Steve Wyzard RAINY DAY MASTERPIECE

Taking into account that all Grant Green albums are unfairly marginalized in the shadow of the previously recorded Idle Moments, let's take a look at some of the myths and assumptions that have arisen regarding his 1967 release, Street of Dreams:

1) "It's quiet and dreamy": Don't take the title too seriously. Loaded with that intangible quality known as "atmosphere", Larry Young's brooding organ chords push this album far closer to noir than to "dreaminess". All of the players are motivated, and absolutely no one is sleep-walking through this session.

2) "It's far too simple and laid back": Street of Dreams can be described as low-key, contemplative, or even nostalgic, but any "easy listening" accusations can be immediately dispelled with the first track, the Latin-flavored "I Wish You Love". Grant's fluid picking/soloing is downright inspired, and not just on this track but throughout the entire album. Then Larry Young's intense performance on the title track will help you understand why he has sometimes been called the "Coltrane of the organ".

3) "Is that really Elvin Jones on drums?": Yes, it's really him on drums, but don't expect the fireworks he contributed to the John Coltrane Quartet. Elvin shows himself to be a master of restraint on this album, with just the right percussion for each and every track. His famous polyrhythms do make an appearance on the title track.

4) "Bobby Hutcherson is relegated to the background": While Bobby had led a few sessions by the time this album was recorded, none had yet been released to the music-listening public. But to call him a "supporting" player here is just wrong. He is given extensive solos on 3 of the 4 tracks, and he even doubles the melody line with Grant to open and close "Somewhere in the Night".

Recorded in November 1964, Street of Dreams does have to answer to one accusation made against it that costs it half-a-star. At 33:37, this album, as good as it is, is over far too soon. Nor have any alternative takes or extra tracks ever turned up on CD/boxset re-releases. It would have been exquisite if this session had lasted just a little bit longer, and yet the flawless performances do not indicate someone was hurrying to finish and catch the next train to who-knows-where. It's best to think of this album as a passing cloudburst that briefly drops everything it has before quickly moving on. And while nothing will stop you from enjoying this little masterpiece at noon on the brightest day of the year, it seems to become that much more magical on days and times when it's anything but.

Abraxas Blue Note-addict, Grant Green, released dozens of albums throughout the 60s showing clearly his evolution and diversity in different contexts, having played with lots of renowned musicians. In Street of Dreams we got the trio that played in Talkin’ About which is Larry Young on organ, Elvin Jones on drums and Green on guitar, plus the addition of vibraphonist Bobby Hutcherson on this session.

The unision of B3 Hammond Organ and jazz guitar is not something new at all, but Grant Green probably made my favourite album featuring this unision, which is this. But that's only telling half of the story, since actually I love this album also because of the combination of vibraphone and organ, the former playing the upper keys while the organ does the lower register, as a whole creating a fantastic sound which isn’t common in jazz (or elsewhere).

Street of Dreams is in its essence a dreamy and night-mood album, as the title suggests. And that's actually surprising since Larry is not actually known for being a calm organist, neither is Jones' drum-kit accustomed to playing gently nor much of Bobby's vibes.

What is also surprising is that all four compositions are covers, mainly popular early 50s songs (sang). But Green & Co. really make these compositions their own, as great jazz musicians are known of doing. It's in the case of 'Lazy Afternoon' that the band even turns the original 4/4 into a 5/4 tune! But mind you, it's a slow-paced 5/4 unlike 'Take Five'. Yes, the four compositions are mainly slow-driven tunes with no real need of power; it's the whole subtlety and dreaminess that makes this album so enjoyable, and of course the exquisite solos of each of the members.

Although many will object of considering this a great Green record, since the guitarist's classic features are not present, I still think this is an excellent album, and like I said at the beginning, one of the best in combining guitar and organ, even though those particular instruments don’t actually show-off, they’re simply joined as one within the whole flow of the album.