TRACK: “Another Blues”
ALBUM TITLE: At Shelly’s Manne-Hole
LABEL: Verve
PERSONNEL: Michel Legrand, piano; Ray Brown, bass; Shelly Manne, drums
RECORDED: January 1968
REVIEW FROM: Jazz Bass Artists of the 1950s by Dave Hunt
Respected universally as the composer of some of the greatest show and film score melodies, Michel Legrand has received scant critical acclaim for his considerable talents as a contemporary jazz pianist. Such artists as trumpeter Randy Brecker, tenor saxist Michael Brecker, alto saxist Phil Woods, guitarist Gene Bertoncini, bassist Ron Carter and drummer Grady Tate—who have graced Legrand’s small groups for either in-person performances or recording projects—undoubtedly looked forward with great anticipation to every creative opportunity they had to accompany him.
For the pianist, At Shelly’s Manne-Hole was a once-in-a-lifetime collaboration with the uniquely talented drummer and Brown. Artistically it gave Legrand the uninhibited freedom to reach a higher level of creativity than possible in any of his previous recording experiences.
The lengthy and disarmingly humorous intro of bassist Brown sets the listener up for his hilarious 4-bar vamp that comprises the first third of the 12-bar blues (which is melodically stated twice). His stunning—and surprising—solo passage in bars 9-12 of the second melodic statement leads directly into Legrand’s first impressive piano chorus. Because Legrand plays a total of 21 choruses of rollicking blues in every conceivable mood setting, an outline of the performance highlights will guide the listener through the creative fireworks:
Chorus 8 Manne’s exciting Latin rhythm ignites the group’s creative fire.
Chorus 12 A tighter rhythmic groove signals the simpler time feel.
Chorus 13 A tighter groove solidifies and extends the simplicity of the time feel.
Chorus 15 The trio engages in interactive conversational phrasing.
Chorus 19 Double-timing sparks new improvisational incentives.
Chorus 20 The double-time concept lends itself to a new creative comfort zone.
Chorus 21 A return to the original tempo brings back the trio’s collective empathy.
Brown’s comedy vamp also appears again as the expected first 4 bars of the out chorus (22), but what isn’t expected is his arpeggiated, double-time ending with the technical surprise exclamation point! Only Brown could have dreamed up such an antic.
“Another Blues” is a valuable performance if for no other reason than as a showcase for Brown’s sense of humor. In addition, though, it creatively documents his:
• Incredibly quick ear
• Huge-toned rhythmic foundation
• Unerring time
• Unfailing artistic taste
• Definitive note choices
Thankfully, God created a Ray Brown.