GRANT GREEN - Funk In France: From Paris To Antibes 1969-1970
Resonance / INA HCD-2033
Grant Green: guitar; Larry Ridley: bass; Don Lamond: drums, Barney Kessel: guitar* (disc 1, track 6) Claude Bartee: tenor saxophone; Clarence Palmer: organ; Billy Wilson: drums (disc 1, track 7, disc 2: tracks 1-3).
GRANT GREEN - Slick! Live At Oil Can Harry’s
Resonance HCD-2034
Grant Green: guitar; Emmanuel Riggins: electric piano; Ronnie Ware: bass; Greg “Vibrations” Williams: drums; Gerald Izzard: percussion.
Funk In France: From Paris To Antibes 1969-1970 by guitarist Grant Green marks the first release of “new” material since Live At The Club Mozambique (Blue Note, 2006) twelve years ago. The recording, like what Resonance has done in the past, makes available legitimately using the best possible sources music that has been only available in bootleg form for many years. It also marks the third release since Resonance partnered with INA in France beginning with Larry Young’s superb In Paris: The ORTF Recordingsand in January of this year, the only official release of Wes Montgomery’s famous concert from his only European visit Wes Montgomery In Paris: The Definitive ORTF Recording. INA’s partnership with Resonance has unearthed a staggering amount of holdings, and Funk In France is the next release in the series. The companion album Slick! Live At Oil Can Harry’s from the now defunct Vancouver night spot, curated from the personal collection of DJ Gary Barclay, captures Green with a smoking working band as he was currently without a recording contract. What both releases do is capture the guitarist’s transformation from a hard bop icon amongst cognoscenti into a groove machine, and much like Miles Davis achieved with Bitches Brew (Columbia, 1969) and On The Corner (Columbia, 1972) these updates in sound garnered him a new audience. Together these new entries represent the earliest and last known live entries in the guitarist’s career. On both albums, Green’s playing is ferocious, but at the same time there are some musical issues that warrant mention.
Funk In France is really two albums in one package. The Round House: Live At La Maison de la Radio takes up the majority of disc 1 and captures Green in an all star trio with bassist Larry Ridley and drummer Don Lamond. Green was featured that October evening in a concert at La Maison de la Radio jointly with Kenny Burrell and Barney Kessel with each guitarist playing a short set with the rhythm section, then playing together at the concert apex. Originally Tal Farlow was slated to be the third guitarist but Green ended up as his replacement, and his set is featured in it’s entirety. The main reason of interest for this first set is it is only the third time that Grant Green was featured in a guitar-bass-drums format other than the classic Green Street (Blue Note, 1961) and the posthumous Remembering initially only released on Blue Note in Japan in 1980. The other reason is that it finds Green still playing straight ahead in 1969, while pointing the way to the future.
The Paris performance of The Round House followed the recording of Green’s return to Blue Note, Carryin’ On by three weeks. The concert finds a renewed Green who left a heroin addiction in the dust hungry to make connections with a new audience, and really start incorporating soul, funk and R&B into his sound. Unfortunately drummer Don Lamond proves to be a stylistic mismatch for Green, and that is shown on the James Brown opener “I Don’t Want Nobody To Give Me Nothing (Open Up The Door And I’ll Get It Myself)”. While he does create a pocket with Ridley for the guitarist to rip some audacious ideas over, extremely astute listeners and drummers will notice that he comes in on the second beat of the second bar, and that some of his drum fills are bloated and really do not fit. Although Lamond was a drummer in the band of Woody Herman among others, and a first call bop and session ace, he sounds not quite adjusted to the guitarist’s laid back time feel. When compared to the studio version three years later on Shades Of Green(Blue Note, 1972) featuring Stix Hooper in the drum chair, the differences in authenticity and pocket are startling. On “Oleo” which Green recorded in a stellar rendition with Sonny Clark in 1962, Lamond rushes the tempo despite Ridley’s unwavering foundation and Green sailing on top. The drummer’s four bar exchanges with the guitarist using the vocabulary of Buddy Rich, Louis Bellson and Gene Krupa is quite awkward, and another sign of the stylistic clash. Thankfully after a shaky start in the first two tunes, Lamond fares much better throughout the rest of the set. Green luxuriates in the changes of Tom Jobim’s timeless “How Insensitive”, and it is not hard at all to hear the Green influence in the versions that Pat Metheny recorded on the DVD’s Secret Story Live (Videoarts, 1992) and Speaking Of Now Live (Videoarts, 2003). Green also excels on the slow burn of “Untitled Blues”, which gets vocal approval from Ridley, and “I Wish You Love” by Charles Trenet, featuring Barney Kessel guesting to add harmonic muscle. The tune was taped by the guitarist in 1964 in an immortal, smoky version with the late Bobby Hutcherson, Larry Young and Elvin Jones for Street Of Dreams (Blue Note).
