The following piece was written by Gordon for the website of Saxophone Journal.  It appeared in conjuction with a cover story on Gordon in the Sept/Oct 2001 issue of the magazine.  In this article Gordon discusses his "Top 20" recommended recordings for R&B saxophone.

    Here’s a selection of my favorite discs in the R&B, Soul, Blues field. Certainly many great saxophonists fit many categories. Great Jazz players like Illinois Jaquet, Arnett Cobb, Gene Ammons, Willis Jackson and Al Sears slipped easily into the rockin’ R&B style. Cannonball Adderley, Hank Crawford and David “Fathead” Newman blurred the line between Jazz, Gospel and Soul. Most of the great Jazz sax players had a background in Blues or R&B, for instance John Coltrane worked with Earl Bostic and Eddie “Cleanhead” Vinson, Stanley Turrentine was with Lowell Fulson, Hank Mobley was with Paul Gayten, Dexter Gordon did R&B recordings with Helen Humes and Jessie Price, Charlie Parker played and recorded with Walter Brown in Jay McShann’s band and shows up on records with Rubberlegs Williams, Harold Land was with Jimmy Liggins, Johnny Griffin with Joe Morris, even Coleman Hawkins started out with Mamie Smith, a classic Blues singer of the 20’s.
 For this list of records I’ll stick closer to players more known for their work in Blues, R&B or Soul music. These days CD reissues abound and it’s often possible to find compilations of artists who’s important work may have partly been released only on 78’s or 45’s, such as Joe Houston, Big Jay McNeely or Wild Bill Moore. I’ll list original LP’s as much as possible and newer CD’s if I’m aware of them.

1. Roadhouse Boogie - Big Jay McNeely (LP Saxophonograph BP-505)

2. Cornbread And Cabbage Greens  - Joe Houston (CD Specialty SPCD 2171-2)
Blows Crazy - Joe Houston (CD Ace CDCHD 772)
   Joe Houston and Big Jay McNeely were some of the wildest of the honkers. Their unique approach to driving riffs and musical mayhem is a constant source of inspiration for me. While he may be best known for his wild honking workouts, sometimes very appropriately named after natural disasters (Earthquake, Hurricane, Thunderstorm), Joe Houston could also nail a low-down blues like Hog Maws, handle a ballad like I Cover The Waterfront as well as blast through the swing-to-bop encyclopedia on Lester Leaps In. He played smooth with vocal groups on Blues After Hours and Troubles and Worries and rocked through stomping tunes like The Hully and a whole series of dance craze LP’s like the Twist and the Limbo. His relentless energy, brawny tone, and willingness to explore the extremes make Joe Houston one of the all-time greats of Rhythm & Blues Saxophone. Big Jay also took the honking approach to the extreme in performance and recording. In his live shows he’s been known to drop to his knees, lay on his back, walk through the crowd, or play out in the street. I’ve seen him come out in a darkened club with a fluorescent sax! His recorded music ranges from more understated Jump-Blues instrumentals to novelty vocal tunes (Insect Ball) to complete glorious musical chaos (Real Crazy Cool). Big J In 3-D is a masterpiece featuring the intricate interplay between Jay and his brother Bob who played background, answers and counter lines on the baritone sax often spontaneously with Jay’s frantic riffs and ideas. Both the LP and CD mentioned are collections that only partially cover the recorded work of these sax heroes. You really have to get a number of CD or LP reissues to get a good idea of their capabilities. Fortunately both Big Jay and Joe Houston are still out there playing after careers that began in the 1940s!

3. Maxwell Davis - The Father of West Coast R&B (LP Ace CHAD 239)
   This may be hard to find, don’t know if it’s been reissued on CD. Maxwell was probably one of the most influential and important R&B saxists of all time, although one of the least known by name. His playing practically defines the sound of West-Coast R&B sax outside of the Honkin’ school championed by wild men like Big Jay McNeely, Chuck Higgins and Joe Houston. Often working as session leader/arranger and player, Maxwell soloed and created the band sound behind hit recordings by Percy Mayfield (Please Send Me Someone to Love, River’s Invitation, Lost Love), Amos Milburn (Chicken Shack Boogie, One Scotch, One Bourbon, One Beer, Bad Bad Whiskey), Charles Brown (Black Night, Seven Long Days), as well as for T-Bone Walker, BB King, Etta James, Lowell Fulson, Big Joe Turner, Clarence “Gatemouth” Brown and countless others. This LP features Maxwell soloing on instrumentals recorded in the early to mid 50’s under his own name and with Gene Phillips and Lloyd Glenn.

