PLAS JOHNSON - This must be Plas & Mood for the blues
Fresh Sounds Records FSR-CD 818
This must be Plus
Tracks 1 to 12
Plas Johnson ( tnr / alto / bar )Larry Bunker ( vibes ) Gene Estes ( vibes )Victor Feldman ( vibes ) Howard Roberts ( gtr ) Bill Pitman ( gtr ) Paul Smith ( pno ) Ernie Freeman ( Hammond organ ) Red Callender ( bass ) Earl Palmer ( drs )
Recorded Hollywood, March 1959
Mood for the Blues
Tracks 13 to 26
Plas Johnson ( tnr ) Rene Hall (gtr ) Bill Pitman ( gtr ) Ray Johnson ( pno ) Ernie Freeman .
( Hammond organ ) Red Callender ( bass ) Earl Palmer ( drs / strings ) Gerald Wilson & Rene Hall
( arrangers )
Recorded Hollywood, May & June 1960
Bonus tracks 25 & 26
Plas Johnson ( tnr ) John Anderson ( tpt ) John Ewing ( tmb ) Jewell Grant ( bar ) Irving Ashby ( gtr ) Ray Johnson ( pno ) Red Callender ( bass ) Ed “Sharky” Hall ( drs ) Vocal group & Ernie Freeman
( arranger )
Recorded Hollywood, 15th July 1957
Plas Johnson was born in Louisiana but took resided on the West Coast in the 50’s working in the studios but played jazz dates when he was available. His film and television work increased to such a degree that his jazz appearances became infrequent but his name became familiar to devotees of cinema and television, playing on the soundtrack of the Pink Panther films made him practically a household name.
He did make some jazz dates on records and festival appearances during the Sixties and Seventies working with Bill Berry, Carl Fontana and the Capp-Pierce Juggernaut but it was the studio work which kept the wolf from the door.
He is skilful melodic player with a particularly fine ballad style but he could swing with the best of them when required.
On the first album, “This must be the Plas” h is joined on various tracks three vibes players and two guitarist on differing numbers which adds interest to the proceedings.
The album opens with a swinging “Too Close for Comfort” with the popular tenor / organ combination which works effectively and there is room for a tasty guitar solo by Howard Roberts. He then switches to baritone for “I Hadn’t Anyone Till You” and although h plays well enough it’s obvious it isn’t his first instrument, Victor Feldman’s vibe solo is a beauty.
Plas Johnson is at his best on the ballad “Poor Butterfly” playing big toned phrases which brings out the best in his style and the same could be said for the other ballad “My Old Flame”.
He sounds much more at hom on baritone on the slower paced “If Ihad You” and pianist Paul Smith gets his chance to shine. The most successful track on the album is “My Silent Love” which brings out the best of his tenor playing and the rest of the group responds to his passion. He switches to alto for ”Day in Day out” andd he acquits himself reasonable well.
On the whole it is a satisfying album and although the alto and baritone give a bit of variety it may perhaps have been a more successful if he had stuck to his tenor.
The second album has different feel with strings added and possibly was aimed at a different market but it has it’s moments usually on the slower numbers. The bonus tracks are fillers and have no plce on this release.
It is the first album that holds the interest for the jazz collector and it is good to have some representation of Plas Johnson in the catalogue.
Reviewed by Roy Booth
Fresh Sounds Records FSR-CD 818
This must be Plus
Tracks 1 to 12
Plas Johnson ( tnr / alto / bar )Larry Bunker ( vibes ) Gene Estes ( vibes )Victor Feldman ( vibes ) Howard Roberts ( gtr ) Bill Pitman ( gtr ) Paul Smith ( pno ) Ernie Freeman ( Hammond organ ) Red Callender ( bass ) Earl Palmer ( drs )
Recorded Hollywood, March 1959
Mood for the Blues
Tracks 13 to 26
Plas Johnson ( tnr ) Rene Hall (gtr ) Bill Pitman ( gtr ) Ray Johnson ( pno ) Ernie Freeman .
( Hammond organ ) Red Callender ( bass ) Earl Palmer ( drs / strings ) Gerald Wilson & Rene Hall
( arrangers )
Recorded Hollywood, May & June 1960
Bonus tracks 25 & 26
Plas Johnson ( tnr ) John Anderson ( tpt ) John Ewing ( tmb ) Jewell Grant ( bar ) Irving Ashby ( gtr ) Ray Johnson ( pno ) Red Callender ( bass ) Ed “Sharky” Hall ( drs ) Vocal group & Ernie Freeman
( arranger )
Recorded Hollywood, 15th July 1957
Plas Johnson was born in Louisiana but took resided on the West Coast in the 50’s working in the studios but played jazz dates when he was available. His film and television work increased to such a degree that his jazz appearances became infrequent but his name became familiar to devotees of cinema and television, playing on the soundtrack of the Pink Panther films made him practically a household name.
He did make some jazz dates on records and festival appearances during the Sixties and Seventies working with Bill Berry, Carl Fontana and the Capp-Pierce Juggernaut but it was the studio work which kept the wolf from the door.
He is skilful melodic player with a particularly fine ballad style but he could swing with the best of them when required.
On the first album, “This must be the Plas” h is joined on various tracks three vibes players and two guitarist on differing numbers which adds interest to the proceedings.
The album opens with a swinging “Too Close for Comfort” with the popular tenor / organ combination which works effectively and there is room for a tasty guitar solo by Howard Roberts. He then switches to baritone for “I Hadn’t Anyone Till You” and although h plays well enough it’s obvious it isn’t his first instrument, Victor Feldman’s vibe solo is a beauty.
Plas Johnson is at his best on the ballad “Poor Butterfly” playing big toned phrases which brings out the best in his style and the same could be said for the other ballad “My Old Flame”.
He sounds much more at hom on baritone on the slower paced “If Ihad You” and pianist Paul Smith gets his chance to shine. The most successful track on the album is “My Silent Love” which brings out the best of his tenor playing and the rest of the group responds to his passion. He switches to alto for ”Day in Day out” andd he acquits himself reasonable well.
On the whole it is a satisfying album and although the alto and baritone give a bit of variety it may perhaps have been a more successful if he had stuck to his tenor.
The second album has different feel with strings added and possibly was aimed at a different market but it has it’s moments usually on the slower numbers. The bonus tracks are fillers and have no plce on this release.
It is the first album that holds the interest for the jazz collector and it is good to have some representation of Plas Johnson in the catalogue.
Reviewed by Roy Booth