Resonance / INA HCD-2033
Grant Green: guitar; Larry Ridley: bass; Don Lamond: drums, Barney Kessel: guitar* (disc 1, track 6) Claude Bartee: tenor saxophone; Clarence Palmer: organ; Billy Wilson: drums (disc 1, track 7, disc 2: tracks 1-3).
GRANT GREEN - Slick! Live At Oil Can Harry’s
Resonance HCD-2034
Grant Green: guitar; Emmanuel Riggins: electric piano; Ronnie Ware: bass; Greg “Vibrations” Williams: drums; Gerald Izzard: percussion.
Funk In France: From Paris To Antibes 1969-1970 by guitarist Grant Green marks the first release of “new” material since Live At The Club Mozambique (Blue Note, 2006) twelve years ago. The recording, like what Resonance has done in the past, makes available legitimately using the best possible sources music that has been only available in bootleg form for many years. It also marks the third release since Resonance partnered with INA in France beginning with Larry Young’s superb In Paris: The ORTF Recordingsand in January of this year, the only official release of Wes Montgomery’s famous concert from his only European visit Wes Montgomery In Paris: The Definitive ORTF Recording. INA’s partnership with Resonance has unearthed a staggering amount of holdings, and Funk In France is the next release in the series. The companion album Slick! Live At Oil Can Harry’s from the now defunct Vancouver night spot, curated from the personal collection of DJ Gary Barclay, captures Green with a smoking working band as he was currently without a recording contract. What both releases do is capture the guitarist’s transformation from a hard bop icon amongst cognoscenti into a groove machine, and much like Miles Davis achieved with Bitches Brew (Columbia, 1969) and On The Corner (Columbia, 1972) these updates in sound garnered him a new audience. Together these new entries represent the earliest and last known live entries in the guitarist’s career. On both albums, Green’s playing is ferocious, but at the same time there are some musical issues that warrant mention.
Funk In France is really two albums in one package. The Round House: Live At La Maison de la Radio takes up the majority of disc 1 and captures Green in an all star trio with bassist Larry Ridley and drummer Don Lamond. Green was featured that October evening in a concert at La Maison de la Radio jointly with Kenny Burrell and Barney Kessel with each guitarist playing a short set with the rhythm section, then playing together at the concert apex. Originally Tal Farlow was slated to be the third guitarist but Green ended up as his replacement, and his set is featured in it’s entirety. The main reason of interest for this first set is it is only the third time that Grant Green was featured in a guitar-bass-drums format other than the classic Green Street (Blue Note, 1961) and the posthumous Remembering initially only released on Blue Note in Japan in 1980. The other reason is that it finds Green still playing straight ahead in 1969, while pointing the way to the future.
The Paris performance of The Round House followed the recording of Green’s return to Blue Note, Carryin’ On by three weeks. The concert finds a renewed Green who left a heroin addiction in the dust hungry to make connections with a new audience, and really start incorporating soul, funk and R&B into his sound. Unfortunately drummer Don Lamond proves to be a stylistic mismatch for Green, and that is shown on the James Brown opener “I Don’t Want Nobody To Give Me Nothing (Open Up The Door And I’ll Get It Myself)”. While he does create a pocket with Ridley for the guitarist to rip some audacious ideas over, extremely astute listeners and drummers will notice that he comes in on the second beat of the second bar, and that some of his drum fills are bloated and really do not fit. Although Lamond was a drummer in the band of Woody Herman among others, and a first call bop and session ace, he sounds not quite adjusted to the guitarist’s laid back time feel. When compared to the studio version three years later on Shades Of Green(Blue Note, 1972) featuring Stix Hooper in the drum chair, the differences in authenticity and pocket are startling. On “Oleo” which Green recorded in a stellar rendition with Sonny Clark in 1962, Lamond rushes the tempo despite Ridley’s unwavering foundation and Green sailing on top. The drummer’s four bar exchanges with the guitarist using the vocabulary of Buddy Rich, Louis Bellson and Gene Krupa is quite awkward, and another sign of the stylistic clash. Thankfully after a shaky start in the first two tunes, Lamond fares much better throughout the rest of the set. Green luxuriates in the changes of Tom Jobim’s timeless “How Insensitive”, and it is not hard at all to hear the Green influence in the versions that Pat Metheny recorded on the DVD’s Secret Story Live (Videoarts, 1992) and Speaking Of Now Live (Videoarts, 2003). Green also excels on the slow burn of “Untitled Blues”, which gets vocal approval from Ridley, and “I Wish You Love” by Charles Trenet, featuring Barney Kessel guesting to add harmonic muscle. The tune was taped by the guitarist in 1964 in an immortal, smoky version with the late Bobby Hutcherson, Larry Young and Elvin Jones for Street Of Dreams (Blue Note).
