js Illinois Jacquet was one of the hottest saxophone players of the be-bop 40s. As the 60s rolled around, with interest in bop declining, Illinois began to try out different sounds, including this 1963 foray into commercially viable soul jazz called “The Message”. As far as 60s soul jazz goes, “The Message” isn’t too bad of a recording, not the best you will hear in this genre, but far from the worst too. It’s a rather large ensemble on here, with Jacquet being joined by the great Kenny Burrell on lead guitar, and Ralph Smith on B3. Four others round out a rhythm section of bass, drums, percussion and rhythm guitar. With such a large group you are guaranteed some interesting rhythmic interplay, and all the musicians are careful not to step on each other’s toes. Burrell, Jacquet and Ralph share equally in the solos, and all three sound great. Ralph often prefers a big full stop organ sound, suped-up with massive vibrato. This sort of excessiveness may seem corny to some, but he handles the style well.

There is a variety of music on here, with most cuts leaning towards something that might be commercially profitable. Probably the top track is the fiery uptempo hard bop of “Wild Man”, which features some of the hottest solos on the album. “Turnpike” is a mid tempo blues that fits perfectly with Illinois’ gruff sound and Burrell’s bluesy licks. “On Broadway” is a fun kitsch number that is played in the style of “Tequila” and probably carries some appeal for the exotica crowd. Likewise, “Bonita”, with its Latin rhythms and Persian flavored organ solo may also appeal to the exotica fans. Overall, Ralph Smith’s exaggerated organ style probably carries more appeal for exotica fans than it does for jazz fans. Possibly the weakest cut is “Bassoon Blues’ on which Jacquet plays the blues on the bassoon. He’s not a bad bassoon player, but his chops on this instrument are nowhere near his chops on the tenor.

js Illinois Jacquet may no longer be a household name, but in the 40s and 50s he was considered one of the top saxophonists of the early bop, and later swing eras. His sound was often purposefully brusque and rough with a tendency toward piercing extreme’s in register that foreshadowed the strong over the top approach of 60s free jazzers like Albert Alyer and Archie Shepp. When 1963 rolled around, bop was becoming somewhat of an anachronism, in fact Illinois spent the first part of the year with a foray into the new soul jazz sound, but when he cut the self-titled “Illinois Jacquet” for Epic later in 63, it was for playing classic be-bop with some influences from the new hard bop sound and crowd pleasing jump blues. This record may have been somewhat out of step with 63, but removed from its time period, it now sounds like another classic bop record recorded by the originators of the sound who knew how to play it right. Like most musical genres, from country to punk, be-bop sounds best when played by those who made it up, modern players just don’t capture that enthusiastic, somewhat flippant and informed sly attitude that gives the music its main appeal.

“Illinois Jacquet” (later titled “Banned in Boston”) opens with the jump blues of “Frantic Fanny”, and then proceeds through a variety that includes bluesy swing grooves, ballads and some up-tempo be-bop fire. The ballads range from the lovely “Stella by Starlight”, to the borderline corniness of “Imagination”, but possibly the top ballad number is Jacquet’s direct and understated reading of Ravel’s “Reverie”, one of the finest versions of this popular classic that you will find. Of the be-bop numbers, nothing tops the high energy of “Indiana (Back Home Again)”, once again played by folks who know how to play this right, making this album less of an anachronism in today’s world, but more of an important time capsule. This album does not contain some of the more exuberant and fierce playing of Jacquet’s early career, but its still a good solid bop recording, albeit recorded in 1963.