Etta Jones - Houston Person & Dylan Cremer

(1) Etta Jones

Sings Lady Day

High Note HCD 7078

That Ole Devil Called Love/ All of me/ But Beautiful/ You’ve Changed/ I Cried For you/ Fine and Mellow/ God Bless the Child/ Them There Eyes/ You better Go Now.

Jones, vcl; Houston Person, ts; Richard Wyands, p; Peter Bernstein, g; John Webber, b; Chip White, d. New York, NY, June 21, 2001.

(2) Houston Person

Blue Velvet

High Note HCD 7090

Everything I Have Is Yours/ Wonder Why/ Blame It On My Youth/ Too Late Now/ There’s No You/ Be My Love/ I Want To Talk About You/ I Hadn’t Anyone Till You/ Blue Velvet

Person, ts; Richard Wyands, p; Ray Drummond, b; Grady Tate, d. Englewood Cliffs, NJ. July 10, 2001

(3)Dylan Cramer

All Night Long

Nagel Heyer Records CD 073

Caruso/ Estate/ Bumpin’/ Black Orpheus/ All Night long/ Stolen Moments/ Lover Man/ Clouds/ My Funny Valentine/ So What.

Cramer, as; Ron Johnston, p; Steve Holy, b; John Nolan, d. Vancouver, British Columbia. October 7 & 8, 1998.

The release of (1) occurred almost simultaneously with Etta Jones’ passing.  I was obviously conceived as a tribute to Billie Holiday and succeeds as such and also a reminder of the wonderful voice that Ms. Jones had given us for all these years.  The liner notes observe that Jones’ debt to Holiday but asserts she was no imitator, not directly pattern her approach on Holiday’s.  There are times when listening to this that I almost felt that I was hearing Holiday more in the tone of Jones’ voice than her phrasing, but even there one could observe the inspiration of Holiday’s immense legacy.  Included is a nice mix of material from a couple of numbers most associated with Holiday, “God Bless the Child” and “Fine and Mellow,” along with standards such as “All of Me,” and “Then There Eyes.” The supporting band led by her long-time musical collaborator Houston Person is superb here.  Person’s walking tempo tenor solo is a highlight on “All of Me,” while his blues mastery is evident on “Fine and Mellow.” On the opening passages of “You’ve Changed,” he plays with a romantic feeling that evokes Ben Webster.  Both pianist Wyands and guitarist Bernstein are prominent on the performance of the ballad, “But Beautiful,” with Jones’ expressiveness here rivaling that of Holiday.   The singing and playing here is exquisite and with her wonderful final recording, Etta Jones sang as well and as movingly as any point in her life.

(2) is Person’s latest High Note recording with Ray Drummond on bass and Grady Tate on drums joining Person and pianist Wyands for a disc of ballads and mid-tempoed swingers.  Person is marvelous throughout with a warm, full tone and just a touch of vibrato as is the rhythm section whether Wyands lightly comping behind Person or some nice cymbal work or use of brushes from Tate.  Person’s solos here are romantic without employing any devices like excess vibrato, his solos are wonderfully developed, and do not overstay their welcome.   Wyands contributes several nice solos with the one on “Be My Love” being a choice one.  It is followed by a short Drummond solo on bass before Person reenters to lead the song to its conclusion.  The rhythm section plays so well supporting Person that one can almost forget they are there.   While I do not claim an exhaustive familiarity with Person’s recordings, this release is as good as anything I have heard from him recently.

I am unfamiliar with Dylan Cramer, but I take it that (3) is his debut recording. In his notes, Cramer cites his indebtedness to Sonny Criss and L.A. Studio saxophonist Phil Sobel, both of whom he studied with.  Cramer plays cleanly and fluidly on an interesting mix of material.  He sounds as much at home with the almost dirge-like tempo of “Caruso,” as with a bossa nova such as “Estate” or “Clouds.” It's intriguing to hear Oliver Nelson’s “Stolen Moments” played as Cramer’s alto brings a different attack and sound to that Eric Dolphy did four decades ago.  He brings a big, forceful attack to “So What,” at times he comes across as more than one horn. Cramer imparts a nice, bluesy edge to  Wes Montgomery’s “Bumpin’” where pianist Johnston and bassist Holy both take concise solos.  It's a delight to hear such a solid new talent with solid support for a superb debut.

