Search - Herbie Nichols :: Love Gloom Cash Love

Love Gloom Cash Love
Herbie Nichols
Love Gloom Cash Love
Genre: Jazz
  •  Track Listings (10) - Disc #1

Japanese remastered pressing released in miniature LP sleeves. Details TBA. To. 2004.


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CD Details

All Artists: Herbie Nichols
Title: Love Gloom Cash Love
Members Wishing: 1
Total Copies: 0
Label: Bethlehem Records
Release Date: 7/22/1994
Genre: Jazz
Styles: Modern Postbebop, Bebop
Number of Discs: 1
SwapaCD Credits: 1
UPC: 742827301129


Album Description
Japanese remastered pressing released in miniature LP sleeves. Details TBA. To. 2004.

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CD Reviews

Welcome reissue now the place to start for Nichols
Thomas Aikin | San Diego, CA | 04/19/2001
(5 out of 5 stars)

"If you've heard the name Herbie Nichols, you'll have undoubtedly heard he's one of the great overlooked figures in jazz. Because of obscurity his recordings have been very difficult to obtain outside of collector-oriented boxed sets. Certainly his Complete Blue Note recordings are very much an essential purchase for anyone seriously interested in jazz. However, the daunting pricetag of that set is a lot to overcome if one hasn't heard his playing before. Thats precisely the reason the reissue of this session for Bethlehem is so welcome. The numbers here are on par with his Blue Note work, and actually a little more 'straight ahead' in feel. The session consists of predominantly originals with a few standards/interpretations thrown in for good measure. Nichols' Monk influence is fairly obvious, but then Monk influenced us all and calling Nichols merely a disciple falls short of crediting his talents. This trio session rounds out with George Duvivier on bass, and Danni Richmond on drums. The edgy lyricism of Nichols really shines throughout. If you've been hesitant to get into Nichols because of boxed set price tags, definitely pick up this disc: it'll be a revelation."
The Precious Magic of Herbie Nichols.
Michael F. Hopkins | Buffalo, NY USA | 03/14/2006
(5 out of 5 stars)

"(from an earlier article, copyright 2000,
2006 Michael F. Hopkins)

His sound sweeps with the swirl of ballroom
grandeur, strikes deep with a groove which
picks you up as you walk or ride, and bears
such an innovative focus of rhythm, harmony,
and melody that one is stunned at the ease
by which his song strolls its way into the
heart and soul, gracing the ears with the
flow of a most radiant balladry. His sound
is sheer swing and sophistication, dissonance
placing a fine edge to a deep-reaching, deeply
singing style advanced enough to anticipate
the first musings of Cecil Taylor, while
harmonically taking you by the hand into
thematic, chromatic, courageously romantic
wonderlands which could challenge Thelonious
Monk himself . Listen to the pianistry of
Herbie Nichols, and know the magic of Jazz
at its finest; provocative and soothing,
serenading and strengthening, all at once.

Those who know of this underappreciated genius
probably know him a) by his main body of
recordings for Blue Note Records in the mid-
1950s, b) through appreciation ensembles
assembled by disciples Roswell Rudd, Steve
Lacy or Misha Mengelberg, and c) by notable
recordings of his timeless compositions by
the likes of Billie Holiday, Mary Lou Williams,
Archie Shepp and, most recently, Geri Allen.
Yet many remain unaware of this 1957 date for
the Bethlehem label, which placed Nichols'
superb artistry in the kindred company of
bassist George Duvivier and drummer Dannie
All who wonder what this incomparable musician
was all about, yet find themselves unable to
afford the impeccable Blue Note box set, are
urged to pick up this rare gem, and be quite
enchanted. If there are any doubts about Nichols'
ability to interpret other people's standards,
his regal treatments of "Too Close For Comfort"
and "All The Way" wave all such delusions away
with vigor and authority. "Too Close For Comfort"
is a lyrical showcase stepping sharp with urbane
cool worthy of Nat King Cole, while "All The Way"
becomes a breathtaking rhapsody which does the
famous Frank Sinatra performance quite proud,
indeed. Don't miss Nichols' saucy rendition of
Denzil Best's renowned "45 Degree Angle", a
finger-popping smoker which anticipates the
head-tipping version performed by pianist
Phineas Newborn, Jr. (with composer Best on
drums) less than a year later on RCA's FABULOUS

If anything, Nichols' special take on standards
provides precious insight into the man's
unquestionable originality. Listen to the dawning
hope gathering spirit and sunshine in "Every Cloud",
the duwop sass infusing the line-drawing jamdown of
"Argumentative", or the lilting waltz of "Love,
Gloom, Cash, Love", and discover what a magnificent
composer this man was.
Travel the buoyant, breezy walk laid down in "Portrait
Of Ucha", and ponder how special Nichols must have
found her to be. "Beyond Recall" bears strong resolution
in its spritely march; of things which cannot be changed,
surely, yet with moments of call and response which
beckon the question of what one can do despite the
Nichols' ability to enrich and enrapture comes to roost
in the captivating solo performance, "Infatuation Eyes",
his play with dissonance particularly inviting and
evocative. "S'Crazy Pad" is the hipster's path to a
finer mellow, the album's climax a tipping piece of
Harlem Stride turned inside out; taking out all the
crooked places, leaving what's best for you to find,
or shape, and share.

A good half-century later, people talk about this artist
primarily in terms of hurtful tragedy, indignant that his
great genius went unrecognized in his lifetime, enraged
that such a kind, humble man died in such cruel, lonely
It's time to focus on the warmth and the genius that
Herbie Nichols brought us. More to the point, it's time
to ensure that such fortifying beauty is never forgotten
Too Close For Comfort!
jive rhapsodist | NYC, NY United States | 01/09/2006
(5 out of 5 stars)

"Too Close For Comfort indeed! I love how he plays this standard. At one moment he sounds like he's channeling Ella, another Erroll. At another moment he sounds like he's at an ironic yet loving distance from the whole project known as "Jazz"...or is it "Jazz Piano Trio"...or "Piano Trio". Something...but he doesn't show his hand the way Monk does. You could put this version on right after Wynton Kelly or Ray Bryant and it wouldn't be shocking. Why was his career such a disaster? I mourn him and it. You have to read A.B. Spellman's book. Herbie's playing is so incisive, so tasty, so musical, so humble, so smart. He "reaches back": you can hear traces of Mary Lou Williams (they had some sort of connection), even Jelly Roll Morton at spots. I do NOT think he is that influenced by Monk, although there are obvious connections. Unfortunately he is poised somewhere between Teddy Wilson and Thelonious - and he fell through the cracks. The compositions on this disc are not, in general, on the level of his best Blue Note tracks (House Party Starting, The Gig, Shuffle Montgomery, Terpsichore,etc.) but this disc is nonetheless essential (Beyond Recall is a great piece). The trio sounds like it may have played together a bit more than the greats on the Blue Notes. They have a really interesting hookup. OK - convinced? If you love the more creative side of the piano trio you NEED it!"