Horace PARLAN - Happy Frame of Mind 1963

Horace PARLAN - Happy Frame of Mind 1963
2000 Issue. TOCJ-9186

Jazz

Happy Frame of Mind finds Horace Parlan breaking away from the soul-inflected hard bop that had become his trademark, moving his music into more adventurous, post-bop territory. Aided by a first-rate quintet -- trumpeter Johnny Coles, tenor saxophonist Booker Ervin, guitarist Grant Green, bassist Butch Warren, drummer Billy Higgins -- Parlan produces a provocative set that is grounded in soul and blues but stretches out into challenging improvisations. None of the musicians completely embrace the avant-garde, but there are shifting tonal textures and unpredictable turns in the solos which have been previously unheard in Parlan's music. Perhaps that's the reason why Happy Frame of Mind sat unissued in Blue Note's vaults until 1976, when it was released as part of a double-record Booker Ervin set, but the fact of the matter is, it's one of Parlan's most successful efforts, finding the perfect middle ground between accessible, entertaining jazz and more adventurous music.
By Stephen Thomas Erlewine. AMG.
**
Wicked work by pianist Horace Parlan -- and one of his most stunning Blue Note sessions ever! The album was first recorded in 1963, but then kept on the shelf for years -- seeing only brief release as part of a Booker Ervin package in the late 70s, and finally coming out with the proper cover and lineup at some point in the 80s! Why Blue Note waited so long is a mystery, because the album's a gem throughout -- almost more important, and more starkly modern than any of Parlan's other work for the label. Booker Ervin leads the frontline on tenor, alongside Johnny Coles on trumpet, Grant Green on guitar, and the rhythm section of Butch Warren and Billy Higgins. Parlan's choice of material is fantastic -- with a number of Africanist tracks that feature unique rhythmic patterns that really push the soloists! Titles include "A Tune For Richard", "Dexi", "Home Is Africa", "Kucheza Blues", and "Back From The Gig". 
From Dusty Groove.
**
The album title doesn't lie.  Right from the opening bass work by Butch Warren you're happy.  This is a good example of the kind of amazing jazz album that jumps in and out of print for no good reason whatsoever.  Butch Warren(bass) and Billy Higgins(drums) are experienced in playing this kind of feel-good music from their work with trumpet player Lee Morgan and tenor sax giant Dexter Gordon.  Next add Johnny Coles (trumpet) and Booker Ervin (tenor sax), two Charles Mingus disciples, to the mix.  What can I say about Horace Parlan?  He're a guy who's right hand is partially paralyzed and he still plays the piano better than 99% of people.  Oh yeah, he played with Mingus as well, for about a decade as well.  The icing on the cake is Grant Green.  Once again, Green seems to crawl out of his shell when he plays in somebody elses band.  His playing is fantastic.  I'd recommend Blue and Sentimental by Ike Quebec for more of his unbelievable work as a sideman.  If you own and love "The Sidewinder" by Lee Morgan, then you neeeeeeeeeeeed this.  The feel of the album is very similar and there's the bonus of guitar.  There must  have been something incredible in the water in 1963 because the list of incredible jazz from that year that I've discovered just keeps getting bigger and bigger.  Hunt for this album.
**
Johnny Coles- (Trumpet)
Booker Ervin- (Tenor Sax)
Horace Parlan- (Piano)
Grant Green- (Guitar)
Butch Warren- (Bass)
Billy Higgins- (Drums)
**
01. Home Is Africa (Ronnie Boykins) 8:46
02. Tune for Richard (Booker Ervin) 6:06
03. Back from the Gig (Horace Parlan) 5:52
04. Dexi (Johnny Coles) 5:54
05. Kuchenza Blues (Randy Weston) 5:39
06. Happy Frame of Mind (Horace Parlan) 6:13
**

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Horace PARLAN Trio - Pannonica 1981

Horace PARLAN Trio - Pannonica 1981
1993 Issue.

