There's something about the purling, snarling and booting of a baritone sax that can create pleasant disturbances in the listener's spine and rib cage. Leo Parker came up during the simultaneous explosions of bebop and rhythm & blues. Everything he touched turned into a groove. Recording for Savoy in Detroit during the autumn of 1947, Leo was flanked by Howard McGhee and Gene Ammons, who at this point seems to have been operating under the influence of Lester Young. Leo does his own share of Prez-like one-note vamping, bringing to mind some of Lester's Aladdin recordings made during this same time period. Leo's Savoys originally appeared on 78 rpm platters, then on 10" long-playing records…
Drugs and addictions defined most of Leo Parker's adult life, finally claiming it entirely in February of 1962 when he was only 36 years old. Only months earlier in 1961, in two sessions held on October 12 and October 20, Parker had played his heart out in what would have been his second album for Blue Note Records that year, and it had appeared that the baritone saxophonist was well on his way to a much deserved career comeback. The sessions, however, weren't released until almost 20 years later. Rollin' with Leo, presented here in remastered form, is a wonderful portrait of this unsung but brilliant player, whose huge, sad, but almost impossibly strong tone always felt like it carried the world on its shoulders…
Rollin' with Leo is the second, and last, album as a leader by American jazz saxophonist Leo Parker, recorded in 1961 but not released on the Blue Note label until 1980. The Allmusic review by Steve Leggett awarded the album 4½ stars and calling it "a wonderful portrait of this unsung but brilliant player, whose huge, sad, but almost impossibly strong tone always felt like it carried the world on its shoulders".
This session (reissued on CD) was a comeback record of sorts for Leo Parker. Briefly one of the leading bebop baritone saxophonists (and an alumnus of Billy Eckstine's legendary orchestra), Parker shifted to rhythm and blues in the early 1950's and then mostly dropped out of sight until he recorded this set. After cutting a second album, he died of a heart attack at age 36 on Feb. 11, 1962. A guttural player who emphasized the lower register of the baritone and was influenced by Illinois Jacquet, Parker (who is joined by obscure sidemen) sounds in top form during his varied program which includes several hard swingers, the gospellish funk of the title cut and two selections not on the original LP: "The Lion's Roar" and a second version of "Low Brown."