The Three Sounds - Eight Classic Albums (2011) 4CD Box Set

×

The Three Sounds - Eight Classic Albums (2011) 4CD Box Set

Close

The Three Sounds were one of the most popular artists on Blue Note Records during the late '50s and '60s, thanks to their nimble, swinging, blues-inflected mainstream jazz. Since their records sounded interchangeable and their warm, friendly jazz was instantly accessible, many critics dismissed the group at the time as lounge-jazz, but in the '90s, critical consensus agreed that the group's leader, pianist Gene Harris, was an accomplished, unique stylist whose very ease of playing disguised his technical skill. Similarly, his colleagues, bassist Andrew Simpkins and drummer Bill Dowdy, were a deft, capable rhythm section that kept the group in an appealing, bluesy groove. That groove was so appealing that the Three Sounds maintained a large fan following into the late '60s. During the group's prime period – from their 1958 debut for Blue Note to the departure of Dowdy in 1967 – the Three Sounds cut an enormous number of records. Many records hit the shelves, while others stayed in the vaults, to be issued at a later date. Through it all, the trio's sound remained essentially the same, with no real dip in quality until the group began to splinter in the late '60s.

Gene Harris was at the center of the Three Sounds throughout its entire existence. A native of Benton Harbor, MI, he began playing piano as a child, performing in public at the age of six. He soon became distracted by boxing and sports, but he continued to perform music, occasionally in a trio with drummer Bill Dowdy. After they graduated from high school in 1951, both Harris and Dowdy joined the Army and were assigned to different units. However, both men were discharged in 1954, and after they left the Army, they began pursuing different musical careers. Harris played with a variety of bands throughout the South and Midwest, while Dowdy moved to Chicago and played with a number of blues and jazz bands. Two years later, both musicians happened to settle in South Bend, IN and decided to form a band called the Four Sounds with bassist Andrew Simpkins and a tenor saxophonist. After running through a number of tenor saxophonists unsuccessfully, the three musicians decided to jettison the horn from their group and become the Three Sounds. For the next two years, the group played regularly at Midwest venues, particularly in Ohio. They played as a trio, and they also supported such soloists as Lester Young and Sonny Stitt. During this time, Horace Silver became a fan of the group and recommended them to Alfred Lion, the head of Blue Note. Despite the good word, the group remained unsigned. They toured with Stitt and relocated to Washington, D.C., where they worked as a trio and as a rhythm section for touring soloists; during this time, they played with such musicians as Miles Davis and Kenny Burrell. In the fall of 1958, they moved to New York to work with Stitt. Shortly after the move, they signed to Blue Note, in addition to supporting Nat Adderley on a Riverside session.

The Three Sounds cut their first album for Blue Note in September of 1958. That record, Introducing the Three Sounds, became an unexpected success among record buyers, and the group's live performances earned fans like Horace Silver, Sonny Stitt, Miles Davis, and Cannonball Adderley, even if critics tended to dismiss the group. In particular, a Down Beat reviewer panned the album, but that didn't stop the public from buying the record, which soon became one of the most popular jazz records of its year. Blue Note had the band re-enter the studio in February of 1959 to cut their second album, Bottoms Up. It was the third of a total of 17 sessions at Rudy Van Gelder's studio (Introducing had taken two sessions to complete). At one point, Harris estimated that the group has released 35 albums worth of material, with many left in the vaults. During their first stint at Blue Note, they released the following, in addition to Introducing and Bottoms Up: Good Deal, Feelin' Good, Moods, Here We Come, It Just Got to Be, Hey There!, Out of This World, and Black Orchid. The Three Sounds also supported such Blue Note artists as Stanley Turrentine and Lou Donaldson on several recording dates.

The Three Sounds continued successfully on Blue Note until 1962, when they switched labels shortly after recording Black Orchid. They cut one album, Blue Genes, for Verve, then moved to Mercury, where they made three records between December 1962 and 1964. Later in 1964, the trio signed to Limelight, where they made three records. In October of 1966, the group returned to Blue Note and recorded Vibrations. Shortly after the sessions, drummer Bill Dowdy left the group and was replaced by Donald Bailey, who made his first recorded appearance with the group on 1967's Live at the Lighthouse. That album was followed in 1968 by Coldwater Flat, an album that found the trio augmenting their sound with a string section. By the time the group returned to the studio in September 1968 to cut Elegant Soul, Bailey was replaced by Carl Burnette. Elegant Soul continued the pattern of smooth, string-heavy productions, as did 1969's Soul Symphony. By the time the group made Soul Symphony, bassist Andrew Simpkins had left the trio and was replaced by Henry Franklin.