4. Hot Doggett - Bill Doggett (LP King 514)
   While every aspiring R&B sax player should learn the classic Bill Doggett hits to hear the work of Clifford Scott, (the tenor sax giant who’s sophisticated but rocking and bluesy solos helped make tunes like Honky Tonk, Ram-Bunk-Shush and Big Boy among the biggest instrumental R&B hits of the 50’s), I particularly love this early Doggett LP that features Percy France on tenor, a perfect example of great, swinging, small band arrangement and concise, rocking, jazz-influenced solos from organist Doggett, guitarist Billy Butler and Percy.

5. Rock ‘N Roll Stage Show - Buddy Johnson and his Orchestra (LP Mercury/Wing MGW 12111)
   The baddest Rhythm and Blues Big Band ever. Pianist/composer/arranger Buddy wrote both rocking R&B and ballads, often sung by his sister Ella (“Since I Fell For You” is one of his well-known compositions). His powerful, blues-based arrangements really kicked into high gear when they unleashed tenor sax monster Pervis Henson. I believe this is now available on CD.

6. Rock And Roll/The Beat - Red Prysock (LP Mercury 20088/20307)
   It’s hard for me to pick a favorite between these LP’s by Red Prysock, both feature his signature driving, Jazz-influenced R&B and Rock n’ Roll. Red’s execution, tonguing, and ability to work rhythmic variations on one note are really unmatched. There are a few CD reissues available that draw from this mid 50’s period with Mercury records. Absolutely essential.

7. Slow Walk Rock - Sil Austin (LP Mercury 12168)
   Although Sil became more famous for his ballads and easy listening records (much like R&B sax giant Sam “the Man” Taylor) his first LP’s in the mid 50’s were some of the greatest rocking sax ever recorded. His first hit Slow Walk utilized such techniques as double tonguing, and other records showed his incredible ability to get wild effects with tone, from extremely low growls to high screeches, all executed with incredible control. A compilation of his 50’s R&B solo work is out on CD and if you’re feeling adventurous I see that they’ve reissued Battle Royale - Red Prysock & Sil Austin.

8. Walkin’ With Mr. Lee - Lee Allen (LP Ember 200)
   The king of New Orleans R&B sax, I think Lee is probably one of the greatest rocking sax players that ever lived. His sound and classic solos propelled hundreds of hit records, from Little Richard (Tutti Frutti, Long Tall Sally, Good Golly Miss Molly, Lucille), Fats Domino (I’m Walkin) and classics by countless New Orleans artists including Huey Smith, Professor Longhair, Shirley & Lee, Smiley Lewis and Dr, John. In the 80’s he toured and recorded with a young roots-rock band from L.A., the Blasters, and still sounded great. His fat sound, laid back phrasing and elasticity combined with simple melodic and rhythmic development created an incredible drive and excitement in his solos without relying on high notes or tonal extremes. Now available on CD I think.

9. Rib Joint - Sammy Price and the “Rock” Band (CD Savoy ZDS 4417)
   This CD reissue contains two sessions by Sammy Price, one of which is from 1956 and includes some of the greatest, rawest, gutbucket Blues playing ever from King Curtis at a fairly early stage in his career.

10. Jazz As I Feel It - Earl Bostic (LP King 846)
   Earl Bostic was simply the best. While better known for his muscular readings of 50’s pop songs, his early work with Hot Lips Page and others shows an almost superhuman ability with the alto sax. His command of every aspect of playing, tone, fingering, melodic interpretation, improvisation and altissimo is unmatched anywhere. This hard-to-find album from 1963 with organist Richard “Groove” Holmes and guitarist Joe Pass is a departure from his usually more Pop-oriented fare. Anyone who starts thinking they’re pretty good should sit down and listen to the rocking jazz masterpieces Telstar Drive or Don’t Do It Please. This won’t be reissued, it’s too dangerous. Earl’s incredible altissimo epic Up There In Orbit may have made it to CD on an EP Collection.