These reviews were written for Cadence Magazine and published in 2002. I received my review copies from Cadence. Here is Etta Jones and Houston Person performing "Fine and Mellow."

Houston Person, Rene Marie and Etienne Charles Among Headliners For 2017 Mid-Atlantic Jazz Festival

 

 Houston Person

The line up for the 2017 Mid-Atlantic Jazz Festival, to be held February 16th through 19th , 2017 at the Hilton Hotel in Rockville, MD has been announced with over 150 artists performing. Artist groups appearing on our main stage include Rene Marie, Houston Person, Etienne Charles, Vanessa Rubin, Kathy Kosins, Paul Carr, The Mid-Atlantic Collegiate Jazz Orchestra with guest conductor Delfeayo Marsalis, Russell Malone, Bobby Broom and Paul Bollenback and Steve Turre. A first this year for the MAJF Event and its producer the Jazz Academy of Music, is the pre-festival Mardi Gras fundraiser Gala featuring our own Jazz Academy Youth Orchestra opening for Delfeayo Marsalis and the Uptown Jazz Orchestra. This pre-festival gala offers a New Orleans theme with New Orleans Jazz, New Orleans Cusines and New Orleans Fun. The Mardi Gras Galla will be held on Thursday February 16th, 2017 starting at 6pm at the Hilton. Proceeds from the Gala will support the Jazz Academy Education Programs. Also new for this year will be a Discovery Stage for which emerging artists can submit an application to Paul Carr, Executive and Artistic Director of the Festival. 

As stated this year opens with a Festival Gala on Thursday evening February 16 and features Delfeayo Marsalis and the Uptown Jazz Orchestra. Also appearing will be the Jazz Academy of Music under Paul Carr's Direction. Friday Night opens on the Ronnie Wells Main Stage with the Mid-Atlantic Jazz Collegiate Orchestra, conducted by Delfeayo Marsalis followed by the wonderful vocalist Vanessa Rubin with tenor saxophonist Houston Person closing this evening's main stage. Herb Scott and Candice Bostwick will be performing in the MAJF Club and David Cole and Main Street Blues will be laying down blues in the MAJF Juke Joint. At Midnight, Friday, Saturday and Sunday, the MAJF Midnight Jam Session with the Wes Biles Trio takes place in the MAJF Club.

Rene Marie

Saturday Afternoon has the "Mid-Atlantic "2017 Jazz Voice" Finals," the Festivals annual jazz vocal competition on the Ronnie Wells Main Stage. Performing in the MAJF Club in the afternoon are vocalist Chad Carter, the Terry Koger Sextet and Iva Jean Ambush and Ambuscade. Vocalist Iva Jean Ambush will be doing a tribute to Ella Fitzgerald.

Saturday evening Kathy Kosins Group opens the Ronnie Wells Main Stage, followed by a Guitar Summit featuring: Russell Malone, Paul Bollenbeck, and Bobby Broom. Etienne Charles and Creole Soul, featuring the marvelous trumpeter will lose the Main Stage this evening. Performers in the MAJF Club this evening include Tacha Coleman Parr and Anthony Compton; and Maija Rejman, while Anthony "Swamp Dog" Clark will be performing in the MAJF Juke Joint.

Sunday morning has the traditional gospel brunch and MAJF Women's Collective featuring Akua Allrich, Janelle Gill, Amy Shook, Savannah Harris are the first afternoon act on the Ronnie Wells Main Stage. Also in the Main Stage will be the Greg Hatza Organization and the Lavenia Nesmith Group who will perform a Tribute to Nancy Wilson. The Lovejoy Group and Petra Martin.

