It’s difficult to know just who is being targeted with this release. It comprises 12 tracks and 11 different tunes, one of which is offered in both a “short” (6.15) and a “long” (10.45) version, with every track, ballad and bouncer alike, taken at the same jaunty tempo, thus rendering them distinguishable solely by the top (melody) line.
Whilst the musicians are competent the overall impression is a sound reminiscent of The World’s Greatest Jazz Band (Yank Lawson-Bob Haggart) – lite. The leader, and main soloist, is Rich Willey, who plays trumpet, bass trumpet, valve trombone and something called Electronic Valve Instrument (EVI), though not all are heard on this album. Willey is accompanied by a rhythm section from Chicago, plus strings.
In his liner notes – which he concludes by asking God to bless us – Willey touches on his deep spiritual beliefs, which are supplemented by two of the three songs on the album which he composed. But For The Grace Of God and Holy Trinity are light years away from the quasi-religious Answer Me, and I Believe, both highly popular in the early 50s when this genre enjoyed a brief vogue; they are, in fact, hymns in all but name.
Verdict: a pleasant enough album but not one most people will play for a second time.
Discography
Poor Butterfly; If I Should Lose You; I’ll Be Seeing You; Puttin’ On The Ritz; My Melancholy Baby; Holy Trinity; Song For Janet; Uncle Remus; Sweet Lorraine; Hard Hearted Hannah; But For The Grace Of God; Holy Trinity – full version (80.39)
Willey (t, bass t, vtb, EVI, v); Paul Mutzabaugh (p, Hammond B3 organ); Larry Kohut (b; George Fludas (d); Zeke Listenbee (v). Crystal Recorders, Lombard, Illinois; Palisade Studios, Chicago. No recording date given.
Poptism Music BTM 32894
