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Reviews
"This
disc, featuring a pair of veteran, wailing saxophonists still on
their game, reminds us of the symbiotic relationship between blues,
jazz and the roots of rock 'n' roll. Johnson's a legend for loads
of studio (including r&b and early rock records) and soundtrack
work (he was the famous tenor sax sound on the original Pink Panther
movie); Holloway's established substantial jazz credentials but
started out in '50s Chicago honking blues and r&b. Together
for the first time, they bring a spirit and style to this roadhouse
program that smacks of authenticity and know-how. When necessary,
they can be sophisticated but never slick--as on their feature ballads
"Serenade in Blue" and "Cry Me a River." More often, though, they
know just the right amount of grease or grit to apply to these heavy-duty
riff tunes and backbeat burners, supported by Gene Ludwig's Hammond
B3 organ and Melvin Sparks' tasty guitar. " -- By
Art Lange, Pulse Magazine March '02
"A number of shopworn
lines might be used to characterize Keep That Groove Going!,
a session co-led by Plas Johnson and Red Holloway. Bromides such
as “A battle between two veteran tenor saxophonists,” and “A heady
combination of blues and bebop” contain more than a grain of truth,
yet ultimately obscure the larger picture. Beneath the emotionally
charged surface of both Johnson and Holloway’s playing lies a wellspring
of intelligence and good taste. Guided by an exceptionally tight
rhythm section consisting of Hammond B-3 organist Gene Ludwig, guitarist
Melvin Sparks, and drummer Kenny Washington, the septuagenarians
tackle a diverse program that refutes the notion that there are
artistic limitations in sustaining a groove.
It only takes a few bars of
Johnson and Holloway’s jubilant unison statement on Coleman Hawkins’
“Stuffy” to realize something special is happening. Holloway starts
the solos by digging right into the medium tempo and builds an edifice
consisting of short phrases that wallow in his rich tone, leaving
plenty of space for the rhythm section to fill. All the while Washington
nips at his heels with prickly accents on the snare drum. Inspired
by Ludwig’s comping, Johnson fashions a droll statement out of long
bent notes and brief passages that flash on and off like an irregular
neon sign. Using the metallic click of Washington’s hi-hat as a
rhythmic guidepost, Ludwig’s all-too-brief turn swings intensely
without ever breaking into a sweat.
Some of Holloway and Johnson’s
most memorable playing occurs during their respective ballad features.
Holloway doesn’t so much play the melody of “Serenade in Blue” as
he caresses it, resembling something out of a heavenly dream. With
a pointed note here and jagged phrase there, his solo moves in a
virile swagger; eventually culminating in a succession of blues
based declarations. Breaking out from his usual pensive manner,
Ludwig follows, sounding uncharacteristically frisky by playing
brisk lines that threaten to lose control before coming back into
the fold. His ominous chords provide a fitting introduction to Johnson’s
stunning performance of “Cry Me a River.” The first time around,
the tenor saxophonist poignantly plays the initial part of the melody,
hitting the first note hard and bending it before continuing as
if exhausted from the effort. Johnson’s repeat of the same section
is startling in its use of the bebop lexicon, sounding like a brief
outpouring of anguish." -- All
About Jazz, Jan '02
"The
only thing better than a tenor sax and B3 is Two tenors and B3,
and that's what's on tap here in a brand new Rudy Van Gelder recording.
Gene Ludwig is the swinging organist, Melvin Sparks the guitarist
and Kenny Washington the drummer – no bass needed when there's
those bass pedals on the B3. These blues immersed big-sounding tenor
men honk away with gusto on nine tunes. Pass the Gravy is a funky
down home mini-symphony at nearly nine minutes. Dig it all!"
– John Henry, Audiophile Audition, 12/01/01
"An
Oldie stacks up to goodies"
"...That
this previously unissued music (Miles Davis' "Live at Fillmore
East") makes such a deep impression more than 30 years later
speaks to Davis' reach across style and time lines, and to the fact
that few contemporary artists are doing anything to shake up the
status quo.
"Still,
some memorable albums were released this year by artists working
within established borders. Times are tough for jazz, with a mere
handful of major labels showing any interest in the music and even
the most intrepid independent labels finding it hard to get their
sounds heard. The diminished state of things makes the following
efforts my favorites of 2001, all the more valuable.
"..9.
