3 Sounds after the first BN tenure

[Hardbopjazz]

The only non Blue Note records of the three sounds I've heard were Blue Genes , Some like it Modern and Todays Sounds. It appears from those 3 records that they lost some of their pizzazz they had while with Blue Note the first time. When they came back to Blue Note in 1966 they never regained that magic.

Does anyone else feels this way too?

[Brad]

I'm not as crazy about Some like it Modern as their earlier BN stuff and can't comment on the other cds but it could also have something to do with Alfred Lion's influence since he was always looking for a certain sound out of his artists.

This is probably a question for Dan Gould who has more of an extensive collection than I do as I only have the pre 66 material.

[Dan Gould]

In the period in between their terms with Blue Note, I think that on the trio albums, the Sounds continued apace. Perhaps the results weren't quite as satisfying as the best BNs, but I don't feel there is a drastic drop-off in quality. It should also be noted that it was here that you got their first live recordings ("Live at the Living Room" on Mercury and "Today's Sounds" on Limelight) and both are excellent. The only non-BN recordings that don't do much for me are the Limelights which matched the trio with big bands and other accoutrements. OK, but not really necessary.

As far as when they returned to BN, they had already started to change with the times, as both Vibrations and Live at the Lighthouse include Harris' overdubbed organ on some tracks. Who was responsible for that? Well, no one knows, and it was probably both Alfred and Gene who made the decision. But it was Alfred who took the chance during their first tenure with the company to record Gene on organ with Ike Quebec. I think they were looking to see if they could catch lightning again as they did with Jimmy Smith. In fact, doesn't the discography show that the unissued session with Grant Green was with Gene on organ, too?

After those two albums, the band really started to change with the times, and it became much more the Gene Harris band, with assorted add-ons like strings on Elegant Soul, big band on Cold Water Flat and modern grooves on Soul Symphony.

I can understand if people don't care for those albums, but what was the driving force behind them? Was it the fact that the original group had broken up? Was it Gene looking to broaden the sound? Did Gene want to do these types of albums and that drove the group apart? Bill Dowdy left first, when the band was still a trio and sounding pretty similar to what it had been.

Another thing to remember is that those "oddball" records were studio efforts. The band continued to tour as a trio, as documented on the Live at the It Club CDs. Again, the band was changing with the times, with more modern rhythms and tune choices (like the Beatles set on Volume 2) but the band still played the old stuff, too-I think there are at least three tunes on Volume 1 of the It Club recordings that come from the first tenure at BN and the arrangements are the same.

I don't think its a loss of "pizzazz" if there was any. It was a natural evolution and changing with the times more than anything else.

[brownie]

One non-BN early Three Sounds date I love is the 'Anita O'Day and the Three Sounds' album on Verve. Anita was in superb form and obviously enjoying having the Three Sounds along!

[ghost of miles]

Dan (and any others who care to weigh in), what do you think of Coldwater Flat?

[JSngry]

I'm not Dan (nor do I play him on TV, that's my cousin Bobby Tom "B.T." Kobalt), but I like Coldwater Flat just fine (don't know B.T.'s opinion, we're estranged). Oliver Nelson's charts are upper-mid-tier (if that makes any sense) as far as his overall output goes, but whatever notch that should bring it down is compensated (or more) for by the really killing rhythm section (of course!) and the band getting in that pocket and following suit. It's a groovy side, very groovy.

Now, Soul Symphony, that's one I'd rather not discuss, still trying to figure out what the attraction of Monk Higgins was other than one really coolass name and an ability to create vaguely generic (a rare category itself, anywhere) soulfulfunky settings for people of a certain age/time/place who happened to be in L.A.(?) at the time), but Coldwater Flat, yeah, I'm always happy to hear that one.

[Dan Gould]

I like Coldwater Flat quite a bit, and I also like Soul Symphony (definitely ahead of Elegant Soul, the other Monk Higgins collaboration iirc). Maybe Higgins' settings are a little generic but Gene wails, especially on the title track.

[king ubu]

I like all three of them quite some ... though "Coldwater Flat" is the one I only just got.

What does Not Dan (B.T.'s estranged cousin) think about "Elegant Soul"?

[soulpope]

"Live at The Living Room" (Mercury) 1964

[LarryCurleyMoe]

I didn't care for the later 3 sounds in my "younger" days, but enjoy most all their recordings now. I appreciate Dan's insight in the longer post above. I think Cuscuna in the liner notes to the new reissue of "Coldwater" inplies that Oliver's arrangements were holding Gene back, but I don't sense this. Almost the same band as on "Live in LA" on Impulse and it sounds great IMO.

[The Magnificent Goldberg]

I keep meaning to explore the 3 Sounds more, but never seem to get round to it.

Hm...

Thanks folks.

MG

[JSngry]

What does Not Dan (B.T.'s estranged cousin) think about "Elegant Soul"?

Have heard it, don't have it, and really don't remember it. Guess that's an answer?