Plas Johnson

Plas Johnson & Red Holloway, "Keep That Groove Going!"

"This disc, featuring a pair of veteran, wailing saxophonists still on their game, reminds us of the symbiotic relationship between blues, jazz and the roots of rock 'n' roll. Johnson's a legend for loads of studio (including r&b and early rock records) and soundtrack work (he was the famous tenor sax sound on the original Pink Panther movie); Holloway's established substantial jazz credentials but started out in '50s Chicago honking blues and r&b. Together for the first time, they bring a spirit and style to this roadhouse program that smacks of authenticity and know-how. When necessary, they can be sophisticated but never slick--as on their feature ballads "Serenade in Blue" and "Cry Me a River." More often, though, they know just the right amount of grease or grit to apply to these heavy-duty riff tunes and backbeat burners, supported by Gene Ludwig's Hammond B3 organ and Melvin Sparks' tasty guitar. " -- By Art Lange, Pulse Magazine March '02

"A number of shopworn lines might be used to characterize Keep That Groove Going!, a session co-led by Plas Johnson and Red Holloway. Bromides such as “A battle between two veteran tenor saxophonists,” and “A heady combination of blues and bebop” contain more than a grain of truth, yet ultimately obscure the larger picture. Beneath the emotionally charged surface of both Johnson and Holloway’s playing lies a wellspring of intelligence and good taste. Guided by an exceptionally tight rhythm section consisting of Hammond B-3 organist Gene Ludwig, guitarist Melvin Sparks, and drummer Kenny Washington, the septuagenarians tackle a diverse program that refutes the notion that there are artistic limitations in sustaining a groove.

It only takes a few bars of Johnson and Holloway’s jubilant unison statement on Coleman Hawkins’ “Stuffy” to realize something special is happening. Holloway starts the solos by digging right into the medium tempo and builds an edifice consisting of short phrases that wallow in his rich tone, leaving plenty of space for the rhythm section to fill. All the while Washington nips at his heels with prickly accents on the snare drum. Inspired by Ludwig’s comping, Johnson fashions a droll statement out of long bent notes and brief passages that flash on and off like an irregular neon sign. Using the metallic click of Washington’s hi-hat as a rhythmic guidepost, Ludwig’s all-too-brief turn swings intensely without ever breaking into a sweat.

Some of Holloway and Johnson’s most memorable playing occurs during their respective ballad features. Holloway doesn’t so much play the melody of “Serenade in Blue” as he caresses it, resembling something out of a heavenly dream. With a pointed note here and jagged phrase there, his solo moves in a virile swagger; eventually culminating in a succession of blues based declarations. Breaking out from his usual pensive manner, Ludwig follows, sounding uncharacteristically frisky by playing brisk lines that threaten to lose control before coming back into the fold. His ominous chords provide a fitting introduction to Johnson’s stunning performance of “Cry Me a River.” The first time around, the tenor saxophonist poignantly plays the initial part of the melody, hitting the first note hard and bending it before continuing as if exhausted from the effort. Johnson’s repeat of the same section is startling in its use of the bebop lexicon, sounding like a brief outpouring of anguish." -- All About Jazz, Jan '02

"The only thing better than a tenor sax and B3 is Two tenors and B3, and that's what's on tap here in a brand new Rudy Van Gelder recording. Gene Ludwig is the swinging organist, Melvin Sparks the guitarist and Kenny Washington the drummer – no bass needed when there's those bass pedals on the B3. These blues immersed big-sounding tenor men honk away with gusto on nine tunes. Pass the Gravy is a funky down home mini-symphony at nearly nine minutes. Dig it all!" – John Henry, Audiophile Audition, 12/01/01

"An Oldie stacks up to goodies"
"...That this previously unissued music (Miles Davis' "Live at Fillmore East") makes such a deep impression more than 30 years later speaks to Davis' reach across style and time lines, and to the fact that few contemporary artists are doing anything to shake up the status quo.
"Still, some memorable albums were released this year by artists working within established borders. Times are tough for jazz, with a mere handful of major labels showing any interest in the music and even the most intrepid independent labels finding it hard to get their sounds heard. The diminished state of things makes the following efforts my favorites of 2001, all the more valuable.
"..9. Plas Johnson and Red Holloway. "Keep That Groove Going!" (Milestone): A memorable pairing of soulful tenor veterans – the former a New Orleans native, the latter from Chicago – who met in the studioland of Los Angeles. Holloway's deep, resounding solo on "Serenade in Blue" is classic." – Lloyd Sachs, Entertainment Critic Chicago Sun-Times, 12/30/01