Plas Johnson and Red Holloway. "Keep That Groove Going!"
(Milestone): A memorable pairing of soulful tenor veterans –
the former a New Orleans native, the latter from Chicago –
who met in the studioland of Los Angeles. Holloway's deep, resounding
solo on "Serenade in Blue" is classic." – Lloyd
Sachs, Entertainment Critic Chicago Sun-Times, 12/30/01
Sidenotes:
"Just
returned from a very memorable experience – a concert by the
Red Holloway/Plas Johnson Quintet. There was no guitar, just piano,
bass, drums and tons of tenor sax, alto sax and baritone sax (played
splendidly by both Plas and Red). I had played guitar on some Red
Holloway tracks way back in the 80's but hadn't seen him since.
Some people just get better and better with age, an Red is certainly
one of those folks. As I mentioned, there was no guitar but Red
and Plas played so incredibly well, I felt I just had to mention
it." – Doc Dosco, Guitar News Weekly Edition #171,
12/03/01
"It's
too bad they don't make enough recordings like this anymore, as
it's really wonderful to see this era of music still alive and kicking.
Enjoy these two tenor titans, Johnson & Holloway, as they wail
and sail along with our own NY area legend Melvin Sparks who shares
much of the spotlight on guitar.
"This album's title track by Holloway, opens the disc in pedal
to the metal fashion, with hot opening lines from Johnson, straight
ahead blowing from sparks, and a roaring sax break from Holloway.
Coleman Hawkins, often recorded, "Stuffy" is next, and
serves as an excellent vehicle for all the artists to take short
and very tasty swinging solos. Arnet Cobb's, "Go Red Go"
takes us back to those 40's/50's pioneer days of R&B, and these
guys nail this track to track to the wall! Pay close attention as
Holloway & Johnson trade tenor licks under a solid foundation
from Sparks, Ludwig, and Washington. Holloway's "Bretheren"
has that late 60's Blue Note label feel, and even a smattering of
early, uncluttered 70's CTI recordings. Check out Melvin paying
homage to the likes of a young George Benson and Grant Green, on
this third quarter twentieth century sound. It's blues time, on
my favorite track on the album, Johnson's "Pass the Gravy",
which really lets Sparks stretch out with some of the nicest blues
work that I have ever heard him record, followed by neat tenor passages
from Pas & Red. "Jammin' for Mr. Lee", also written
by Johnson, is a fascinating swinging affair, once again given ample
time for the great players on this CD to show off their superb soloing
and attentive listening abilities. The classic, "Dream a Little
Dream of Me" closes the album in a slow glowing swing, that
will no doubt bring back warm memories, a smile, and perhaps a gleeful
tear to the listener's eye.
"Alright,
if you have enjoyed recent recordings by Greg Piccolo, Joe Houston,
Sax Gordon, and/or older records by Stanley Turrentine, Bill Dogget/Clifford
Scott, Sil Austin, Red Prysock, and Sam the Man Taylor, this disc
is for you! What also makes "Keep That Grove Going" so
cool, is the "as always" above par recording process and
sound from Rudy Van Gelder's studios in Englewood cliffs NJ. May
Rudy's recording studios live on forever! Finally, special kudos
to the man who more than thirty years ago signed Melvin Sparks to
(sister Co. of Milestone) the Fantasy record label, producer Bob
Porter, who continues to record music of this style and caliber,
keeping it in the forefront of the twenty-first century!
I highly
recommend, "Keep That Groove Going!". Happy listening.
– Bob Putignano, President NY Blues & Jazz, and radio
host @ WFDU's, "Across the Tracks".
"Plas-matic!"
A bit
of a cutting contest occurs here, and even organist Gene Ludwig
and guitarist Melvin Sparks get in on the game.
Keep That Groove recalls the days when Dexter Gordon and Wardell
Gray would go at it, mano a mano. There’s honkin’ and
boppin’ a plenty here. Hard to believe Plas Johnson and Red
Holloway are now in their seventies, but there you go, a testimony
to the jazz fountain of youth.
What’s cool is the mixture of jazz, R&B, and roadhouse
fist fighting music.
“Jammin’ For Mr. Lee” is an homage to New Orleans
swingmeister Lee Allen. -- Keith
Zimmerman, Yellow Dog Jazz Report contributing editor. 1/18/02
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