From ORTF’s Round House, we go to Antibes on July 18th and 20th 1970 for Haute Funk: Live At The Antibes Jazz Festival (1970). While both Antibes performances could have comfortably fit on CD 2, the opener from the July 18th, performance “Upshot” is the last track on the first disc. The Antibes concerts feature extended performances from tunes featured on Carryin’ On with a quartet consisting of Claude Bartee on tenor saxophone, Clarence Palmer on organ and drummer Billy Wilson. Wilson is very obscure and not much is known about him outside two tracks of a Gerry Mulligan jam session, and organist Charles Earland’s Soul Story (Prestige, 1971). It is unclear whether he was a member of Green’s touring band or chosen as a drummer just for the Antibes occasion. Legendary drummer and producer Lenny White has frequently discussed the shift from straight ahead jazz to integrating aspects of rock, pop and soul as a way for jazz musicians to play rock and roll but still indulge the jazz background by including interesting harmonies. The latter half of Funk In France signifies this sentiment.
Clarence Palmer’s excellent interview with Resonance president Zev Feldman backs up White’s explanation nearly to a tee, and the performances certainly form a bridge between jazz and what eventually became to be known as the jam band movement. Woodstock had occurred the previous August and changed society, popular culture and music permanently. Much of the jazz tinged explorations of Santana and Jimi Hendrix were also occurring with jazz musicians like Donald Byrd, Freddie Hubbard, Lou Donaldson, George Benson and Stanley Turrentine including pop in their music. Green himself was approaching things from more pop vein on Carryin’ On to the point that Palmer indicated labels were trying to make black musicians play rock and white musicians jazz. Blue Note co founder Francis Wolff had just returned from a meeting with three of the big labels on the way to the Carryin’ On session in Englewood Cliffs, New Jersey where executives were discussing this direction. Companies were trying to make a clear division between white and black music; Palmer relayed to Feldman: “The music we were playing on Carryin’ On we referred to as rock and roll. It wasn’t jazz to us at all. Grant had been with Larry Young and recorded some really heavy bebop jazz at that time. So you had Grant and Claude Bartee of course”.
The Antibes sets are full of fiery improvisation and deep grooves though as with the first disc, there are caveats. The drummer is truly the leader of a band despite the name of the headliner as Pat Metheny so often mentions. There are some moments where it’s clear Wilson is getting his bearings. He frames the first “Upshot” with a furious boogaloo rhythm for Green to savagely dip into for chorus after chorus, but during Claude Bartee’s equally heated solo, he stops rather abruptly for four bars. The plausible explanation could be perhaps his bass drum moved and he had move it back into place. Occasionally drummers drop out for a few bars by design and this clearly was not the case. Clarence Palmer proves to be the most interesting soloist throughout the Antibes performance. He requested a Hammond B-3, but was given a Hammond M-3, a much smaller organ with only 7 foot pedals. The organ also features no percussion circuit like a B-3 (though one can later be added) so he had to adapt by playing bass lines on the lower manual almost exclusively and make use of a smaller tone color palette. Palmer’s bass lines have a unique movement and hump which made them an incredibly attractive part of George Benson’s classic Beyond The Blue Horizon (CTI, 1971) and his quartal voicings a la McCoy Tyner and Larry Young make the slow groove build of “Hurt So Bad” positively shine. Green’s solo is wonderfully melodic, and Bartee is impassioned, while Wilson sounds at his best and more comfortable here than “Upshot”. By the July 20th gig, Wilson definitely seems more attuned to and responds much better to Green’s trademark use of repetition though strangely during the organ solo on the lengthy “Hi Heel Sneakers”, he again stops playing for a few bars. There’s an infectious energy palpable on the Antibes portion Funk In Francethat makes it a fun listen but one wonders what rhythm section combustion would have occurred had Idris Muhammad, Joe Dukes, Otis Finch, Hugh Walker, Billy Cobham or even Jack DeJohnette had been the drummer on those nights.