Sidenotes:
"Just returned from a very memorable experience – a concert by the Red Holloway/Plas Johnson Quintet. There was no guitar, just piano, bass, drums and tons of tenor sax, alto sax and baritone sax (played splendidly by both Plas and Red). I had played guitar on some Red Holloway tracks way back in the 80's but hadn't seen him since. Some people just get better and better with age, an Red is certainly one of those folks. As I mentioned, there was no guitar but Red and Plas played so incredibly well, I felt I just had to mention it." – Doc Dosco, Guitar News Weekly Edition #171, 12/03/01

"It's too bad they don't make enough recordings like this anymore, as it's really wonderful to see this era of music still alive and kicking. Enjoy these two tenor titans, Johnson & Holloway, as they wail and sail along with our own NY area legend Melvin Sparks who shares much of the spotlight on guitar.

"This album's title track by Holloway, opens the disc in pedal to the metal fashion, with hot opening lines from Johnson, straight ahead blowing from sparks, and a roaring sax break from Holloway. Coleman Hawkins, often recorded, "Stuffy" is next, and serves as an excellent vehicle for all the artists to take short and very tasty swinging solos. Arnet Cobb's, "Go Red Go" takes us back to those 40's/50's pioneer days of R&B, and these guys nail this track to track to the wall! Pay close attention as Holloway & Johnson trade tenor licks under a solid foundation from Sparks, Ludwig, and Washington. Holloway's "Bretheren" has that late 60's Blue Note label feel, and even a smattering of early, uncluttered 70's CTI recordings. Check out Melvin paying homage to the likes of a young George Benson and Grant Green, on this third quarter twentieth century sound. It's blues time, on my favorite track on the album, Johnson's "Pass the Gravy", which really lets Sparks stretch out with some of the nicest blues work that I have ever heard him record, followed by neat tenor passages from Pas & Red. "Jammin' for Mr. Lee", also written by Johnson, is a fascinating swinging affair, once again given ample time for the great players on this CD to show off their superb soloing and attentive listening abilities. The classic, "Dream a Little Dream of Me" closes the album in a slow glowing swing, that will no doubt bring back warm memories, a smile, and perhaps a gleeful tear to the listener's eye.

"Alright, if you have enjoyed recent recordings by Greg Piccolo, Joe Houston, Sax Gordon, and/or older records by Stanley Turrentine, Bill Dogget/Clifford Scott, Sil Austin, Red Prysock, and Sam the Man Taylor, this disc is for you! What also makes "Keep That Grove Going" so cool, is the "as always" above par recording process and sound from Rudy Van Gelder's studios in Englewood cliffs NJ. May Rudy's recording studios live on forever! Finally, special kudos to the man who more than thirty years ago signed Melvin Sparks to (sister Co. of Milestone) the Fantasy record label, producer Bob Porter, who continues to record music of this style and caliber, keeping it in the forefront of the twenty-first century!

I highly recommend, "Keep That Groove Going!". Happy listening. – Bob Putignano, President NY Blues & Jazz, and radio host @ WFDU's, "Across the Tracks".

"Plas-matic!"

A bit of a cutting contest occurs here, and even organist Gene Ludwig and guitarist Melvin Sparks get in on the game.
Keep That Groove recalls the days when Dexter Gordon and Wardell Gray would go at it, mano a mano. There’s honkin’ and boppin’ a plenty here. Hard to believe Plas Johnson and Red Holloway are now in their seventies, but there you go, a testimony to the jazz fountain of youth.
What’s cool is the mixture of jazz, R&B, and roadhouse fist fighting music.
“Jammin’ For Mr. Lee” is an homage to New Orleans swingmeister Lee Allen. -- Keith Zimmerman, Yellow Dog Jazz Report contributing editor. 1/18/02

Click here: Plas Johnson in the Spot (Club Review) @ jazz review.com

AMG All Music Guide

Los Angeles Times, May 29, 2000

Sax Players Johnson, Riley Rip Through a Workout

By DON HECKMAN, Special to The Times

Two tenor saxophonists in action, tossing challenging phrases back and forth, their driving solos supported by a surging rhythm section: It's one of the more thrilling jazz experiences, one that has been present in every era of jazz.