The Festival's last evening has a Tribute to Paul Carr Featuring the Paul Carr's Bantam Orchestra; the Steve Turre Quartet featuring the famed trombonist and conch shell player; and the terrific vocalist Rene Marie. The Festival concludes with the MAJF Midnight Jam Session with the Wes Biles Trio. There are likely some other performers that will be added including those at the Discovery Stage. There are also workshops, interviews with artists, screenings of film, a High School Big Band Competition and more.

Etienne Charles

The Mid-Atlantic Jazz Festival continues the legacy of the East Coast Jazz Festival that ran for 15 years starting in 1992. The ECJF originated in honor of Elmore “Fish” Middleton, a Washington, DC jazz radio programmer, whose commitment to promoting jazz music and supporting emerging jazz artists became the guiding principle behind the festival. The driving force of the ECJF was the late Ronnie Wells, a Washington DC jazz icon. After her passing, so did the ECJF.

As stated on its website “The Mid Atlantic Jazz Festival (MAJF) represents an auspicious renewal of the spirit and intent of the ECJF, as a showcase for some of the DC area’s finest established and emerging artists, student ensembles, and a healthy dose of renowned touring jazz artists as well. MAJF is designed to take the ECJF mid-winter jazz festival tradition to the next level and to further enhance arts & culture in the Washington, DC region.” Under the auspices of Washington DC area saxophonist and educator, Paul Carr, the Festival has a focus on not simply bringing some of the best local and national jazz performers to the area, but to help nurture and support Jazz Education. As seen in my brief description of the Festival performances, this remains true.

For more information on the Festival, including hotel accommodations, visit http://www.midatlanticjazzfestival.org/tickets.

Etta Jones Sings Lady Day

Etta Jones

Sings Lady Day

High Note HCD 7078

That Ole Devil Called Love/ All of Me/ But Beautiful/ You’ve Changed/ I Cried For you/ Fine and Mellow/ God Bless the Child/ Them There Eyes/ You Better Go Now.

Jones, vcl; Houston Person, ts; Richard Wyands, p; Peter Bernstein, g; John Webber, b; Chip White, d. New York, NY, June 21, 2001.

 

The release of "Sings Lady Day" occurred almost simultaneously with Etta Jones’ passing. It is obviously a tribute to Billie Holiday and succeeds not simply as such, but also a reminder of just how marvelous Ms. Jones herself was for all these years. The liner notes observe Jones’ stylistic debt to Holiday but asserts she was not an imitator. Still, there are times when listening to this that I almost felt that I was hearing Holiday more in the tone of Jones’ voice than her phrasing. There is short segment in “Fine and Mellow“ where she briefly shows us “Ms Billie Holiday did it a little bit like this” and does a brief vocal impersonation.

There is a nice choice of material ranging from a numbers most identified associated with Holiday, “God Bless the Child” and “Fine and Mellow,” along with standards such as “All of Me,” and “Then There Eyes.” The supporting band led by her long-time musical collaborator Houston Person is superb. Person’s tenor solo is a highlight on “All of Me,” and his solo on “Fine and Mellow,” is a marvelous example of Person’s deep blues roots. Both pianist Wyands and guitarist Bernstein are prominent on the performance of the ballad, “But Beautiful,” with Jones’ expressiveness here rivaling that of Holiday. Everything about this recording is exquisite.

This review was written for Cadence Magazine in early 2002 as part of a review that included the review of Houston Person's "Blue Velvet" that I posted this past Wednesday. Given that this is the centenary of Billie Holiday, this wonderful tribute from some years back should not be overlooked and stands along the wonderful recent Cassandra Wilson and Jose James tributes. It is still in print I believe and available as downloads. I likely received my review copy from Cadence. Here is Etta Jones in performance.

