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Black and Blue, a French jazz label rather than a state of being following a physical interrogation, made beaucoup use of drummer Oliver Jackson for a bit less than a decade beginning in 1977. The title of The Definitive Black & Blue Sessions could theoretically have something to do with any number of projects he was involved in during this tenure, including backing up a series of classic jazz bandleaders. Reissue collections of all of the material released by this label happen to share the title of The Definitive Black & Blue Sessions as well, meaning Jackson's attempts at definitive drumming can be found on many other titles in this series besides the volume released under his own name.Featuring a total of 11 tracks, the 2004 set does not make much of an attempt to represent the totality of Jackson's releases as a leader for the label, even though doing so would not have required prowling through that much material.Most of the efforts of this drummer when assuming leadership involve a traditional piano trio, the instrumentation presented throughout The Definitive Black & Blue Sessions. The drummer does not play in such a way that would quickly establish his leadership status, not that this could really be done in this format without mucking it up. An entire LP featuring pianist Cliff Smalls starts things off; the original running order of tracks is retained. The focus is on standards, the concluding Softly As in a Morning Sunrise allowing Smalls an opportunity to make big with the rhythmic accents. Jackson allows many nice moments to emerge simply by not being overly demonstrative.Two tracks from 1975 with goony, self-referencing titles are presented in a concluding flashback of sorts. Jackson Is Wigging plays with both the drummer's name and that of pianist Gerry Wiggins, with whom Jackson also recorded in 1977 in a trio with bassist Major Holley. The same rhythm section of Jackson and Holley played on B.B. King's Grammy-winning Blues 'N' Jazz effort from 1983, but here the bassist is Bill Pemberton. He is not in good shape from the title of Bill Is Bleeding. He plays as if getting shot or at the very least getting slashed was a prerequisite for playing a walking bassline -- an appealing concept for the more violent non-jazz fans. The latter would not be the proper audience for the works of such a serious and seasoned jazzman as Jackson, who by the time of the Black and Blue relationship had gone from the bebop scene to the modern jazz impressionism of Yusef Lateef to a kind of swing enclave hiding behind beakers of cafe au lait in Paris.By then Jackson had put in time with many a piano trio, including that of Teddy Wilson, whom Smalls resembles in no tiny way on titles such as Love for Sale. The rambunctious take on One O'Clock Jump brings out the best in bassist Leonard Gaskin and is perhaps the highlight of the set. It might have been nice to have included a track or two from Jackson's quintet session Billie's Bounce, originally released in 1984. ~ Eugene Chadbourne, Rovi
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The title Definitive Impressions, Pt. 2 might lead you to think this is a greatest hits part two collection of the Impressions, but it's not quite. Rather, it's an anthology of 28 of the best tracks from their ABC label catalog (covering roughly 1961-1968) that don't customarily make it onto Impressions greatest-hits collections, such as this volume's predecessor, Definitive Impressions. The selection includes four of the group's lower-charting R&B hit singles and a heap of B-sides and LP tracks. It's not on par with the well-known hits; there's nothing here with the instant-classic aura of People Get Ready, It's All Right, Gypsy Woman, I'm the One Who Loves You, or You Must Believe Me, to take just a few examples. But for those fans who want to dig beyond the hits, yet don't want a complete Impressions ABC catalog (which is collected on five other Kent CDs should you want it), it's a good solid listen of secondary Impressions, every single tune written or co-written by Curtis Mayfield. The songs might be more a testament to Mayfield and the group's consistent craft than their peaks of inspiration; some of the tracks slightly alter or recycle melodies and motifs from bigger hits, and some of them are on the formulaic albeit highly polished side. But it has more than its share of fine tracks that ought to be heard by any Impressions fan, like the buoyant, up-tempo You Ought to Be in Heaven, the glowing ballad No One Else, the black pride ode Little Brown Boy, the hit-worthy Gotta Get Away, the jazzy I Love You (Yeah), the waltzing Long, Long Winter, and the unusual Don't Cry My Love, in which the narrator goes off to war to find his lost brother and bring him home. ~ Richie Unterberger, Rovi
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Rhino/Atlantic presents Big Joe Turner's The Definitive Blues Collection, a double-CD sampler containing 30 singles and EPs recorded between April 1951 and September 1959, during Turner's second decade of recording activity. Ideally, this would have been a companion volume to Atlantic's chronologically scrambled 2005 compilation The Rhythm & Blues Years, and yet the two issues have 17 titles in common. Considered by itself, this Definitive Collection is a triumphant accomplishment. Here the songs are doled out in chronological order, with locations (New York, New Orleans and Chicago), recording and release dates neatly indicated along with Atlantic serial numbers and composer credits. This was Turner's early to middle period, during which he brought his Kansas City sensibilities before a wider public as pop music and the youth market began emulating all that was most exciting in blues based African-American dance music. The basis for rock & roll is mighty important but it's only one dimension of a much bigger picture. Big Joe Turner was the great interpreter of everybody's innermost feelings. His gift was the honest working person's art of expressing the truth in a large, full voice. When he rocks and rolls, everything on the living earth wants to jump and shout with him. When he sings something meaningful as if to serenade a slowly unfolding magnolia blossom, the heart of humanity is open and the blues moves like blood through the veins of the song. The only flaw in this issue is a marvelous but entirely out of place snapshot inserted by Rhino's photo researcher Alessandra Quaranta on page two of the CD booklet. This is a photograph of the other Joe Turner (1907-1990), an accomplished stride and swing pianist from Baltimore. The two Joe Turners continue to be mistaken for one another, and this mistake won't exactly resolve that problem. ~ arwulf arwulf, Rovi
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