Hank & Frank

In a tribute to Count Basie, ex-Basie tenor saxophonist Foster and Columbus, Ohio based organist Marr wend their way through 11 titles that peripherally have something to do with Basie. It's the ease of their swing, the simple melodies and direct approach that has to do with The Count, and the way these veterans tackle a few standards and their own originals, never forcing the issue. The underrated guitarist Cal Collins and drummer Jim Rupp provide rhythmic support. Of the seven Marr originals, the best is saved for last, the upbeat "Rhtyhmesque," where the band is on fire and Foster's blues tinged boppish tenor jumps and jives. The turnaround on "April In Paris" called "Paris In April" is in the same key, Marr assimilating Wild Bill Davis's searing style, Foster tart sweet, as he is on most of the date. "Your Basic Gospel Tune," inspired by Horace Silver, is like a mix of "Groove Merchant" and "Red Top," Foster sounding happy and in tune with Marr's soulful, easy swinging. "Basie-cally Speaking" is based on "Whirly Bird," "I'm Saving All My Hugs For You," inspired by "Lil' Darlin'." Foster contributed the lone "Katherine The Great" for a discriminating fan in NYC, another easy swinger with the organ at the end quoting "Who's Got The Last Laugh Now." Also included is the evergreen "Just A Closer Walk With Thee," where Marr uses a more church oriented sound on one of his organ keyboards, a more burning approach on the other, quite like Jimmy Smith. "If I Had You" without Foster is the lone feature for Collins, a ballad treatment where the guitar states the theme and extrapolates upon it, the organist does the same, then they both pine together. This is one of those recordings that sounds just fine, but begs for a follow-up. Foster's never played with any organist, and Marr seems to be the perfect foil.
 — Michael G. Nastos

It's easy to forget about Frank Foster, but he ranks among the outstanding tenors of his generation. I remember a story about Foster cutting Coltrane and Rollins in a (presumably early '60s) blowing session which I never quite believed, but the fact that it even circulated among serious listeners is evidence of the opinion that he hasn't gotten his due. Foster doesn't beat you over the head, and he's not one of the great innovators, but he is completely his own man and brings a high level of artistry to every session he plays on. Part of the problem is that a lot of his work outside the Basie context has been in circumstances that aren't the most challenging (his memorable meeting with Elmo Hope being a notable exception). Soul Outing is largely what the title suggests, but the session is saved from banality by Foster's muscular horn, some good Virgil Jones trumpet, and a strong rhythm team featuring Pat Rebillot, Richard Davis, and Alan Dawson.

Hank Marr's date is a straight-ahead organ jazz date, dedicated to Basie, who (lest we forget) pioneered the instrument. Foster is so at ease that you have to really tune in to appreciate what perfect melodic statements he spins out. Guitarist Cal Collins has some great solos, the opening "B Jam Shuffle" providing an excellent example, and drummer Jim Rupp deserves high praise for pushing things unobtrusively. Seven of eleven tracks are from Marr's pen, and his lines are well above average.

Marr's behind-the-beat swing is very effective and for the most part the band keeps a good groove going. But you have to really like the organ to put this one high on your wish list; Marr isn't shy about pulling the stops on his solos or holding thick, vibrato-laden chords behind the other guys.
 — JazzTimes

Groovin' It

Hank Marr, professor of jazz studies at Ohio State University, puts the lie to the adage that those who can, play, and that those who can't, teach. Marr, born in Columbus (home of the Buckeyes) in 1927, cut his jazz teeth in garage sessions with little Ronnie Kirk (who would later storm the scene as Rahsaan Roland Kirk). Switching to organ after falling under the sway of Wild Bill Davis and Jimmy Smith, Marr found a niche on the 1960s' organ-room circuit. And though academia beckoned, Marr's Hammond B-3 was always at close hand-and foot.
Now, "discovered" anew thanks to last year's It's 'bout Time! (Double-Time), Marr solidifies his credentials with a trio date that sizzles and soars-and breathes. Throughout, Marr gets hand-in-glove support from guitarist Wilbert Longmire (who collaborated with the organist 33 years ago) and Bill Stewart (whose taut timekeeping has had much to do with the recent success of organist Larry Goldings). While one hears echoes of Davis' "locked-hands" approach and Smith's agile right-hand flights, Marr, it should be stressed, is a model of economy. Every note, every space, counts. So though re-negotiating standards like "Softwinds," "Killer Joe" and "Misty," it's a flowing yet crisp "for the first time" feel which prevails.
 — JazzTimes

Its Bout Time

A long overlooked organist in the tradition of Jimmy Smith and Jimmy McGriff, Hank Marr had a rare opportunity to lead a session on this 1995 Double Time CD; most of his records were cut during 1960-64. With the assistance of tenor-saxophonist Gene Walker, guitarist Kevin Turner and drummer Jim Rupp (all of whom like Marr are both obscure and talented), Marr swings his way through some basic originals and a few standards such as "Emily," "Soul Eyes" and "Never Let Me Go." This is accessible music that is easily recommended to fans of the hard bop organ.
 — Scott Yanow