 

Houston Person Blue Velvet

\

Houston Person

Blue Velvet

High Note HCD 7090

Everything I Have Is Yours/ Wonder Why/ Blame It On My Youth/ Too Late Now/ There’s No You/ Be My Love/ I Want To Talk About You/ I Hadn’t Anyone Till You/ Blue Velvet

"Blue Velvet" is Person's latest High Note recording with Ray Drummond on bass and Grady Tate on drums joining Person and pianist Wyands for a disc of ballads and mid-tempoed swingers. Person is as marvelous here as on the Etta Jones’ date [this review originally appeared with a review of an Etta Jones recording] as he exhibits that warm, robust tone. The rhythm section also plays at a high level in complementing Person, whether Wyands lightly comping behind Person or  nice cymbal work from Tate. 

Houston Person on The 2015 Jazz Cruise 

Person’s solos are wonderfully developed, melodic, and do overstay there welcome. His playing is romantic without any overuse of vibrato or other devices. Person takes to heart Lester Young’s advice as to knowing the lyrics of the songs performed. “Blame It On My Youth” is typical as he opens having the horn “sing” the lyrics before adding more melodic embellishments. One also appreciates the unhurried and thoughtful character of Person’s playing throughout. Wyands’ own solos echo Person’s lyricism with his solo one on “Be My Love” being exceptional. It is followed by a short Drummond solo on bass, before Person reenters to take the song to its conclusion. This is an exceptional release that along with his playing on the Etta Jones disc shows Person to be among the premiere tenor saxophone stylists today.

This review was written in early 2002 for publication in Cadence, although I split this into two paragraphs.  The Etta Jones disc reviewed to is "Sings Lady Day." I likely received my review copy from Cadence. Photo of Houston Person on The 2015 Jazz Cruise © Ron Weinstock.  Here is Houston Person in live performance.

Barbara Morrison - A Sunday Kind of Love

Scott Yanow suggests that vocalist Barbara Morrison is one of those singers that transcend categories by simply being herself. Perhaps best known for the 21 years she spent with Johnny Otis, Ms. Morrison certainly demonstrates her way with a song on a new Savant Records release, A Sunday Kind of Love. A stated on the cover, this recording features the tenor saxophone of Houston Person with a rhythm section of Stuart Elster on piano, Richard Simon on bass and Lee Spath on drums, that has been backing her for seven years.

From the opening moments of Duke Ellington's I'm Just a Lucky So and So, to the closing notes of the Al Green classic Let's Stay Together, Morrison brings displays her roots in classic blues and rhythm music (as on the opening title track), as well as her ability to caress a lyric, displayed on the Billie Holiday classic Good Morning Heartache. The moods swing from romantic on the title track (and her rendition joins Etta James' recording as among my favorites of this song) to being playful on The Green Door. Tinges of her maturity may be heard in her voice, but it lends character to her singing. 

And then there is Houston Person. Is he ever not superb backing a singer? Throughout this recording, Person is marvelous. With the combination of the veteran song stylist, swinging trio and the terrific Houston Person, A Sunday Kind of Love is simply superb.

I received my review copy from the record company. Here is Barbara singing Let's Stay Together.

Another Strong Houston Person Recording

“[A]n American original,””Part of the Boss Tenor Tradition,” “rich, robust tone,” and “one of the great interpreters of the Great American Songbook.” These are some of the phrases I have culled from Bill Milkowski’s notes to the new HighNote Houston Person recording, “Moment to Moment.” Recorded at the studio of the legendary Rudy Van Gelder, Person is supported on this CD by Ray Drummond on bass, Randy Johnston on guitar, John di Martino on piano andWillie Jones III on drums with Terrell Stafford’s trumpet marking its debut on a Houston Person recording. This is a superb swinging band with some superb solos throughout in addition to Person’s wonderful playing.

