In the fall of 1964, as rock and roll's popularity exploded—fueled by events like The Beatles’ first U.S. tour—King Records found itself at a crossroads. Known for its role in the birth of rock and roll, the label maintained a somewhat half-hearted commitment to "organ music" (they certainly weren't marketing jazz). It was in this atmosphere that Columbus organ legend Hank Marr, with his successful single, “The Greasy Spoon” on the charts, returned to King Records’ Cincinnati studio on October 29, 1964, to record tracks for his next album, the overlooked gem On And Off Stage.
King Records - 933
1965
Marr laid down six tracks during the October '64 session that comprise the album’s “off stage” side. These studio sessions captured the raw immediacy of the band. Meanwhile, producer Gene Redd resurrected leftover tracks from December 1963’s Live At The Club 502 sessions for the “on stage” side. Although the lines between studio and live recordings were pretty blurred (most of the studio sessions were played essentially live and many of the “live” recordings were purportedly done in the studio), in the context of 1965, the juxtaposition of one live and one studio side was still a pretty novel concept.
On And Off Stage was the first album to be credited solely to Hank Marr, even as King Records recycled elements from previous releases—such as the familiar cover photo from Teentime (with the other musicians cropped out). This symbolized the tension between Marr’s desire for artistic control and the label’s focus on commercializing his sound. One can’t help but wonder what Marr's legacy might be today had he been allowed the freedom to fully explore and define his sound in the studio at this formative stage in his career.
The album introduced Marr's pioneering use of two tenor saxophones in an organ-driven quartet format. Although the musicians weren’t formally credited on the record, careful listening and songwriting credits suggest that Rusty Bryant and Rudolph Johnson handled the sax duties, and longtime Marr drummer Taylor Orr completed the quartet heard on side one. Rudy Johnson, a Columbus native who remains somewhat under-recognized, had played with Philly organist Jimmy McGriff and later held a lengthy tenure with Ray Charles. Johnson's fiery intensity and monstrous tone, which critics later compared to Coltrane, are on full display here.
The first single from the album, “No Rough Stuff” kicks things off with a bang. After a brief introduction, the dual sax attack sets a fresh tone—melding a bossa nova feel with the unmistakable swagger of Marr’s organ. Rudy Johnson’s scorching solo kicks off the momentum, seamlessly followed by Bryant’s distinctive style and Marr’s measured and sophisticated touch.
Other highlights include:
“Foggy Night” – Offering a bluesier feel, this Rudy Johnson composition features another compelling round of sax duets that intensify the mood
“Silver Spoon” – A laid-back answer to Marr's biggest hit “The Greasy Spoon,” this track showcases Marr’s knack for subtle groove and musical conversation
“Wild Shindig” (also released as “Philly Dog ‘67”) – With its double-time bridge and treated sax outro, the entire quartet gets a writing credit
“Late Freight” – Marr takes the first solo here and allows Bryant a lengthy solo. This song has one of those quick fadeouts right when the band gets cooking that makes you yearn for more
The “on stage” side of the album opens with a rendition of “Fly Me To The Moon,” complete with canned applause that still captures the excitement of a live performance. Recorded almost a year before the studio side, Wilbert Longmire's sweet guitar tone immediately provides a different feel than side one.
“Bridge to Shangri-La” features a Longmire call and response with Bryant before each takes a solo. Longmire’s solo is tasty and sparks some response with Taylor Orr’s drumming. Longmire already has the tone and feel that would eventually land him a deal with Bob James’ Tappan Zee label. But Marr ends up stealing the show with a slow-burn solo that builds to a climax before the end.
The live side is rounded out by “That’s All,” a standard popularized by Bobby Darin, with a melody that provides a soothing encore and one more Rusty Bryant solo as we walk to the door before leaving the smoky Club 502 into the cold Columbus night. Notably, session details suggest that at least nine tracks of the recorded material from those December 1963 sessions were never released, leaving behind a tantalizing mystery about whether those tapes still exist and could ever see the light of day.
Despite its innovative approach and the undeniable talent on display, On And Off Stage didn’t quite capitalize on the momentum generated by “The Greasy Spoon's” success. Its somewhat generic cover art and King Records’ lack of marketing may have contributed to its underwhelming reception at the time. Yet, for those willing to dig deeper into the history of Columbus’ musical landscape, this album remains a testament to Hank Marr’s artistic vision and is one of his most unique and groundbreaking releases.
Tracklist
A1 No Rough Stuff
Written-By – Gene C. Redd
A2 Foggy Night
Written-By – G.C. Redd, R. Johnson
A3 Silver Spoon
Written-By – G.C. Redd, R. Johnson
A5 Wild Shindig
A6 Late Freight
Written-By – Bart Howard
B3 Jim Dawg
Written-By – Tiomkin, Washington
B5 Sabotage
Written-By – Gene C. Redd
B6 That's All
Companies, etc.
Published By – Avenue
Published By – Almanac
Published By – Witmark
Published By – Travis Music
Credits
Producer, Edited By – Gene Redd
Side A (uncredited)
Organ – Hank Marr
Tenor Saxophone – Rusty Bryant
Tenor Saxophone – Rudolph Johnson
Drums – Taylor Orr
Side B (uncredited)
Organ – Hank Marr
Tenor Saxophone, Alto Saxophone – Rusty Bryant
Guitar – Wilbert Longmire
Drums – Taylor Orr
Recorded By – Ron Lenhoff
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