Fast forward to September 1975 in Vancouver, Canada. That is the setting for Slick! Live At Oil Can Harry’s. Grant Green was in a very tenuous position not having a record deal. He had kicked his heroin habit in 1967-1968 and settled in Detroit, and was again seeking new audiences. Oil Can Harry’s was the centerpiece of a vibrant Vancouver jazz scene in the 1970’s that hosted everyone from Dexter Gordon, Jack DeJohnette’s Directions, Herbie Hancock and the Headhunters, and Donald Byrd and the Blackbyrds. Gary Barclay was a DJ at CHQM-FM and hosted The All Night Jazz Show. After the station closed it’s doors, Barclay kept a collection of tapes he recorded from the live shows to be broadcast a week following the broadcast date. Zev Feldman heard the 10” reel in the summer of 2017 which was originally a A&R submission given to mega reissue producer, Michael Cuscuna and decided it had to be issued. The Oil Can Harry’s performance features Green with keyboardist Emmanuel Riggins (who appeared on three Green albums that decade), bassist Ronnie Ware, percussionist Gerald Izzard (who had toured with Dizzy Gillespie) and drummer Greg “Vibrations” Williams. Like Billy Wilson on the Funk In France album, Izzard and Ware are very obscure names, but this ensemble had logged some time together. Emmanuel Riggins, the father of drummer and hip hop producer Karriem Riggins was instrumental in exposing Green to a wider range of music and the heavier funk that pervades this recording. Ronnie Ware was hired shortly after Live At The Lighthouse (Blue Note, 1972), and Greg Williams had been the drummer on that classic album. The drummer was no stranger to having a soul-jazz pedigree having met the guitarist between 1968-1970 at Detroit’s Club Mozambique when Green had organist Ronnie Foster in his group, and having played in the bands of Lou Donaldson and Dr. Lonnie Smith. He was also highly in tune with Green’s rhythmic sense, and he has a strong hook up with percussionist Izzard.
Green once more draws on his straight ahead history by including Charlie Parker’s “Now’s The Time” as a sort of palette cleanser for the funk to come. It’s the guitarist’s way of connecting the past to what he was doing at the time, and he delights in the torrents of easily loping lines that occasionally flow in to double time. Hearing Emmanuel Riggins stretch on the tune is a pleasure as well because he was sorely underrated, and was considered to be a very special player by all that knew him. “How Insensitive” is stretched out for 26 minutes, and Green once more shows his affinity for the tune, prodded along by Izzard’s carefully placed cowbell and wood block interjections but the deliriously funky coda really makes the tune. The highlight of Slick happens to be a nearly 32 minute medley of Stanley Clarke’s “Vulcan Princess”, the Ohio Players’ relentless “Skin Tight”, Bobby Womack’s “A Woman’s Gotta Have It”, “Boogie On Reggae Woman” by Stevie Wonder, and the OJays’ “For The Love Of Money”. The music of this medley finds Green’s music as never been presented before on any one of his albums, and is an even stronger link to the eventual jam band scene. Ware’s wah wah’d bass announces the unforgettable bass line of “Skin Tight” and Green and Riggins,on Hohner D-6 clavinet have a vulcan mind meld (no pun intended) that make them nearly imperceptible from each other. Grooves abound at the close of the medley with “For The Love Of Money” finding Williams blending percussively with Izzard. Needless to say, the material here easily blows away anything from Green’s lone studio album of the period, The Main Attraction (Kudu, 1976) captured in the twilight years of CTI’s initial heyday. This was a group Green wanted to keep together, but the recording of The Main Attraction unfortunately lead to that band’s demise. Green also toured as a part of the CTI All Stars before he released his final studio album Easy (Delmark, 1978).
