js When it comes to discussing the top jazz saxophonists, Coltrane and Parker are givens, often followed closely by Rollins and Dolphy, but who is next in line. One name that doesn’t get mentioned often enough is Johnny Griffin. Early in his career, Griffin was often billed as “the world’s fastest saxophone”, but for some reason, the passing of time has eased Johnny more into the background. Possibly it is because Griffin was never particularly controversial, no publicized problems with drugs and alcohol or an early death to help immortalize him, Johnny was just a damn good saxophone player, maybe that’s not enough to hold the public’s wandering attention.

Griffin’s “Night Lady” was released in 1964 and finds the tenor man in fine form. This was recorded after Johnny had moved to Europe and was working with the big band led by Kenny Clarke and Francy Boland, as well as working with other artists too. To assemble the quartet for this recording, Clarke on drums and Bolan on piano were obvious choices, with Ellington sideman Jimmy Woode taking on the bass. This is a talented band with the extroverted Clarke playing all over the set in a style similar to today’s post bop drummers. Much like Griffin himself, Francy is also an under rated talent. Although Danish by birth, Francy’s playing has a lot of funky gospel and blues to it. A favorite technique of his is to grab a gospel riff and then insistently repeat it with slight variations as he hammers his point across. Every member of this band plays with a sense of contagious enthusiasm and smart-assed wit.

Apparently Griffin’s playing style had mellowed some since moving to Europe, but that might have been more about changing musical styles as laid back bluesy hard bop and soul jazz replaced the more frantic bebop of Johnny’s youth. A lengthy jam on “Night Lady” opens the album and finds the band swingin the blues, this style also covers much of side two as well. Of the standards herein, Griffin plays endless variations on the melody of “All the Things You Are” and manages to get some fire going on the usually tired sounding “Summertime”. “Little Man You’ve had a Busy Day” is one of Johnny’s favorite ballades and features an elegant solo from Francy. This is a great album for those who like pure jazz with no unnecessary additives or phony flavor enhancers.

js Johnny Griffin is a power house tenor player that deserves more recognition, but really, almost any great sax player who is not Coltrane or Charlie Parker could use a little more props. Johnny’s album, “The Little Giant”, came out in 1959, right in the middle of that mid 50s to mid 60s period in jazz when all the recordings sounded great and so many musicians were at a creative peak. Joining Griffin on here is an all-star cast, including a very young trombonist, Julian Priester. Julian will go on to perform avant-garde jazz with Sun Ra, Herbie Hancock’s electronic sextet and also some very out there combos of his own, so its interesting to hear him playing swinging solos in a hard bop context. The three man horn line is completed with Blue Mitchell on trumpet, giving the group an almost big band sound at times.

The three songs written by Norman Simmons make the most of this horn ensemble with complicated arrangements that often imitate big bands in their call and response between horn sections, and between soloist and ensemble. His, “Olive Refractions”, opens the album with high speed bop and the best arrangement on the album. Other tracks include Babs Gonzazlez’s, “Lonely One”, an exotic number that has Griffin playing a melody over tympani like tom toms before moving into a high speed free modal jam. “Playmates”, by Saxie Dowell is an odd choice with its bright major key contrasting with all the minor blues on this album. The song sounds like a cross between early New Orleans jazz and a TV beer commercial, but its sunny flavor does make for an interesting contrast. Griffin penned “63rd Street Theme”, a noire blues that would work great as a ‘crime jazz’ soundtrack.