Shout (2013) -- Mixed, Mastered... and unreleased
Liner Notes – Eddie Landsberg – ‘Shout’ listen
The only thing missing in this exciting new release from Eddie Landsberg is a version of Paul Anka’s “I Did it My Way’. That’s because Eddie jumped into the world of jazz organ on his own terms with a musical persona unlike that of his contemporaries… and this recording is testimonial to that!
It all began in his home where, as a kid, Eddie would create his own showpieces; calling this his ‘Swanky Club’. Recordings and performances from various musicians would stream through Eddie’s consciousness and leave lasting impressions. Entertainers like Louie Jordan, Eddie Jefferson, Sam Butera and Bill Doggett, were just a few.
Soon Eddie would bring his developing ideas and arrangements to the Charles Young American Legion Post in Philadelphia where his audiences were not only real people but many were actually connected to the legendary performers Eddie would emulate. A mutual admiration began to unfold and the resulting support helped Eddie to realize that his compositions and arrangements could be showcased elsewhere. Hence, ‘Eddie’s Lounge’ was born and young Eddie Landsberg took up residency in Tokyo, Japan where he tested its resiliency.
Eddie’s style involves not just his attributes as an organist; i.e., playing foot pedals; working the dynamics with his right foot; playing tremendous left-hand finger bass; and soloing with quickness and finesse. His style is most noticed in his body language; vocal support; and visceral impact. Eddie is on that bandstand for one reason and one reason alone: to entertain and involve his audiences in the most satisfying way. His is a style that rose from a myriad of influences ranging from Louie Jordan to Freddie Roach and everyone that swung in between. At one stage of his development, Eddie made a concerted effort to take lessons from Big John Patton. This turned into his most significant mentorship as Big John passed the word on to young Eddie that kept him on course to the truth in his playing.
As Eddie remembers: “a lot of the time I spent with John we were writing and he really dug my ideas and chord changes, and was showing me how to write and arrange tunes”.
Eddie’s contention is that his music represents “tunes simple but deep”…. And that brings us full-circle to ‘Shout’!
As always, Eddie surrounds himself with the finest musicians he can find. Drummer Rudy Peschuaer is a perfect example. Rudy’s style is eclectic and yet his adherence to the ‘rules a drummer must follow when playing with an organist’ (laid down by his former employer, Jack McDuff), make him one of the best ‘organ drummers’ on the scene today. Rudy shows us how to lock horns with the organist and bring forth the dynamics of a true, organ rhythm section. Guitarist Masami Ishikawa also has a wide range of styles and possibilities. His awareness of Wes, Kenny and Grant seep through in random spots which makes his soloing style both imaginative and breath-taking. There are moments when I even heard George Freeman or Cornell Dupree pop out of Masami’s guitar and then there were those moments when his originality was most appreciated. The tenor voice of Jerry Weldon fulfills such an important role in Eddie’s music where the tenor/organ relationship is of utmost concern. Often Jerry and Eddie play heads in unison and certainly their continual communication is responsible for most of the energy that we feel in this recording. Jerry has the big sound; the bar-walking sound; the big band sound – you name it, Jerry has it in his arsenal… which is just what Eddie needs to put the finishing touches on all his tunes.
In ‘You Know What to Do’, Eddie recalls that the musicians had very little preparation before the record button was pressed and yet they nailed it: “I added the hand clapping and vocals after to really get the feel down”.
‘Y’Allz Iz Crazy’ is another example of the Bill Doggett influence –based on a tune called ‘Before Lunch’. “I took the changes and then added a diminished scale thing I got from John to it, it also has a very special ending that Rudy remarked at the play back reminded him of the type of stuff he used to do with Jack McDuff… I liked the Baptist beat that took us home.
‘Eddie’s Minor Mad’ is a personal favorite. “There’s a bit of ‘Pink Panther’ in this extended D minor blues and some of John Patton’sm diminished concepts”. Although the tune was never actually written out, Jerry and Eddie played the extended theme in unison. That’s the sort of communication that made this tune special.
‘Reaching For Roach’ is a 6/4 minor blues with some special changes. “I was thinking about Freddie Roach when I wrote this. ‘Good Move’ is one of my all-time favorite Jazz organ albums. The tune is black key pentatonic with a bit of a modal edge”.
