Records, like books, shouldn’t be judged by their covers, especially when the record in question is Blues For Dracula by the Philly Joe Jones Sextet. Led by an absolute master of rhythmic affairs, the album transcends a sleeve that suggests Halloween kitsch and offers a deeper engagement with the spooky. Most importantly, the band is consistently sharp across what is largely a blowing session. Originally released by the Riverside label in 1958, the record’s latest reissue hits stores on vinyl in a variety of colors September 12 through Real Gone Music.
Blues for Dracula is often plainly described as Philly Joe Jones’ debut album. This isn’t inaccurate, though the recording is better referred to as the drummer’s first album as a leader. By 1958, Jones had elevated numerous sessions as part of the Miles Davis Quintet, where he joined together with pianist Red Garland and bassist Paul Chambers to form what came to be known as the Rhythm Section. They were indeed designated as such in the title of a masterpiece backing saxophonist Art Pepper from 1957.
Prior to Blues for Dracula, Jones had recorded with pianist Elmo Hope (The Elmo Hope Trio, 1953, Blue Note) and Kenny Drew (Kenny Drew Trio, 1956, Riverside), trumpeters Clifford Brown (Memorial Album, ’53, Blue Note) and Art Farmer (Art Farmer Quintet featuring Gigi Gryce, ’55, Prestige), and saxophonists Hank Mobley (Hank, ’57, Blue Note), Sonny Rollins (Tenor Madness, ’56, Prestige, Newk’s Time, ’57, Blue Note), and John Coltrane (Blue Train, ’58, Blue Note).
That’s not a complete list, but it is an ample collection of credits intended to make the point that Jones was an in-demand drummer because he never disappointed in his duties. It was all but inevitable he’d get to lead his own session for an album release. That the resulting LP is as unusual and as satisfying as Blues for Dracula is still a sweet circumstance nearly 70 years later.
The cover of Blues for Dracula is unforgettable and screams of novelty cash-in, but the band is special and unique to this recording, featuring Johnny Griffin on tenor sax, Nat Adderley on cornet, Julian Priester on trombone, Tommy Flanagan on piano, and Jimmy Garrison on bass.
The unexpected reality is that Jones was a big Bela Lugosi fan and was allowed to do his best impression of the horror icon, complete with jokes (intentional groaners, mostly), halting the momentum of the opening title cut, the set’s only original, a blues that was perhaps composed in the studio and credited to Griffin.
Nothing mind-blowing occurs across the remainder of the album; there’s the concise “Trick Street” and the Latin-tinged “Fiesta,” a Cal Massey composition, plus solid takes of “Tune Up” by Miles and “Ow!” by Dizzy Gillespie. Unsurprising for a drummer’s album, there is no ballad in the sequence. The energies are high across Blues for Dracula as Philly Joe dishes plenty of thunder from behind the kit. Once heard, any traces of novelty wither away and are replaced by robust intention.
GRADED ON A CURVE:
A-
