Sourcing the definitive etymology of the phrase “nitty-gritty,” you will find multiple possible answers ranging from the historical (“debris left in the bowels of slave ships”) to the risqué (“sexual delight”). There’s no definitive answer. However, what runs through almost all of these definitions is that they resonate soulful, i.e., Black elements. There’s no doubt, however, that with this, his seventh album, jazz guitarist, educator, composer, Russ Spiegel and crew deliver a wide range of classic jazz and neat originals, all of which exemplify the title.
Soul Station opens the session with a laid-back cover of the Hank Mobley tune. Guitarist Spiegel and organist Jim Gasior deliver opening statements before Spiegel takes off on a blue-stringed ride. Gasior’s B-3 testifies and tremolos, just as pianist Wynton Kelly did on the original. The time on this track is spot on.
Duke Ellington’s Prelude to a Kiss is presented as an upbeat samba. Spiegel’s acoustic take is melodically energized before he and Gasior spin solo lines. This is an excellent production choice.
Norwegian Wood from Lennon and McCartney has been recorded by many musicians and ensembles in many different forms. The acoustic format here (taken in ¾ as was the original) certainly respects the source. Kurt Hengstebeck’s bass ride over the strummed background is a nice touch. Spiegel’s solo adds extra energy.
The title track on this album mimes heavy metal
fuzz-distortion and, while a Spiegel original, is also a rather Dali-esque view
of Dobie Gray’s and Ramsey Lewis’s hit, The In Crowd. Spiegel’s solo is
invigorated and Gasior plucks and pings at the keys. It’s a hip, highlight
track.
The overall vibe on this session is
soulful and the playing throughout is first rate. Kudos to bassist Kurt
Hengstebeck and drummer Lucas Apostoleris for fine support throughout.
A Man and a Woman from Francis Lai’s soundtrack to the romantic film Un Homme et Une Femme (Les Films 13, 1966) is covered a tad slower than the original, which was done in a quicker, more “1960s Continental” speed. Tenor saxophonist Tim Armacost adds a lyrical solo.
Deep Brooklyn, another of Spiegel’s originals, is a reflective Pat Metheny-like statement. Jim Gasior’s piano opens before Spiegel and Armacost deliver the melody in unison. The tune is a fine platform for Gasior to open up over the energized bed. Drummer Lucas Apostoleris stretches out before the frontline duo take this out. It is an interesting and another highlight track.
Bésame Mucho, a tune which by nature demands a passionate delivery gets that here. The up-tempo tag is a fine arranging touch. Lonely Buddha is a light, triple-metered melody from Spiegel’s pen. He and Gasior provide fine solos. The groove is such that it seems to want to explode out for extended play.
John
Coltrane’s 26-2 is a heated excursion with Spiegel and Armacost uniting.
Armacost and later, Spiegel cover the “Trane changes” superbly over the
rock-ish groove. Four Brothers, the Jimmy Giuffre/Woody Herman winner,
is here grooved as a cha-cha with Spiegel stating and wherein Gasior also adds
a tasty ride.
Getting right down to it, Nitty Gritty is a most entertaining and enjoyable album by a fine, engaged ensemble. Nick Mondello
Soul Station; Prelude to a Kiss; Norwegian Wood; Nitty Gritty; A Man and a Woman; Deep Brooklyn; Besame Mucho; Lonely Buddha; Epic; 26-2; Four Brothers
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