On Saturday night at the Jazz Spot in Los Feliz, the instrumentation surfaced once again, this time in the capable hands of tenor saxophonists Plas Johnson and Herman Riley, with the accompaniment of organist Art Hillery and drummer Johnny Kirkwood. And the opening set was all one could ask for in hard-driving, straight-ahead, blues-based jazz.

Riley's first solo, in fact, kicked off the evening at such a high-voltage level that Johnson, at the end of the number, stepped to the microphone and drolly commented, "That's the last time I'm going to let Herman take the first chorus."

But Johnson was fully up to the high level of competition. Working through a set of material that seemed crafted for the two-tenor sound--especially in pieces such as Gene Ammons' "Water Jug" and Dexter Gordon's "Fried Bananas"--the two players kept raising the bar for each other.

The blues-based numbers were especially provocative choices, driving each to the heights of their improvisational skills. And in the set's sole ballad, "Lover Man," they exchanged phrases in a delightful juxtaposition of styles--Johnson's slippery, sliding phrases and Riley's blues- and gospel-based cries of passion.

Hillery and Kirkwood's accompaniment was precisely right, firmly based in a propulsive rhythmic pocket, occasionally adding solo contrast, but always interacting and responding empathetically to the front-line players.

The combination made for a rare evening of eminently listenable jazz--the sort of evening that deserves to be repeated many, many times.

L. A. Jazz Scene, Oct. 14, 2000

Plas Johnson Quartet at the Jazz Spot

Bob Comden

The Plas Johnson Quartet performed a two-night engagement at The Jazz Spot. Located in the back of the Los Feliz Restaurant, The Jazz Spot is a beautiful and classy place to hear some of the best musicians around. Owner Rick Clemente loves the music and his restaurant has gotten rave reviews since it opened. Clemente is offering music five nights a week and is assisted by Jim Britt. Together they've established a first-rate room for first-rate musicians.

Johnson's group included some stellar musicians: Herman Riley on tenor and baritone sax, Art Hillery on organ and drummer Johnny Kirkwood. Johnson played tenor and baritone sax. The group played with lots of fire, and energy, with plenty of sparks flying around the room.

I caught the last two sets of their second night. As I was entering they were finishing a very mellow and laid back version of 'Lover Man." Singer Sonny Craver was in the audience and joined them for a lively "Just Friends." Craver's full toned voice and marvelous phrasing and interpretation was a real treat. The two tenors tore it up with Johnson's lyrical solo, fast runs and Riley's full-powered tenor driving right through. Kirkwood's drumming added a swinging groove.

"Mama Leila,' an original by Riley, was funky and soulful with a Cajun flavor to it. Both Johnson and Riley showed off their tenor mastery on this one. "Blue Capers," by Blue Mitchell, was done uptempo and had the two sax players switching to baritones for a real punch. The interplay between Johnson and Riley was amazing. Hillary was his usual, swinging self, a real groove at the organ.

Some other classics played were 'On Green Dolphin Street," "Dolphin Street Blues," (dedicated to Dolphin's of Hollywood Music Store). The latter was a real hand clapper, with Kirkwood's drumming right in the pocket. Hillery's smooth lines flowed like wine. Johnson poured his heart into "I've Got It Bad And That Ain't Good." Riley was outstanding on "I Can't. Give You Anything But Love," on bari-sax. Craver returned to the stage to the delight of the crowd, with "Gee Baby, Ain't I Good To You?" and a lively version of "I Thought About You."

Johnson closed out a very entertaining night with Henry Mancini's "The Pink Panther," which is one of Johnson's trademark tunes. He played on the original and it never fails to delight audiences when he plays it.

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