Soul Symphony, for most intents and purposes, was the last record the Three Sounds made. They continued to perform live, and one of those concerts is documented on Live at the It Club, a 1970 date which was released in 1995. Later in 1970, Monk Montgomery replaced Franklin, but this version of the Three Sounds never recorded. Instead, Harris embarked on a solo career in 1971, releasing Gene Harris & the Three Sounds, which also featured Burnette and electric bassist Luther Hughes, along with a number of session men. From that point on, Harris concentrated on his solo career, recording for Blue Note over the next six years. Once his contract expired, Harris retired to Boise, ID, where he worked as a musical director at a hotel. Eventually, he returned to music after bassist Ray Brown convinced the pianist to play on an album for Pablo. Harris resumed his solo career in 1985, signing with Concord Jazz. His new albums, combined with CD reissues of classic Three Sounds dates, prompted a positive critical re-evaluation of his music, and he maintained a strong reputation into the late '90s.

Biography by Stephen Thomas Erlewine, Allmusic.com

×

The Three Sounds - Eight Classic Albums (2011) 4CD Box Set

Close

×

The Three Sounds - Eight Classic Albums (2011) 4CD Box Set

Close

Introducing The Three Sounds (1958):

What's remarkable about Introducing the Three Sounds is how the trio's lightly swinging sound arrived fully intact. From the basis of this album, it sounds as if pianist Gene Harris, bassist Andrew Simpkins, and drummer William Dowdy have been playing together for years. There's empathetic, nearly intuitive interplay between the three musicians, and Harris's deft style already sounds mature and entirely distinctive. There's no question that this music is easy to listen to, but dismissing it because of that would be wrong – there's genuine style in their light touch and in Harris' bluesy compositions. The Three Sounds never really deviated from the sound they established on Introducing, but that's one of the things that is so remarkable – they were fully formed on their very first album. Even if it was a peak, it wasn't the only peak in their career. They would often match the heights of this album, but this debut remains a shining jewel in their catalog, and the way to become acquainted with their sound.

Stephen Thomas Erlewine, Allmusic.com

Branching Out (1958) (with Nat Adderly):

Cornetist Nat Adderley's debut for Riverside (reissued on CD in the OJC series) was recorded about a year before he permanently rejoined his brother Cannonball Adderley's Quintet. Teamed with tenor-saxophonist Johnny Griffin and the Three Sounds (the popular soul jazz rhythm section comprised of pianist Gene Harris, bassist Andy Simpkins and drummer Bill Dowdy), Nat is in excellent form on such tunes as "Well You Needn't," "Don't Get Around Much Anymore" and "I Never Knew" in addition to two of his lesser-known originals. Adderley and Griffin made for an exciting frontline.

Scott Yanow, Allmusic.com

×

The Three Sounds - Eight Classic Albums (2011) 4CD Box Set

Close

Introducing The 3 Sounds 2 (1958):

During the '70s, the Japanese division of Blue Note began issuing previously unreleased sessions that had sat in the vaults for decades. Most of these records were comprised of entirely unheard sessions. Others, like Introducing the Three Sounds, Vol. 2, were comprised of outtakes and alternate takes from beloved Blue Note albums. Vol. 2 contains five songs that were recorded during the Introducing sessions but remained unreleased, as well as an alternate take of "Goin' Home." Stylistically, this music is identical to the initial release (or any other Three Sounds album, for that matter), and it should please any fan of the trio, but there's little reason to seek this record out, since all of the material was released as bonus tracks on the CD reissue of Introducing the Three Sounds.