‘Take It Out In Trade’ is a funk tune. “It goes from a funky East Bay Grease, to a more swingy LA session-thing that has a bit of the theme to Dave Allen At Large in it. It’s not meant to show off or anything… just to get your booty shaking. I’m also glad that I was able to put a bit of Zydeco in”.
‘A Tune Simple But Deep’ only has two chords plus a modal excursion, yet a very specific song form. “I wrote this over 12 years ago when I was still studying with John. The ‘march-feel’ and mix of mode and blues is really a tribute to him. I first started playing this tune when I was performing at the Charles Young Post. Musicians love playing it and it has always gone over well with audiences”.
‘Cogic’ is a tune that Eddie says has an unusual form. “Two bars are taken off the A section to give it the nervous, over the top feel of the Pentecostal praise music that Rudy’s drumming delicately pays tribute too. The bridge is a bit odd, because of the sudden major chord feel - a bit of a faux pas in Jazz, but actually, I was thinking a bit of Gil Scott Heron the moment I wrote it. I think it added to the moodiness… so we go from this shout chorus thing to the action of the rapid II V chords. The bridge opens up and is airy; the cadency becomes aggressive… and boom, shoutsville again”.
‘Boogie Looking For You’ “This is a boogaloo that I wrote lyrics for. Unfortunately, the day of the session I came down with a horrible cold and couldn’t sing and thought it was ruined. When I got back to Japan, I began to have fun overdubbing it, and I think it works. The tune in some ways is a tribute to Reuben Wilson’s output in the late 60’s but I was also thinking of a lot of Atlantic R&B sessions too”.
‘Junebug’s Funky Duck Bag’ is, as Eddie claims, a house party! ‘It goes from happy swing to very heavy funk. If you listen to it with the volume turned up and feel exuberant happiness or want to get down, then I did my job… After that, I don’t have anything to prove’.
‘H In Lace’ is a tune that reminded me of something Charlie Earland or even Jack McDuff would have in their book. “It’s based on ‘Night In Tunisia’ and the full story behind it is too adult for liner notes. My Japanese fans, however, will most definitely know the meaning of the word ‘echi’”
‘Shout’ brings so much of Eddie Landsberg into the light. It’s one of those CDs that you could listen to repeatedly without aural fatigue. Eddie certainly has something to shout about with this collection of grooves – from his ‘Swanky Club’ to his own ‘Eddie’s Lounge’
The only thing missing in this exciting new release from Eddie Landsberg is a version of Paul Anka’s “I Did it My Way’. That’s because Eddie jumped into the world of jazz organ on his own terms with a musical persona unlike that of his contemporaries… and this recording is testimonial to that!
It all began in his home where, as a kid, Eddie would create his own showpieces; calling this his ‘Swanky Club’. Recordings and performances from various musicians would stream through Eddie’s consciousness and leave lasting impressions. Entertainers like Louie Jordan, Eddie Jefferson, Sam Butera and Bill Doggett, were just a few.
Soon Eddie would bring his developing ideas and arrangements to the Charles Young American Legion Post in Philadelphia where his audiences were not only real people but many were actually connected to the legendary performers Eddie would emulate. A mutual admiration began to unfold and the resulting support helped Eddie to realize that his compositions and arrangements could be showcased elsewhere. Hence, ‘Eddie’s Lounge’ was born and young Eddie Landsberg took up residency in Tokyo, Japan where he tested its resiliency.
Eddie’s style involves not just his attributes as an organist; i.e., playing foot pedals; working the dynamics with his right foot; playing tremendous left-hand finger bass; and soloing with quickness and finesse. His style is most noticed in his body language; vocal support; and visceral impact. Eddie is on that bandstand for one reason and one reason alone: to entertain and involve his audiences in the most satisfying way. His is a style that rose from a myriad of influences ranging from Louie Jordan to Freddie Roach and everyone that swung in between. At one stage of his development, Eddie made a concerted effort to take lessons from Big John Patton. This turned into his most significant mentorship as Big John passed the word on to young Eddie that kept him on course to the truth in his playing.
As Eddie remembers: “a lot of the time I spent with John we were writing and he really dug my ideas and chord changes, and was showing me how to write and arrange tunes”.
Eddie’s contention is that his music represents “tunes simple but deep”…. And that brings us full-circle to ‘Shout’!