And there is plenty of wonderful playing from the leader who throughout plays with intelligence and warmth. Person swaggers through with his driving hard bop original “Bleeker Street,” which also features fiery playing from Stafford and Johnson. His playing hits hard yet always displays a lyricism. One would be hard-pressed to name a saxophonist today who caresses a ballad like Person does on “I Cover the Waterfront,” where his tenor sings the lyric. The title track, from Henry Mancini and Johnny Mercer, finds the group swinging lightly and brightly, while Person delights with his feathery tone. While there are no low-points here, one must note the lovely bossa nova “E Nada Mais,” as well as the brisk, swinging treatment of the Billy Joel hit, “Just the Way You Are,” with his warmth evident as he states the theme on a performance that has sizzling high note work from Stafford as well.

“Moment to Moment” adds to the strong body of work Houston has produced on HignNote these past few years. He consistently plays at a high level with such a warm and robust tone with a lyricism that makes every new recording by him a joy for the listener’s ears.


This was written originally for Jazz & Blues Report from whom I received the review copy of this CD.

Robin McKelle Does Not Mess Around

Back in November I posted a review of a Robin McKelle CD from a couple of years ago, but she has a current recording available which I am pleased to highlight now. The following review originally appeared in the June 2006 Jazz & Blues Report (Issue 326) at page 20 (www.jazz-blues.com).

Robin McKelle’s new recording “Mess Around” (E1 Music) represents a change from the 2 Big Band CDs she previously recorded. Spanning soul, blues and jazz she says she was inspired by the 60s albums by Ray Charles and Nina Simone (she also references Etta James) and enables to her investigate somewhat different musical textures than in the larger big band settings of her earlier disc as many of these sides use what might be called a little big band setting, rhythm section and 3 to 5 horns on a strong group of material including four McKelle penned originals and seven imaginative covers of material from such notable sources as Bee Gees, Leonard Cohen, Doc Pomus and Willie Dixon. Fred Wesley contributed a pair of arrangements and Houston Person adds tenor sax solos to a couple of tracks. Interestingly, only a couple selections have guitar. The core of the band here is bassist Tim Lefevbre and drummer Mark McLean, with Adam Klipple, Xavier Davis and Alain Maillet sharing the keyboards.

She certainly belts out her vocals throughout from the title track, a striking original where she tells her lover she ain’t messing around with his hurt, cause she wants to hold him in her arms and squeeze him tight. Fred Wesley contributed the striking, original and funky, arrangement for her heartfelt rendition of The Bee Gees’ “I Can’t See Nobody,” followed by a rocking, shuffle rendition of the Hooper-Jennings “Never Make a Move Too Soon,” (a hit for B.B. King) which sports wonderful tenor saxophone by the great Houston Person and a terrific arrangement by Alain Maillet. Leonard Cohen’s “Everybody Knows,” was not a familiar to these ears but McKelle certainly delivers the lyrics in a convincing fashion as Alex Harding blasts away on baritone sax on a strong bluesy performance. “Angel,” another McKelle original, takes the tempo and volume down, shows a bit more reflective side here on this gloomy performance with a lovely horn arrangement. Marvin Sewell, Cassandra Wilson’s guitarist, is added to the hornless “Until the Day I Die,” and crafts a nice solo. Klipple’s organ and Fender Rhodes add to the atmosphere behind the yearning mood she expresses her.

On the standard, “Cry Me a River,” McKelle sounds like a grittier Julie London, nicely sung with more marvelous support from the horns, while Fred Wesley contributes the new arrangement of the old Ray Charles hit, Doc Pomus’ “Lonely Avenue,” which McKelle really pours her heart into. McKelle herself contributed the latin-funk arrangement for “Eleanor Rigby,” which comes off as if she was singing for Willie Bobo or the like. Mark Tucker enlivens the fresh interpretation with some fine tenor sax. Houston Person returns to solo on a sultry, swinging take by McKee on Willie Dixon’s “I Just Want to Make Love to You,” before she closes the disc with the hornless group again on her original, “Since I Looked In Your Eyes,” with Marvin Sewell adding some bluesy slide guitar.