Stephen Thomas Erlewine, Allmusic.com

Bottoms Up! (1959):

The second record by the Three Sounds (which, like too many of their recordings, has yet to be reissued on CD in the U.S.) features the increasingly popular group in prime form. Pianist Gene Harris, bassist Andy Simpkins and drummer Bill Dowdy are in top form performing their brand of funky jazz, which left plenty of room for inventive solos along with the percolating grooves. On this set, the trio plays seven standards (including "Besame Mucho," "Love Walked In" and "I Could Write a Book"), plus the original "Jinne Lou." Well worth searching for.

Scott Yanow, Allmusic.com

×

The Three Sounds - Eight Classic Albums (2011) 4CD Box Set

Close

Moods (1960):

The Three Sounds open their signature sound a bit on the romantic Moods. They retain the same light touch that made their early albums so enjoyable, but they add more textures to the mix. Light Latin rhythms permeate Moods, from the inventive reworking of Cole Porter's "Love for Sale" to Harris' original "Tammy's Breeze." Like its predecessor, Feelin' Good, this record has a bluesy, soulful streak to its personality, as evidenced by the mellow take on "On Green Dolphin Street," the hep swing of "Loose Walk," and the infectious cover of Ellington's "I'm Beginning to See the Light." Occasionally, The Three Sounds play it a little too cool – while the slow, relaxed "Things Ain't What They Used to Be" manages to be engaging, "Li'l Darlin'" slows down to a crawl – but on the whole, Moods is an endearing collection of appealing mainstream jazz.

Stephen Thomas Erlewine, Allmusic.com

Hey There (1961):

Hey There! finds the Three Sounds keeping themselves slightly in check, turning in snappy, concise versions of jazz and pop standards, as well as jumping originals from Gene Harris. The shorter song lengths mean that the trio emphasizes melody even more than usual, but that's hardly a bad thing. Each Three Sounds record thrives on laidback swing and deft melodic flourishes. By bringing these elements to the forefront, they highlight their accessibility, but that results in a thoroughly enjoyable record. Their technical prowess is better heard on records where they stretch out a bit more, but Hey There! is another artist record from the most consistently entertaining artist on Blue Note's roster.

Stephen Thomas Erlewine, Allmusic.com

×

The Three Sounds - Eight Classic Albums (2011) 4CD Box Set

Close

Here We Come (1960):

Here We Come is a typically classy and entertaining collection from the Three Sounds. The group stretches out on these pop standards and Gene Harris originals a little more than normal, which gives the pianist an opportunity to flaunt his underrated chops. Stylistically, nothing has changed – this is still light, deftly swinging mainstream jazz – but with songs like "Summertime" and "Our Love Is Here to Stay," Here We Come has a bit of a romantic feeling, which is certainly welcome. Of course, that's balanced by the jumping title track and "Poinciana," among others, but overall the album has a warm, relaxed vibe that makes the romanticism particularly welcoming.

Stephen Thomas Erlewine, Allmusic.com

Blue Hour (1960):

Stanley Turrentine & the Three Sounds were initially featured together on an album called Blue Hour, which was a very relaxed and bluesy release. The spaciousness of "I Want a Little Girl" makes the listener savor every note, while "Gee Baby, Ain't I Good to You" is played with an almost identical tempo and feeling. Gene Harris' "Blue Riff" picks up the pace a good bit, before "Since I Fell for You" and "Willow Weep for Me" once again slow the proceedings back to a late-night feeling. Turrentine's tenor sax is in top form, while Harris is the consummate blues pianist in his supporting role. After the first CD reissue of Blue Hour went out of print, it was expanded into a two-CD set by Blue Note, with eight new unissued or alternate takes added on the second disc. It is apparent right away that the original producer Alfred Lion was correct in withholding most of these recordings from release. As well as Turrentine plays during "Blues in the Closet," the rhythm section seems a bit stiff. Harris' piano is too much in the background on "Just in Time," while the pianist's composition "Blue Hour" doesn't seem to be fully formed as a blues vehicle. "Strike Up the Band" is the one truly up-tempo recording present on this release, but probably wasn't issued previously because it is faded prematurely and it was so different from the producer's concept for the originally conceived release. Regardless, since both Stanley Turrentine and Gene Harris passed away within a year of each other in 2000, having additional music made available featuring these two fine musicians is most welcome.

Ken Dryden, Allmusic.com

×

The Three Sounds - Eight Classic Albums (2011) 4CD Box Set

Close