Jazz

Review
Good early '80s trio session with pianist Horace Parlan working alongside bassist Reggie Johnson and drummer Alvin Queen. The material, mostly standards with some originals and ballads, isn't overly ambitious, but Parlan's dense, strong blues-influenced solos and good interaction among
the three principals keeps things moving.
By Ron Wynn. AMG.
**
Bass- Reggie Johnson
Drums- Alvin Queen
Piano- Horace Parlan
**
01.There's No Greater Love 5:33
02.Pannonica 6:22
03.C Jam Blues 7:02
04.Hi-Fly 9:18
05.Who Cares? 9:47
**

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Horace PARLAN Trio - We Three 1960

Horace PARLAN Trio - We Three 1960

Jazz

Horace Parlan has overcome physical disability and thrived as a pianist despite it. His right hand was partially crippled by polio in his childhood, but Parlan's made frenetic, highly rhythmic right hand phrases part of his characteristic style, contrasting them with striking left-hand chords. He's also infused blues and R&B influences into his style, playing in a stark, sometimes somber fashion. Parlan has always cited Ahmad Jamal and Bud Powell as prime influences. He began playing in R&B bands during the '50s, joining Charles Mingus' group from 1957 to 1959 following a move from Pittsburgh to New York. Mingus aided his career enormously, both through his recordings and his influence. Parlan played with Booker Ervin in 1960 and 1961, then in the Eddie "Lockjaw" Davis-Johnny Griffin quintet in 1962. Parlan played with Rahsaan Roland Kirk from 1963 to 1966, and had a strong series of Blue Note recordings in the '60s. He left America for Copenhagen in 1973, and gained international recognition for some stunning albums on Steeplechase, including a pair of superb duet sessions with Archie Shepp. He also recorded with Dexter Gordon, Red Mitchell, and in the '80s Frank Foster and Michal Urbaniak. He also has recorded extensively for SteepleChase, Enja, and Timeless.
**
Horace Parlan- Piano
Mads Vinding- Bass
Ed Thigpen- Drums
**
01. Us Three 3:35
02. Summertime 5:31
03. Broken Promises 5:54
04. Solar 4:55
05. Wild Is the Wind 7:05
06. Bags Groove 5:57
07. Fran Dance 5:23
08. Little Esther 5:03
09. Billy's Bossa 5:59
10. Have You Met Miss Jones? 5:13
11. Blues for H.P 4:05
**
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Horace PARLAN Quintet - Speakin’ My Piece 1960

Horace PARLAN Quintet - Speakin’ My Piece 1960

Jazz

Another fine jazz pianist from Pittsburgh, Horace Parlan has excelled in styles both straight-ahead (Stanley Turrentine) and edgy (Charles Mingus). He's a swinging, melodious hard bop player with subtle shades of blues in his approach, which perfectly suits 1960's SPEAKIN' MY PIECE. PIECE is a mellow blues-tinged bop quartet session featuring the soulful, agile, massive-toned tenor sound of fellow Pittsburgh expatriate Turrentine. There's nothing too rambunctious here, just some dandy earthy jazz to relax and unwind to.
**
Pianist Parlan had found a level of relative comfort during 1960-61, recording with the same four musicians on five distinct Blue Note albums under various leaders’ names; three of them, his. With a front-line of the Brothers Turrentine; Tommy on trumpet (who’s lack of any albums under his own name for Blue Note or any other jazz label at the time is curious if not mind boggling) and his younger sibling Stanley on tenor (who eventually help write the book on Blue Note tenors), the band is rounded out with George Tucker’s bass and Al Harewood on drums. With Parlan’s relaxed but subtly swinging style holding it together and Big Stan’s thick tone, peppered with blues and soul inflections, songs such as “Wadin’”, “Oh So Blue” and the title tune sizzle. An interesting inclusion is a quick revisit by Parlan to his future jazz standard “Up In Cynthia’s Room”, which he had debuted on his trio set, Movin’ And Groovin’, just five months prior. . As part of the Classic Blue Note Signature LP reissue Series this reissue was mastered and cut from the original analog master tapes on Classic’s ALL TUBE MONO cutting system and featuring authentic tip on jackets with film laminate front covers. Great record – highly recommended!
**
Tommy Turrentine- (Trumpet)
Stanley Turrentine- (Tenor Sax)
Horace Parlan- (Piano)
George Tucker- (Bass)
Al Harewood- (Drums)
**
A1. Wadin’ (Horace Parlan)
A2. Borderline (Horace Parlan)
A3. Up in Cynthia’s Room (Stanley Turrentine)
B1. Rastus (Tommy Turrentine)
B2. Oh So Blue (Leon Mitchell)
B3. Speakin’ My Piece (Horace Parlan)
**
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Horace PARLAN – Headin’ South 1960