As always, Eddie surrounds himself with the finest musicians he can find. Drummer Rudy Peschuaer is a perfect example. Rudy’s style is eclectic and yet his adherence to the ‘rules a drummer must follow when playing with an organist’ (laid down by his former employer, Jack McDuff), make him one of the best ‘organ drummers’ on the scene today. Rudy shows us how to lock horns with the organist and bring forth the dynamics of a true, organ rhythm section. Guitarist Masami Ishikawa also has a wide range of styles and possibilities. His awareness of Wes, Kenny and Grant seep through in random spots which makes his soloing style both imaginative and breath-taking. There are moments when I even heard George Freeman or Cornell Dupree pop out of Masami’s guitar and then there were those moments when his originality was most appreciated. The tenor voice of Jerry Weldon fulfills such an important role in Eddie’s music where the tenor/organ relationship is of utmost concern. Often Jerry and Eddie play heads in unison and certainly their continual communication is responsible for most of the energy that we feel in this recording. Jerry has the big sound; the bar-walking sound; the big band sound – you name it, Jerry has it in his arsenal… which is just what Eddie needs to put the finishing touches on all his tunes.
In ‘You Know What to Do’, Eddie recalls that the musicians had very little preparation before the record button was pressed and yet they nailed it: “I added the hand clapping and vocals after to really get the feel down”.
‘Y’Allz Iz Crazy’ is another example of the Bill Doggett influence –based on a tune called ‘Before Lunch’. “I took the changes and then added a diminished scale thing I got from John to it, it also has a very special ending that Rudy remarked at the play back reminded him of the type of stuff he used to do with Jack McDuff… I liked the Baptist beat that took us home.
‘Eddie’s Minor Mad’ is a personal favorite. “There’s a bit of ‘Pink Panther’ in this extended D minor blues and some of John Patton’sm diminished concepts”. Although the tune was never actually written out, Jerry and Eddie played the extended theme in unison. That’s the sort of communication that made this tune special.
‘Reaching For Roach’ is a 6/4 minor blues with some special changes. “I was thinking about Freddie Roach when I wrote this. ‘Good Move’ is one of my all-time favorite Jazz organ albums. The tune is black key pentatonic with a bit of a modal edge”.
‘Take It Out In Trade’ is a funk tune. “It goes from a funky East Bay Grease, to a more swingy LA session-thing that has a bit of the theme to Dave Allen At Large in it. It’s not meant to show off or anything… just to get your booty shaking. I’m also glad that I was able to put a bit of Zydeco in”.
‘A Tune Simple But Deep’ only has two chords plus a modal excursion, yet a very specific song form. “I wrote this over 12 years ago when I was still studying with John. The ‘march-feel’ and mix of mode and blues is really a tribute to him. I first started playing this tune when I was performing at the Charles Young Post. Musicians love playing it and it has always gone over well with audiences”.
‘Cogic’ is a tune that Eddie says has an unusual form. “Two bars are taken off the A section to give it the nervous, over the top feel of the Pentecostal praise music that Rudy’s drumming delicately pays tribute too. The bridge is a bit odd, because of the sudden major chord feel - a bit of a faux pas in Jazz, but actually, I was thinking a bit of Gil Scott Heron the moment I wrote it. I think it added to the moodiness… so we go from this shout chorus thing to the action of the rapid II V chords. The bridge opens up and is airy; the cadency becomes aggressive… and boom, shoutsville again”.
‘Boogie Looking For You’ “This is a boogaloo that I wrote lyrics for. Unfortunately, the day of the session I came down with a horrible cold and couldn’t sing and thought it was ruined. When I got back to Japan, I began to have fun overdubbing it, and I think it works. The tune in some ways is a tribute to Reuben Wilson’s output in the late 60’s but I was also thinking of a lot of Atlantic R&B sessions too”.
‘Junebug’s Funky Duck Bag’ is, as Eddie claims, a house party! ‘It goes from happy swing to very heavy funk. If you listen to it with the volume turned up and feel exuberant happiness or want to get down, then I did my job… After that, I don’t have anything to prove’.
‘H In Lace’ is a tune that reminded me of something Charlie Earland or even Jack McDuff would have in their book. “It’s based on ‘Night In Tunisia’ and the full story behind it is too adult for liner notes. My Japanese fans, however, will most definitely know the meaning of the word ‘echi’”
‘Shout’ brings so much of Eddie Landsberg into the light. It’s one of those CDs that you could listen to repeatedly without aural fatigue. Eddie certainly has something to shout about with this collection of grooves – from his ‘Swanky Club’ to his own ‘Eddie’s Lounge’
Listen to some tracks for free here...