11. Whose Muddy Shoes - Elmore James/John Brim (LP Chess 1537)

12. Black Magic - Magic Sam (LP Delmark DS-620)
   Both of these records are by Chicago Blues guitarists/vocalists but feature sax players. I find that many sax players who are into Jazz, Funk, Fusion or Pop music end up taking gigs in Blues bands because they could use the work and it’s considered easy. What most don’t know is that there are many saxophone stylists in Chicago Blues that developed unique approaches to group playing either as a small section or by themselves. On Black Magic Eddie Shaw (still out there touring with his own group) solos and shows how to play background parts that fit with the rhythm section. While his many solo recordings feature more of his very unique solo style, his work in Magic Sam’s band is a perfect example of how to fit in with an electric blues band so you don’t end up standing there waiting for your turn to solo. Who’s Muddy Shoes features two artists, only one, Elmore James, using sax in his band. The saxist, J. T. Brown, plays sometimes alone, sometimes with a small section, once again showing the possibilities of the sax in a small electric Blues band situation. As a soloist J.T. is remarkable for his totally unique approach, as with Eddie Shaw, seemingly not influenced by the Jazz players of the day. For other great examples of sax in Chicago Blues check out A.C. Reed on the early 1960’s recordings of guitarist Earl Hooker. Many people don’t know that Harold Ashby, famous for his many years with the Ellington band did, dozens of Chicago Blues sessions with Willie Dixon, Jody Williams, Otis Rush, Harold Burrage and others. The LP Willie’s Blues - Willie Dixon/Memphis Slim (LP Prestige/Bluesville 1003) is a good place to hear him in this style. I believe all these classics have been reissued on CD.

13. A Night With Daddy “G” - The Church Street Five (CD Ace CDCHD 742)
   The Church Street Five cut rocking instrumentals and served as the backing band for Legrand Records in Norfolk, Virginia in the early 60’s. Some of Legrand’s biggest hits were New Orleans and Quarter to Three by Gary U.S. Bonds, the latter modeled after and making reference to A Night With Daddy G, an instrumental hit by Gene “Daddy G” Barge and the Church Street Five. Drawing heavily on the Gospel influence of the Trombone Shout Bands that performed at the popular United House of Prayer Churches on the East Coast, the group cut a series of rocking, good-time, partying instrumentals quite unlike anything else before or since. Gene Barge’s clear, preaching style (very in evidence on Chuck Willis’ Atlantic recording of C.C. Rider) seems to have influenced King Curtis (according to both others and reportedly King Curtis himself) as he went from growled, old-style Rock & Roll and R&B to his later soul style. Gene also contributed to many Blues and Gospel records on Chess records in the 60’s and is still active today.

14. Junior Walker & the Allstars Live (LP Soul 725)
   Side one of this LP is one of the most powerful performances I’ve ever heard from any sax player. (There’s another Jr.Walker Live record, recorded earlier I think, that has the same title but is identifiable by the presence of one track by Motown organist Earl Van Dyke). Almost all of Junior Walker’s 60’s work is essential. Although he’s mostly acknowledged in the Pop/Soul field, I believe Junior Walker was one of the greatest Blues sax players of all time. A few CD compilations include most of the great hits from Shotgun and Shake And Fingerpop to What Does It Take, but I prefer a lot of the original LPs that include stunning album tracks like Sweet Soul, Satan’s Blues and Sweet Daddy Deacon. The lesser known LP Soul Session is a fantastic all-instrumental session focusing on Junior’s amazing rhythmic approach and phrasing, incredible control in the altissimo range and the band’s driving rhythm arrangements.