An impressive album that is beautifully played and McKelle certainly places her stamp on the performances. She perhaps has a tad bit more vibrato than my own taste would prefer, but that is my own preference. She certainly has produced an outstanding album that should appeal across genre boundaries, and to fans of blues and traditional R&B as well her fans from her prior releases.

For purposes of FTC regulations I received the review copy from the record company.

Bits and Pieces for June 7, 2010

Today, I was at Barnes & Noble in downtown Washington, DC, and they had new issues of two magazines that I find to be amongst the most interesting publications devoted to music available.

waxpoetics is a fascinating publication that has devoted issues to jazz, funk, reggae and most recently, hiphop which does seem to be its anchor. The current issue (#41) has pieces on KRS-One, Ice-T and Ice Cube along with a record rundown from Easy Mo Bee that runs from otis Redding to Sly and the Family Stone, James Brown, Love Unlimited Orchestra and Kraftwerk. The website is waxpoetics.com, and you can download a playlist with each issue.

Signal to Noise is subtitled “The Journal of Improvised, Experimental & Unusual Music,” and covers a wide range of musical styles in its articles, as well as reviews of festivals and other live performances, recordings, videos and books. What that means is that one can fine coverage of cutting edge music in what is called jazz, contemporary composed music, progressive rock and allied disciplines. Not to say that they forego traditionally oriented artists as the current issue has a review of the Carolina Chocolate Drops but the features include a story on bassist Henry Grimes who played with Sonny Rollins and Roy Haynes as well as Albert Ayler and Pharoah Sanders before disappearing until being rediscovered a few years ago with his career being revived. Another article focuses on “The Art of Noise,” on Poster art associated with Creative Improvised Music for performances by such artists as Kalaprusha, Carla Bley Big Band, Charles Gayle & William Parker and Milford Graves, AIr, Sun Ra, The Residents, Peter Brotzmann and the Vandermark Five. With extensive review section it is a quarterly that should be of interest to anyone into improvised music. Website is www.signaltonoisemagazine.com.

Finally on a recording note, I have been listening today to a marvelous album by saxophonist Houston Person, Just Between Friends (HighNote) that is an album of duets with the great bassist Ron Carter. Person has somehow escaped receiving the acclaim that he deserves among living tenor saxophonists, perhaps because of his association with acid jazz or the late vocalist Etta Jones. As the intimate duets with Ron Carter, Person is a master of ballad playing who makes the songs sing with his tone and phrasing. The beauty of his playing makes up for the generally slow tempos as its a delight to listen to the interplay between these two jazz masters as they handle such standards as “Darn That Dream,” “Lover Man,” “Lover Come Back To Me,” “Blueberry Hill,” “Polka Dots and Moonbeams,” and “How Deep Is The Ocean.” He will be appearing in Montreal when I am up there for the Montreal Jazz Festival, and I certainly hope to see him live after all these years.

For the purpose of FTC regulations, I purchased the two publications and I believe I purchased the Person recording.

Houston Person Featured on Harold Arlen tribute

I have become a huge fan of Houston Person over the past few years, and he certainly merits acclaim as one of the great tenor saxophonists. A master of blues and ballads, he is showcased on a marvelous tribute to Harold Arlen by guitarist Peter Hand's Big Band. This review written for Jazz & Blues Report but it has not run yet.

Guitarist Peter Hand has years of performing and writing experience and in more recent years put together several larger ensembles including his big band that has a notable roster of players including saxophonists, Kenny Berger, Don Braden, Ralph LaLama, Mike Migliore; Trumpeters and flugelhornists, Cecil Bridgewater, Valery Ponamarev, Jim Rotondi; and pianist Richard Wyands, to name some of the more recognizable names. For a concert to celebrate the 100th anniversary of the Birth of Harold Arlen, held at Irvington Town hall Theater on April 22, 2005, he also added Houston Person as featured guest where they ran through some of Arlen’s most beloved compositions such as “Come Rain or Come Shine,” “Ill Wind,” Let’s Fall in Love,” Stormy Weather,” and “Over the rainbow.” The Peter Hand Big Band’s concert was recorded and Savant has released it “The Wizard of Jazz: A Tribute to Harold Arlen.”