Horace PARLAN – Headin’ South 1960
BST-84062

Jazz

On the surface, Headin' South is another set of bluesy soul-jazz, but it actually finds the Horace Parlan trio stretching out a little. Adding conga player Ray Barretto to his usual rhythm section of bassist George Tucker and drummer Al Harewood, Parlan decides to take chances with his standard-heavy repertoire. "Summertime" features some evocative bowing from Tucker, and the solo sections on "The Song Is Ended," "Prelude to a Kiss," and "My Mother's Eyes" offer probing, intriguing tonal textures that make the selection of Ahmad Jamal's "Jim Loves Sue" understandable. Barretto's "Congalegre" is a fun, Latin-inflected number, and Parlan's "Headin' South" is a strong, swinging blues, but the slow blues "Low Down" is nearly undone by his incessant circular arpeggio, which lasts for over a minute. Still, that's not nearly enough to sink the record, which is another understated but solid effort from Horace Parlan.
By Stephen Thomas Erlewine, AMG.
**
George Tucker- (Bass),
Ray Barretto- (Conga),
Horace Parlan- (Piano),
Al Harewood- (Drums).
**
A1. Headin' South  
A2. Song Is Ended  
A3. Summertime  
A4. Low Down  
B1. Congalegre  
B2. Prelude to a Kiss  
B3. Jim Loves Sue  
B4. My Mother's Eyes
**
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Horace PARLAN – Movin & Groovin’ 1960

Horace PARLAN – Movin & Groovin’ 1960

Jazz

Horace Parlan’s debut album for Blue Note, Movin’ and Groovin’, is a thoroughly impressive affair, establishing Parlan as a distinctive hard bop stylist. Working with bassist Sam Jones and drummer Al Harewood, Parlan steals the show, playing hard-driving, bluesy bop and lyrical ballads. If it weren’t for the inventive chord voicings and percussive right-hand attack, it would be impossible to tell that he was missing two fingers on his right hand, since his playing is remarkably agile and fluid. Parlan sounds vital on swinging blues, slow ballads, and straight-ahead bop, and Jones and Harewood provide appropriately empathetic support on this collection of standards, blues, bop, jazz, and originals. Everything swings, no matter the tempo, and the end result is a fine debut from a distinctive pianist.
By Stephen Thomas Erlewine, AMG.
**
Horace Parlan- (Piano)
Sam Jones- (Bass)
Al Harewood- (Drums)
**
A1. C Jam Blues  
A2. On Green Dolphin Street  
A3. Up In Cynthia's Room  
A4. Lady Bird  
B1. Bag's Groove  
B2. Stella By Starlight  
B3. There Is No Greater Love  
B4. It Could Happen To You
**
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Horace PARLAN - On the Spur of the Moment 1961

Horace PARLAN - On the Spur of the Moment 1961

Jazz

Again working with his longtime rhythm section of George Tucker (bass) and Al Harewood (drums), Horace Parlan manages to On the Spur of the Moment make distinctive by emphasizing the rhythmic side of his hard bop. Tenor saxophonist Stanley Turrentine and trumpeter Tommy Turrentine help give the quintet a bluesy edge, which the band exploits to an appealing effect throughout these six, mostly original, compositions. There are a few ballads, and even when things are at their hottest, Parlan's understated playing is a cue for the group to keep it tasteful, but that relaxed atmosphere is part of the reason why On the Spur of the Moment is another winning effort from the underrated pianist.
By Stephen Thomas Erlewine. AMG.
**
Tommy Tarantine- (Trumpet)
Stanley Turrentine- (Tenor Sax)
Horace Parlan- (Piano)
George Tucker- (Bass)
Al Harewood- (Drums)
**
A1. On the Spur of the Moment  
A2. Skoo Chee  
A3. And That I Am So in Love  
B1. Al's Tune  
B2. Ray C.  
B3. Pyramid
**
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