The album title and the record label give the game away. It does everything it says on tin and more - much more.
Thad Jones' Zec sets off at a rollicking tempo and doesn't falter. The sound of Rollins, the drive of Dexter and the speed of Johnny Griffin heading for the bar across the street all surface during this first track. I love the quote that Roberts rounds his solo off with and which Barron picks up at the start of his. It will keep me awake until I put a title to it!
There's a nice relaxed feel to Tadd Dameron's Theme of no Repeat. Barron again follows Roberts - a nice laid back solo with bass and drums discreetly, yet effectively in the mix.
A ballad by Bud Powell, Time Waits, is a thing of beauty. No other word could describe it. A luscious tenor solo, rich harmonies from the piano, bass solo catching the mood and Fishwick's gentle brushwork all add to a track that exudes more romantic feelings than a Sinatra ballad.
Seein' Red: Few pianists could match Barry Harris on one of his own tunes. Barron is one of that select few. He builds up a swinging, extended intro to Robert's entrance that made the hairs on the back of my neck stand to attention. Brown and Fishwick take it out with a round or two of fours.
I'll Remember April: I certainly will remember April and this track will be one of the main reasons.
Shirley Scott penned Big George. It's fast and furious with Roberts in overdrive as he charges through the changes as if to say to his cohorts 'fasten your seatbelts' which, of course they don't need to - such is the empathy among the group. Fishwick works out, dropping a few bombs behind the bass solo.
Max Roach's Blues Waltz, unsurprisingly, has Fishwick soloing at length, a paint-stripper of a solo from Roberts and, as always, Barron and Brown a vital ingredient.
Would You Like to Take a Walk?: I flipped when I saw this track. A song I remembered with great affection from when I heard it on a 78rpm by Ella and Louis on the old Brunswick label, long before Norman Granz got his mitts on them. Originally recorded by Annette Hanshaw in 1931, it was also part of a song & dance routine by Dan Dailey and a Shirley Temple clone, Shari Robinson, in the film You're my Everything. It's a great song yet this is the first instrumental version I've heard. Made my day!
It wouldn't be a bop album without a Charlie Parker item and Cal Massey's Fiesta, recorded by Bird in 1951, fits the bill to perfection. Over a Latin accompaniment that alternates with a swinging 4/4 Roberts and co. bring an exceptional album to a close. Now if I can just remember the name of that quote on track one my day will be complete. Lance
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