Any album featuring Houston Person is going to benefit form his warm, rich tone and the melodic quality of his improvisations and this comes to the fore early with his opening statement in then opening “Come Rain or Come Shine,” with interesting orchestral interjections to spice things up with some nice solos also from Hand and pianist Wyands. On the ballad “Ill Wind,” Person’s romantic playing evokes Ben Webster although his tone is feathery compared to the heavy vibrato Webster employed. Bridgewater has a lovely muted trumpet solo here. Hand in his annotation notes that the rendition of the ballad “This Time’s The Dream’s On Me,” is an uptempo one inspired by the Charlie Parker recording with Valery Ponamarev sparkling on his solo, while Person’s ballad playing once again is at front for “The Man That Got Away,” written for the 1955 film version of “A Star is Born,” and Person’s familiarity with this comes from the many years he played this with the late great Etta Jones. Special kudos here for the marvelous arrangement with Hand and Wyands making some nice contributions in the background. The bossa nova arrangement enlivens “Let’s Fall in Love,” with Don Braden’s snake charming soprano sax solo, and Jim Rotondi adding some blistering trumpet. “Stormy Weather” is among Arlen’s most famous songs and Person is magnificent here on an arrangement built upon that used by Person for his small group performances. One performance is a ringer, being a medley of Person’s “Blue Jug” and Hand’s “Harold Blues,” which is a lengthy blues jam with a number of different soloists (one of the trumpeters quotes “Santa Claus is Coming to Town”), with Person taking his last. The performance closes with an unaccompanied Houston Person performance of “Over the Rainbow.” Having an opportunity to listen to a number of recent Houston Person recordings in the past several years, he has become a favorite who can constantly be counted on for swinging tenor sax deep in the blues and a master of the ballad which is showcased as the special guest of Peter Hand’s marvelous big band for a thoroughly captivating recording.

For FTC purposes I was provided the review copy from Jazz & Blues Report which recived it from the record label.

Live Magic From Etta Jones & Houston Person

The collaborations between the late vocalist Etta Jones and saxophonist Houston Person produced so much musical magic that ended with she passed in 2001. HighNote has just issued, Don’t Misunderstand, a 1980 live recording from a New York City club, Salt Peanuts, that will delight the pair’s many fans. Jones’ vocal career started in Buddy Johnson’s Big Band before joining Earl ‘Fatha’ Hines. Later she hooked up with Prestige Records and in 1968 first recorded with tenor saxophonist Person, a musical relationship that would last over thirty years with many albums for Muse and HighNote before she passed. On this live recording they are backed by Sonny Phillips on organ and Frankie Jones (no relation to Etta) on drums. The gritty soul-jazz setting was a second home for Person, who first was heard from in Johnny ‘Hammond’ Smith’s combo. The recording opens with with a fine rendition of Blue Monk by Person. Ms. Jones is first heard on the title track, a wonderful ballad the late Gordon Parks wrote, and she has a blue teardrop in her off-the-beat delivery. The groove picks up a bit as Jones delivers Exactly Like You at a medium walking tempo with a fine solo by Person, with more of the same on Ain’t Misbehavin’. Her contribution to this ends with a lesser known number I Saw Stars. The disc then has three instrumentals that showcase Person’s ballad and blues playing with his take on Milt Jackson’s Bluesology being particularly wonderful. Phillips shines on the B-3 on I’m Glad There is You, while on Bluesology he gets on down to church. Don’t Misunderstand is a disc that will be enjoyed by fans of soul-organ jazz, soulful jazz tenor sax and one of the great jazz vocalists of the past several decades.