LOU BENNETT QUARTET - Amen (& More)
Phono 870277
Lou Bennett (org), Jimmy Gourley (el gtr)’ Jean-Marie Ingrand (b), Rene Man, Kenny Clarke (d), Pierre Spiers (p)
Playing bebop piano originally, Lou Bennett switched to organ after hearing Jimmy Smith in the 1950s. He toured in his native United States from 1957 to ’59 but found little success. He moved to Paris in 1960 and a whole new successful career opened up for him. He became a hot jazz property in France even gaining a higher rating than his idol, Smith in one French popularity poll in 1961. He was well served on his debut LP, heard here as the first six tracks and initially released as Amen on RCA Camden Records.
The group swing off on Sister Sadie here and follow it up with a nicely paced version of Miles Davis’s So What. The organist has a big sound and seems comfortable soloing or just supporting with big, fat chords. His sound is a little strange but that is likely because this musician was forever fiddling with his instrument, modifying the speakers and adjusting the foot pedals for better control of the bass lines. Bennett was able to play good bass lines which makes it a little odd that he employed a bass player for this session. Ingrand is very good though and works well with veteran drummer and expat American, Kenny Clarke.
The first six pieces are all well played and yield fine solos from Gourley and the leader. After that we get three tracks of duets between Bennett and French drummer Rene Nan. The last four songs are played by a trio where pianist Pierre Spiers is the main solo voice. He plays like a cocktail pianist most of the time except when attempting some instant Art Tatum impersonations. Bennett gets to play a few riffs in the background and the occasional solo. Kenny Clarke accompanies well as usual but, like Bennett here, this is not his finest hour.
Reviewed by Derek Ansell
Phono 870277
Lou Bennett (org), Jimmy Gourley (el gtr)’ Jean-Marie Ingrand (b), Rene Man, Kenny Clarke (d), Pierre Spiers (p)
Playing bebop piano originally, Lou Bennett switched to organ after hearing Jimmy Smith in the 1950s. He toured in his native United States from 1957 to ’59 but found little success. He moved to Paris in 1960 and a whole new successful career opened up for him. He became a hot jazz property in France even gaining a higher rating than his idol, Smith in one French popularity poll in 1961. He was well served on his debut LP, heard here as the first six tracks and initially released as Amen on RCA Camden Records.
The group swing off on Sister Sadie here and follow it up with a nicely paced version of Miles Davis’s So What. The organist has a big sound and seems comfortable soloing or just supporting with big, fat chords. His sound is a little strange but that is likely because this musician was forever fiddling with his instrument, modifying the speakers and adjusting the foot pedals for better control of the bass lines. Bennett was able to play good bass lines which makes it a little odd that he employed a bass player for this session. Ingrand is very good though and works well with veteran drummer and expat American, Kenny Clarke.
The first six pieces are all well played and yield fine solos from Gourley and the leader. After that we get three tracks of duets between Bennett and French drummer Rene Nan. The last four songs are played by a trio where pianist Pierre Spiers is the main solo voice. He plays like a cocktail pianist most of the time except when attempting some instant Art Tatum impersonations. Bennett gets to play a few riffs in the background and the occasional solo. Kenny Clarke accompanies well as usual but, like Bennett here, this is not his finest hour.
Reviewed by Derek Ansell
