The Soul of Toots Thieleman
Recorded 1959, released 1960
Signature (SM 6006)
For this 1959 date, Toots is backed wonderfully with three Americans, Ray Bryant (Philly) on piano, Ray’s brother Tom on bass, and Oliver Jackson (Detroit) on drums, all the members helping to set the tone for the meeting and helping bringing Toots into their country, planting the sound deep into American soil, Ray getting plenty of time to get his piano into the conversation.
Of course, as the billing suggests, this is Toot’s album, his last name showing on all the credits of the originals on this set, his playing gracing every selection, the talented Toots alternates between harmonica and electric guitar, even whistling through his original “Brother John” that closes the set.
Toots shows he was not just an outstanding harmonica player, but a great guitar player as well–showing this clearly on cuts such as “Lonesome Road”–showing that the harmonica can color in a selection as much as any horn, and showing that the electric guitar can do the same. While blues and jazz guitar players revealed the ability for the guitar to offer rhythm and lead at the same time, adding electricity offered even more, making it easier for the guitar to fill in the song with colors much like horns had done for centuries.
This whole set is thoroughly enjoyable, a mix of originals by Toots and tunes by others—old tradition songs and jazz standards, Garner’s “Misty,” Reinhardt’s “Nuages,” and Parker’s “Confirmation”–the meeting laid back yet swinging, taut as a congregation yet relaxed as a Sunday afternoon, swinging like a porch swing with autumn in the air, the warmth of summer mixing with the latter parts of the year, youthful as young man, yet thoughtful as an elder. This might not be a great album, but it’s certainly a good one.
— winch (author of
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