15. Soul Serenade - the Best of Willie Mitchell (CD Hi Records/the Right Stuff 99802)
   Willie Mitchell was a great trumpet player/producer/writer/arranger at HI Records and one of the architects of the Memphis Soul sound. While he’s better known for producing hits for Al Green (Let’s Stay Together, Love And Happiness) as well as other HI artists like O.V. Wright and Ann Peebles, his own mid-to-late 60’s instrumental records featured classic Memphis Soul horn arranging, rhythm section arranging and great sax work from Andrew Love (from the Mar-Keys and the Memphis Horns), Charles Chalmers, and Willie’s brother, the late James Mitchell. While many of the LPs feature instrumental covers of popular songs of the day, this CD reissue concentrates on the wonderful original compositions of Willie and the band.

16. The Great Memphis Sound - The Mar-Keys (LP Stax 707)
Damifiknow - The Mar-Keys (LP Stax 2025)
Memphis Horns - The Memphis Horns (LP Cotillion SD 9014)
   All three of these records, along with the recordings of Willie Mitchell, represent the classic Memphis Soul horn sound from the mid/late 60’s. All of these LP’s may be hard to find and I’m not sure that they have been reissued on CD. The horn section of the Mar-Keys backed most of the great artists on Stax records in the 60’s including Otis Redding, Sam & Dave, Eddie Floyd, Rufus and Carla Thomas, and Albert King on an endless stream of hits that are now the staples of bands all over the world (Dock Of The Bay, Knock On Wood, Soul Man, Hold On I’m Comin, and Crosscut Saw to name a few). They went on to be identified as the Memphis Horns and are still active today performing and recording and releasing their own CDs. All these LP’s feature great rhythm and horn arranging and the classic Soul Sax sound of Andrew Love.

17. King Curtis Plays the Great Memphis Hits (LP Atco SD-211)
   King Curtis’s tribute to the great Memphis Soul sound, recorded in 1967 with many of the players that made the original hits. King once again shows his incredible ability to sing with his horn as he plays many songs originally made famous by great Soul singers, as he also did on King Curtis Plays the Hits Made Famous By Sam Cooke (Capitol ST-2341). Both of these have been reissued on CD.

18. King Curtis & Champion Jack Dupree - Blues At Montreaux (LP Atlantic SD 1637)
   One of King Curtis’s final recorded performances, recorded live in 1971 with Barrelhouse Blues Piano Legend Champion Jack Dupree in Europe. The band follows Jack through a spontaneous set of both rockin’ and low-down Blues. King shows how it’s done, I practically learned how to play from this record! If you want to be able to show up at a Blues jam and knock-em-out, this is how to do it! This should be available on CD.

19. Bus Stop - Oliver Sain (LP Abet 406)
   After a career starting in the 50’s in St. Louis band leading, recording, arranging or playing for Blues and R&B greats like Ike Turner, Little Milton, Howling Wolf, Elmore James, BB King, Fontella Bass and his own groups, Oliver updated the R&B sax sound in the early 70’s, putting his long, blues-drenched, insistent, clear and singing phrasing over more modern rhythm section sounds. His ability to get the most out of moody or funky vamps (sometimes on just one chord) led to some minor hits like the title song of this LP. An overview of is work on Abet records has been reissued on CD.

20. I Love To Praise His Name - Dr. Vernard Johnson and the Central Georgia State Choir - Live in Atlanta (LP Savoy SL 14669)
   I have LP’s Vernard recorded as far back as 1973 up to a CD from 1991 (I’m Alive Elektra/Nonesuch American Explorer Series 9 61150-2). Real Gospel saxophone is often overlooked and some modern exponents sound suspiciously similar to what is called “smooth jazz” these days. Vernard is the real deal, there is no more inspired and inspiring playing than this anywhere. A totally unique stylist of incredible power and feeling, he uses the alto sax like a lead voice offset by full Gospel choir and ensemble. It’s also some of the most rocking stuff you’ll ever hear! Might be hard to find this 1982 record or other recordings by Vernard, but worth the effort. Might just change your life.

    Gordon would like to thank Chris “Stovall” Brown, Dave Colbert, Dan Kochakian, Stereo Jack's (Cambridge, Massachusetts) and Cheapo Records (Cambridge, Massachusetts) for all their help tracking down records over the years.