nightowl.jeffhackworth

NIGHT OWL LINER NOTES

New York City saxophonist Jeff Hackworth keeps alive the soulful tenor tradition of such historic greats as Gene Ammons, David “Fathead” Newman, Stanley Turrentine and the still active Houston Person. But rather than just duplicate the past, Hackworth invigorates the music with his own personal sound and modern ideas.

While his last two CDs (How Little We Know and Where The Blue Begins) featured his tenor with a piano trio, here he explores the jazz organ tradition but with a twist. “It’s been awhile since I recorded with organ,” says the saxophonist. “Having vibes instead of guitar in the frontline gives the format a different take. I know Radam and Earl from the local scene. We play gigs together at a club in Newark called Skippers. Radam suggested Jay Hoggard on vibes. He turned out to be a great addition to the session.”

The program begins with Johnny Lytle’s “The Man,” a tune with a simple and direct melody that definitely has an attitude. The one-chord vamp features a passionate tenor solo and fine spots for organ and vibes, showing how much the group can create on a fairly simple but powerful piece.

The first of Hackworth’s four originals is “Innuendo.” “I was thinking about Fathead Newman with this song, his funky sound and descriptive feel.” Hackworth’s lyrical tenor stars during a soulful strut that also features some wailing organ. With “Love Me Two Times” a shuffle by the Doors, Hackworth and his group continue the longtime tradition of covering pop and rock songs and bringing them back to the blues.

The tenorman’s “Little Blue” is a wistful late night smoky ballad that leads logically into “Night Owl.” The latter song came about when Hackworth spontaneously played an open figure on his horn that became the basis for the tune’s melody. The result is a catchy and singable jazz waltz that one can imagine being outfitted with lyrics.

“Sideswipe” is a high-powered bluish 16-bar boogaloo that was inspired by Lee Morgan’s “The Sidewinder” but has a personality of its own. “I’m Your Puppet,” is a 1960s pop song first done by James and Bobby Purify in 1966 and the Boxtops the following year. Unlike those versions, this rendition is slowed down and given a memorable texture by having Hoggard’s vibes double the melody. The rock melody is successfully transformed into a relaxed and haunting jazz ballad.

The 1930s standard “That Lucky Old Sun” is the fastest tune on the date. Usually performed at a medium-slow pace, here it is taken at a rapid tempo that gives the musicians an opportunity to really cook. Hackworth gives the ballad “We Kiss In A Shadow” a very personal and heartfelt rendition, bringing out the beauty and the inner soul of the song. It takes a great deal of musical maturity to do this with a veteran melody, but he makes the song his own.

Night Owl concludes with “You'd Better Love Me,” which Hackworth originally heard in a version by Sonny Stitt. In this new recording, the tenor solo builds and builds while the organ and drums push hard behind him. After fluent solos by Hoggard and Schwartz, the band repeats the happy melody and jams enthusiastically over the closing vamp, giving the impression they did not want to stop playing. Listeners will also hope that the music does not stop.

Jeff Hackworth was born in Canton, Ohio and grew up in Cincinnati and Buffalo. Starting on alto he took up tenor while in high school. Although he earned a degree in classical saxophone at the University of Buffalo, his most important music lessons were learned on the bandstand, working with dance bands, R&B/ blues groups, and organ combos in the Buffalo area. “Playing those types of gigs was important in my understanding of a musician's role in conjunction with the audience. If we didn't connect, we didn't work and that meant we didn't eat!”

In addition, Hackworth went on the road with a variety of bands including two years with the Tommy Dorsey Orchestra (under the direction of Buddy Morrow), two years with Chubby Checker, and tours with Matt “Guitar” Murphy. While developing into a major voice in jazz, he has played many types of gigs in New York including with organists at Showman’s in Harlem. He also became good friends with one of his early influences, Houston Person, who produced his two previous recordings. “One thing that I learned from Houston is that when I record, if I take my time in selecting the songs, a theme will eventually reveal itself. For Night Owl, I picked the best songs for the project and it ended up with that nighttime feel.

For the future, Jeff Hackworth is determined to stay true to what he believes in. “I want to keep writing and performing the music that I love. I want to keep this tradition alive.” By developing into a highly individual voice and performing the music with enthusiasm and creativity, Jeff Hackworth is doing just that.

Scott Yanow, author of ten books including The Jazz Singers, Trumpet Kings, Jazz On Film and Jazz On Record 1917-76

nightowl.jeffhackworth

Thursday, May 5, 2011

Sideswipe

Little Blue

Tuesday, April 26, 2011

Liner Notes from Night Owl by Scott Yanow