Evening Delight

#		Title	Length
1		You've Changed	6:36	Play
2		Angel Eyes	3:56	Play
3		I Should Care	4:30	Play
4		Take the A Train	4:28	Play
5		Cheek to Cheek	6:38	Play
6		It Had to Be You	5:18	Play
7		Who Can I Turn to?	5:12	Play
8		I'm Thru With Love	4:37	Play
9		The Touch of Your Lips	5:39	Play
10		Little Girl Blue	6:02	Play
11		Mean to Me	6:56	Play
			59:52

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Description

Jazz aficionados know him by name, but almost anyone exposed to music is familiar with his playing. His is the purring sax solo on Henry Mancini's famous "Pink Panther" movie theme song. Plas is the featured soloist heard on countless albums including those of such artists as Frank Sinatra, Peggy Lee, Nat King Cole, Barbra Streisand, Quincy Jones, Ray Charles, Ella Fitzgerald, Linda Ronstadt and Sarah Vaughan.

Plas was born in Donaldsonville, Louisiana, about 60 miles north of New Orleans. As teens, Plas and brother Ray formed a band, the Johnson Brothers Combo, that played in and around New Orleans for a number of years. Plas left New Orleans in 1951 to go on the road with the Charles Brown Blues Band. The road, a stint in the Army and a permanent move to California followed. Plas attended the Westlake School of Music for over a year; then his studies were derailed by an overloaded schedule of record dates. He was brought to the attention of Johnny Otis, who immediately added him to his blues aggregation. Johnny then introduced Plas to Dave Cavanaugh, who held an influential A&R position at Capitol Records, where he soon became a regular session sideman and soloist during Capitol's halcyon years.

Plas has been one of the most well known and sought- after musicians around the California studio scene. He joined "The Merv Griffin Show" band in 1970, where he remained for the next fifteen years, joining an all-star lineup, which also included such prominent instrumentalists as Ray Brown, Herb Ellis, Jake Hanna, Benny Powell, Jack Sheldon, Kai Winding and others.

Plas' recent recordings include his own albums, "Christmas in Hollywood", "Evening Delight", and "hot, blue & saxy", and a Milestone recording with Red Holloway, "Keep That Groove Going!" You may also find him around town occasionally with his own group, at jazz festivals all over the world, and in the recording studios.

Plas Johnson combines some of the best elements of jazz and blues and is admired and emulated by sax players worldwide.

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ABOUT THIS CD


"Evening Delight" is a collection of romantic ballads and timeless, swinging jazz tunes, performed by an outstanding saxophonist. Supporting this fine sax man is a group of prominent musicians-each in his own right a feature artist. Together, they produce a listening experience that's delightful anytime.


Richard Simon, bass (Tracks 1 through 11)
An imaginative, humorous player, Richard studied with the Los Angeles Philharmonic and famed jazz legend Red Callender. He has toured worldwide, and played jazz festivals with Lalo Schifrin, Chico Hamilton, Harold Land, the Frank Capp Juggernaut and others. His recordings, on several of which he was the leader, have included Buddy Collette, Gerald Wiggins, Sam Most, Dave Pike, Tootie Heath and Ken Peplowski.

Brian O'Rourke, piano (Tracks 2, 3, 7, 8 and 9)
Brian has appeared at many top venues, including the Monterey Jazz Festival, the Hollywood Bowl, and the Dorothy Chandler Pavilion in Los Angeles. He has performed with such jazz artists as Dizzy Gillespie, Joe Williams, and Jack Sheldon, as well as Bette Midler, Frank Sinatra Jr., Steve Allen, James Caan and Nancy Sinatra. His recordings number over 30, including 2 Grammy-nominated albums with Gerald Wilson.

Ross Tompkins, piano (Tracks 1, 4, 5, 6, 10 and 11)
While still in his teens, in New York, Ross began playing jazz with such greats as Kai Winding, J. J. Johnson, Wes Montgomery, Roy Eldridge, Dizzy Gillespie, Illinois Jacquet and many more. In 1967 he joined the "Johnny Carson Tonight Show" band, and moved with the show to California in 1972. He remained with the "Tonight Show" band until 1992. His recording career encompasses almost every major artist, and Ross has many albums of his own. He is still a part of Doc Severinsen's band, and is equally at home in a solo setting.