Resonance Records has once more come up with a pair of releases to attempt to add an alternate angle to a legendary artist. The booklets and package design are non pareil in terms of their scope, both albums feature fantastic cover art and design by former Blue Note designer Burton Yount, and the exhaustive notes, photos and documentation are great. The two alternate covers for The Round House and Haute Funk included on the back inner tray insert behind both CD’s are a nice touch. Whatever caveats that were mentioned with Funk In France depending on taste, can be overlooked due to the sheer energy of the music, especially from the Antibes concerts. These albums are not for Grant Green newcomers but for connoisseurs and completists, or for those with a large cross section of his catalog. For new fans Grantstand, The Complete Quartets With Sonny Clark, Street Of Dreams, Alive, Live At The Lighthouse, Into Somethin’ (by Larry Young), Workout (by Hank Mobley), Up At Minton’s (by Stanley Turrentine) Oh Baby! (by John Patton) are certainly better entries into the world of Grant Green, but for seasoned fans these two new archival finds will have something of value.
Reviewed by C J Shearn
Clarence Palmer’s excellent interview with Resonance president Zev Feldman backs up White’s explanation nearly to a tee, and the performances certainly form a bridge between jazz and what eventually became to be known as the jam band movement. Woodstock had occurred the previous August and changed society, popular culture and music permanently. Much of the jazz tinged explorations of Santana and Jimi Hendrix were also occurring with jazz musicians like Donald Byrd, Freddie Hubbard, Lou Donaldson, George Benson and Stanley Turrentine including pop in their music. Green himself was approaching things from more pop vein on Carryin’ On to the point that Palmer indicated labels were trying to make black musicians play rock and white musicians jazz. Blue Note co founder Francis Wolff had just returned from a meeting with three of the big labels on the way to the Carryin’ On session in Englewood Cliffs, New Jersey where executives were discussing this direction. Companies were trying to make a clear division between white and black music; Palmer relayed to Feldman: “The music we were playing on Carryin’ On we referred to as rock and roll. It wasn’t jazz to us at all. Grant had been with Larry Young and recorded some really heavy bebop jazz at that time. So you had Grant and Claude Bartee of course”.
The Antibes sets are full of fiery improvisation and deep grooves though as with the first disc, there are caveats. The drummer is truly the leader of a band despite the name of the headliner as Pat Metheny so often mentions. There are some moments where it’s clear Wilson is getting his bearings. He frames the first “Upshot” with a furious boogaloo rhythm for Green to savagely dip into for chorus after chorus, but during Claude Bartee’s equally heated solo, he stops rather abruptly for four bars. The plausible explanation could be perhaps his bass drum moved and he had move it back into place. Occasionally drummers drop out for a few bars by design and this clearly was not the case. Clarence Palmer proves to be the most interesting soloist throughout the Antibes performance. He requested a Hammond B-3, but was given a Hammond M-3, a much smaller organ with only 7 foot pedals. The organ also features no percussion circuit like a B-3 (though one can later be added) so he had to adapt by playing bass lines on the lower manual almost exclusively and make use of a smaller tone color palette. Palmer’s bass lines have a unique movement and hump which made them an incredibly attractive part of George Benson’s classic Beyond The Blue Horizon (CTI, 1971) and his quartal voicings a la McCoy Tyner and Larry Young make the slow groove build of “Hurt So Bad” positively shine. Green’s solo is wonderfully melodic, and Bartee is impassioned, while Wilson sounds at his best and more comfortable here than “Upshot”. By the July 20th gig, Wilson definitely seems more attuned to and responds much better to Green’s trademark use of repetition though strangely during the organ solo on the lengthy “Hi Heel Sneakers”, he again stops playing for a few bars. There’s an infectious energy palpable on the Antibes portion Funk In Francethat makes it a fun listen but one wonders what rhythm section combustion would have occurred had Idris Muhammad, Joe Dukes, Otis Finch, Hugh Walker, Billy Cobham or even Jack DeJohnette had been the drummer on those nights.
