, Berg (or today someone like Eric Alexander or Chris Potter). It's small wonder that Max and Clifford recorded all of their albums save one with Harold Land rather than Rollins. Land was "that" good, and his presence on the Counce dates shapes Sheldon into the same blue-ribbon material, pushing him to play at a level above Chet Baker and approaching Miles (though it would be unfair to Jack to compare him to Diz or Clifford).



But it's the bass-drum tandem that are furthest from the standard set by the Counce Group. On the earlier recordings, Frank Butler was unfailingly scintillating and flowing; Ben Riley is "merely" solid and in the pocket. Curtis Counce was light and buoyant, never adding the least element that would call attention to himself and detract from the sound of the ensemble; on the other hand, the redoubtable Rufus Reid is "merely" solid and proficient, never quite meshing with Riley or blending with the ensemble and entering a collaborative time-stream. Moreover, the audio engineering insists on foregrounding his tones so much that, even with bass levels set to below flat on my amp, bass demands the listener's attention. It soon becomes plodding and mechanical, with the little skips and rhythmic anticipations a distraction from what the soloist is doing. The instrument's heavily "punched" quality even distracts from its solos, making them hard to distinguish from supportive walking lines and consequently uneventful.



The above could be said about numerous recordings of the past several decades (e.g. any Muse recordings with George Duvivier's bass). At least some small companies are coming to their senses, as evidenced by Dave Holland's recorded sound for ECM. Unfortunately, you can't hear him in the company of musicians on the order of Counce or Sheldon."