Johnny Kirkwood, drums (Tracks 2, 3, 7, 8 and 9)
Johnny began playing drums professionally while still in high school, with Eric Dolphy, and Billy Bettis' big band. After high school, Johnny went on the road with Louis Jordan. He has played with and/or recorded with Dinah Washington, Ella Fitzgerald, Gene Ammons, "Sweets" Edison, Gerald Wiggins, Kenny Burrell, and many others.

Paul Humphrey, drums (Tracks 1, 4, 5, 6, 10 and 11)
At the age of six, Paul sat down at a drum set for the first time. He began his professional career after leaving the Navy, performing with Wes Montgomery. Paul has played and recorded throughout the world with such artists as Ben Webster, John Coltrane, Jay McShann, Dizzy Gillespie, Bobby Short, Joe Williams, and many others. Another highlight of Paul's career was a 7 year stint with "The Lawrence Welk Show". In addition, Paul has authored two books.

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HOT, BLUE AND SAXY
PLAS JOHNSON
CARELL MUSIC CM-102-CD

Plas Johnson (as, ts, bars); Cedric Lawson (p); Richard Reid (b); Johnny Kirkwood (d). Hollywood, December 16 and 17, 1990.

THIS CAN'T BE LOVE/ HITTIN' THE JUG/ NOBODY DOES IT BETTER/ EASE ON DOWN THE ROAD/ SINCE I FELL FOR YOU/ WHAT A DIFFERENCE A DAY MAKES/ SAVE YOUR LOVE FOR ME/ CANADIAN SUNSET/ I'M JUST A LUCKY SO & SO/ STAR EYES/ I'VE GOT IT BAD AND THAT AIN'T GOOD/ NEVER MAKE YOUR MOVE TOO SOON. TT 64:03.

EVENING DELIGHT
PLAS JOHNSON
CARELL MUSIC CM-103-CD

Plas Johnson (ts); Brian O'Rourke (p); Richard Simon (b); Johnny Kirkwood (d). Los Angeles, no date given but probably 1998-1999.

ANGEL EYES/ I SHOULD CARE/ WHO CAN I TURN TO/ I'M THRU WITH LOVE/ THE TOUCH OF YOUR LIPS.

Ross Tompkins (p) and Paul Humphrey (d) replace O'Rourke and Kirkwood. Culver City, California, no date given but probably 1998-1999.

YOU'VE CHANGED/ TAKE THE "A" TRAIN/ CHEEK TO CHEEK/ IT HAD TO BE YOU/ LITTLE GIRL BLUE/ MEAN TO ME. TT 59:24.

As a leader, Plas Johnson has made relatively few records over the years, unfortunately. Being a very busy Hollywood studio player didn't give him much time to work for himself, apparently, though there are many unacknowledged performances on film and television soundtracks and on recordings with many of the biggest names in the record business. So, when a disc appears with his name on it as leader, it is a treat. There are two under review here only because the release of the earlier one, around 1992, escaped me, I am sorry to say. The second one came out about seven years later, and that is how I learned of the first one.

The joy of it all is that both are quartet discs with acoustic support from some excellent players. There is plenty of Plas, mostly on tenor but with a few delicious alto tracks, too, e.g. "Star Eyes." The only time I heard the baritone is in an over-dubbed opening and closing on "Ease On Down the Road." Cedric Lawson plays marvelously throughout, but his solo on "Canadian Sunset" is particularly noteworthy. Johnny Kirkwood, a veteran of the blues and jazz fields, and Richard Reid, a bassist with a huge sound and matching beat, bring lots of stuff to the party, and it all really sizzles.

As on Hot, Blue and Saxy, the tune selection on Evening Delight is one seemingly made in Heaven. And again, Plas varies his approach and tempo from track to track, thus defeating the boredom factor inherent in so many compact discs. No matter how he changes things around, what emerges is still Plas Johnson, thank you. There is more of an emphasis on ballads, in keeping with the evening theme, and you'll love "Take the A Train." His associates on this disc, while not the same players as on the other one, with the exception of Kirkwood, are no less proficient. Both pianists offer fine solos and Richard Simon is another strong bass player.

These two CDs offer proof positive of why a saxophone in the right hands is one of the most revered instruments in jazz. You won't hear it played any better. Try not to let these elude you.

-Russ Chase, IAJRC Journal, Spring 2000 (Volume 33, No. 2)