Fast forward to September 1975 in Vancouver, Canada. That is the setting for Slick! Live At Oil Can Harry’s. Grant Green was in a very tenuous position not having a record deal. He had kicked his heroin habit in 1967-1968 and settled in Detroit, and was again seeking new audiences. Oil Can Harry’s was the centerpiece of a vibrant Vancouver jazz scene in the 1970’s that hosted everyone from Dexter Gordon, Jack DeJohnette’s Directions, Herbie Hancock and the Headhunters, and Donald Byrd and the Blackbyrds. Gary Barclay was a DJ at CHQM-FM and hosted The All Night Jazz Show. After the station closed it’s doors, Barclay kept a collection of tapes he recorded from the live shows to be broadcast a week following the broadcast date. Zev Feldman heard the 10” reel in the summer of 2017 which was originally a A&R submission given to mega reissue producer, Michael Cuscuna and decided it had to be issued. The Oil Can Harry’s performance features Green with keyboardist Emmanuel Riggins (who appeared on three Green albums that decade), bassist Ronnie Ware, percussionist Gerald Izzard (who had toured with Dizzy Gillespie) and drummer Greg “Vibrations” Williams. Like Billy Wilson on the Funk In France album, Izzard and Ware are very obscure names, but this ensemble had logged some time together. Emmanuel Riggins, the father of drummer and hip hop producer Karriem Riggins was instrumental in exposing Green to a wider range of music and the heavier funk that pervades this recording. Ronnie Ware was hired shortly after Live At The Lighthouse (Blue Note, 1972), and Greg Williams had been the drummer on that classic album. The drummer was no stranger to having a soul-jazz pedigree having met the guitarist between 1968-1970 at Detroit’s Club Mozambique when Green had organist Ronnie Foster in his group, and having played in the bands of Lou Donaldson and Dr. Lonnie Smith. He was also highly in tune with Green’s rhythmic sense, and he has a strong hook up with percussionist Izzard.
Green once more draws on his straight ahead history by including Charlie Parker’s “Now’s The Time” as a sort of palette cleanser for the funk to come. It’s the guitarist’s way of connecting the past to what he was doing at the time, and he delights in the torrents of easily loping lines that occasionally flow in to double time. Hearing Emmanuel Riggins stretch on the tune is a pleasure as well because he was sorely underrated, and was considered to be a very special player by all that knew him. “How Insensitive” is stretched out for 26 minutes, and Green once more shows his affinity for the tune, prodded along by Izzard’s carefully placed cowbell and wood block interjections but the deliriously funky coda really makes the tune. The highlight of Slick happens to be a nearly 32 minute medley of Stanley Clarke’s “Vulcan Princess”, the Ohio Players’ relentless “Skin Tight”, Bobby Womack’s “A Woman’s Gotta Have It”, “Boogie On Reggae Woman” by Stevie Wonder, and the OJays’ “For The Love Of Money”. The music of this medley finds Green’s music as never been presented before on any one of his albums, and is an even stronger link to the eventual jam band scene. Ware’s wah wah’d bass announces the unforgettable bass line of “Skin Tight” and Green and Riggins,on Hohner D-6 clavinet have a vulcan mind meld (no pun intended) that make them nearly imperceptible from each other. Grooves abound at the close of the medley with “For The Love Of Money” finding Williams blending percussively with Izzard. Needless to say, the material here easily blows away anything from Green’s lone studio album of the period, The Main Attraction (Kudu, 1976) captured in the twilight years of CTI’s initial heyday. This was a group Green wanted to keep together, but the recording of The Main Attraction unfortunately lead to that band’s demise. Green also toured as a part of the CTI All Stars before he released his final studio album Easy (Delmark, 1978).
Resonance Records has once more come up with a pair of releases to attempt to add an alternate angle to a legendary artist. The booklets and package design are non pareil in terms of their scope, both albums feature fantastic cover art and design by former Blue Note designer Burton Yount, and the exhaustive notes, photos and documentation are great. The two alternate covers for The Round House and Haute Funk included on the back inner tray insert behind both CD’s are a nice touch. Whatever caveats that were mentioned with Funk In France depending on taste, can be overlooked due to the sheer energy of the music, especially from the Antibes concerts. These albums are not for Grant Green newcomers but for connoisseurs and completists, or for those with a large cross section of his catalog. For new fans Grantstand, The Complete Quartets With Sonny Clark, Street Of Dreams, Alive, Live At The Lighthouse, Into Somethin’ (by Larry Young), Workout (by Hank Mobley), Up At Minton’s (by Stanley Turrentine) Oh Baby! (by John Patton) are certainly better entries into the world of Grant Green, but for seasoned fans these two new archival finds will have something of value.
Reviewed by C J Shearn
