Stanley Turrentine with Milt Jackson - Cherry (1972) [+ Bonus]

This 1972 CTI date by Stanley Turrentine was his third for the label, and was produced by Creed Taylor with Rudy van Gelder at the board. Shockingly, Don Sebesky was not called in to arrange anything here. The band chosen to back up Turrentine's edgy, soulful tenor is a fine and diverse one, especially in the heyday of the fusion years: Milt Jackson on vibes, drummer Billy Cobham, pianist (electric of course) Bob James, Ron Carter on bass, and guitarist Cornell Dupree. 

The opener is Lee Morgan's "Speedball," played as a near straight-ahead hard bop barnburner, with a killer little vamp in the melody that is accented and filled by both Bags and James alternating bars. This is followed by a fine is not exceptional read of Johnny Mercer's "I'll Remember You," though Jackson's vibe solo that opens the tune and offers the lead into the melody is quite moving. Jackson's own "The Rev's" is a bluesed-out strut, with Turrentine, James, and Bags holding through the lead riffs before Turrentine digs deep into his soulful bag for a brilliant solo that runs over the bluesology of the old masters -- Dexter Gordon and Ben Webster most notably. But it is the last half of the album that holds the real beauty, with the title track framed by two Weldon Irvine Jr. classics, "Sister Sanctified" and "Introspective" as the closer. Irvine arranged his own tunes, and they are far more wondrous and strange than anything in the CTI catalog. "Sister Sanctified," a deep gospel with repetitive choruses and assertive lead lines, has James playing a gospel piano more reminiscent of Abdullah Ibrahim than himself. Cobham shoves the beat to the margin, double- and triple-timing in places while never leaving the pocket of the groove. Turrentine's solo, especially in the bridge, is phenomenal, guttural, and nearly squalling. "Introspective" is a loping post-bop blues. The long, intricate melody lines are perfectly suited to the complex sense of lyricism that is Turrentine's strength. The more general figures and accents are picked up by Jackson, and Cobham slips through and around the chances in a Latin-styled dance to hold the middle and bring in the blues feel. It's phenomenal and sends this session off on a high note. Recommended. ~ Thom Jurek, All Music Guide. 

CTI Records, CTI 6017, 1972
CBS Records, ZK 40936, 1988 

Recorded 17th, 18th & 24th May, 1972 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Stanley Turrentine - Tenor Saxophone
Milt Jackson - Vibraphone
Bob James - Piano, Electric Piano
Cornell Dupree - Guitar
Ron Carter - Bass
Billy Cobham - Drums

Tracks:
1. Speedball {Lee Morgan} (6:40)
2. I Remember You {Johnny Mercer, Victor Schertzinger} (5:10)
3. The Revs {Milt Jackson} (7:46)
4. Sister Sanctified {Weldon Irvine Jr.} (6:04)
5.. Cherry {Ray Gilbert, Don Redman} (5:10)
6. Introspective {Weldon Irvine Jr.} (7:00)
7. The More I See You {Harry Warren, Mack Gordon} (7:58) [Bonus Track] 

Total Time: 45:52 

Credits:
Producer - Creed Taylor
Reissue Producer, Liner Notes - Didier C. Deutsch
Recording Engineer - Rudy van Gelder
Mastering - Tim Geelan
Arranger - Weldon Irvine Jr. (#4,6)
Design [Album] - Bob Ciano
Photography [Cover] - Pete Turner

DR14

Sister Sanctified

Robin Kenyatta - Take The Heat Off Me (1979) [vinyl>flac]

A rare bit of jazz-funk from the superlative saxophonist Robin Kenyatta. Released on an obscure label Robin is joined by a diverse array of personnel including the likes of Lew Soloff, Cornell Dupree, Dom Salvador, David Eubanks with some beautifully crafted playing and arrangements by Pat Coil and Masao Nakajima. Included are some colourful vocalists and even a tap dancer doing his stuff in the background. Enjoy this hard to procure LP.

Jazz Dance Records, JD-01, 1979

Recorded 1979 At East Coast Studios & Quadrasonic Studio, New York City

Personnel:

Robin Kenyatta - Alto Sax, Soprano Sax, Flute, Vocals (#A2)

Pat Coil - Piano, Keyboards, Arranger

Lew Soloff - Trumpet

Ed Montiero - Accordion, Vocals (#B1)

Masao Nakajima - Piano, String Arranger (#A2)

Dom Salvadore, Peter Solomon - Piano, Keyboards

Cornell Dupree, Darryl Thompson, Marcus Fiorillo - Guitar

David Eubanks, John Lee, Sal Cuevas - Bass

Brian Janszen, John Susswell, Leroy Clouden - Drums

'Crusher' Bennett, Mike Pomier - Percussion

Chuck Hudson - Vocals (#A3)

Chuck Green - Tap Dance (#B3)

Tracks:

A1. Bad Boy {François Roland, Robin Kenyatta} (3:19)

A2. Sheik Of Araby {Sydney R. Smith} (3:15)

A3. Every Body's Talkin {Pat Coil, Robin Kenyatta} (4:37)

B1. Take The Heat Off Me {Pat Coil, Robin Kenyatta} (9:00)

B2. Inscrutable Miss' O' {Pat Coil, Robin Kenyatta} (5:31)

B3. Jazz Dance [Theme] {Pat Coil, Robin Kenyatta} (5:28)

Credits:

Producer - Robin Kenyatta

Engineer - Richie Corsella

Front Cover - Miquel Bejarano

Back Cover - Denny Tillman

Grover Washington, Jr. - All The King's Horses (1972) [vinyl]

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kudu imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well - especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous - and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington - who could inject pure soul into even the dullest music of Lawrence Welk - is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions. ~ by Thom Jurek, AMG.

Kudu Records, KU-07, 1972

Recorded 19^th May-June, 1972 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Grover Washington, Jr. - Alto Saxophone, Tenor Saxophone

Alan Rubin, Ernie Royal, Snooky Young, John Frosk, Marky Markowitz, Marvin Stamm - Trumpet, Flugelhorn

Paul Faulise, Tony Studd, Wayne Andre - Trombone

Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge - French Horn

George Marge - Alto Saxophone, Flute, English Horn, Oboe, Recorder

Pepper Adams - Baritone Saxophone

Arthur Clarke - Baritone Saxophone, Flute

Bob James - Electric Piano, Harpsichord

Richard Tee - Organ

Cornell Dupree, David Spinozza, Eric Gale - Guitar (#A1-B1,B3)

Gene Bertoncini - Guitar

Ron Carter - Bass

Gordon Edwards - Bass (#A1)

Bernard Purdie - Drums

Billy Cobham - Drums (#A4,B2,B3)

Ralph MacDonald - Congas

Airto Moreira - Percussion

Strings:

Margaret Ross - Harp

Charles McCracken, George Ricci - Cello

Emanuel Vardi, Richard Dickler - Viola

Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff,
Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle,
Max Ellen, Paul Gershman - Violin

Tracks:

A1. No Tears, In The End {Ralph MacDonald, William Salter} (3:49)

A2. All The King's Horses {Aretha Franklin} (3:48)

A3. Where Is The Love {Ralph MacDonald, William Salter} (5:07)

A4. Body And Soul [Montage] {Heyman, Sour, Eyton, Green} (3:02)

B1. Lean On Me {Bill Withers} (4:25)

B2. Lover Man {Jimmy Davis, Jimmy Sherman, Roger Ramirez}

      Interlude #2 {Bob James} (7:01)

B3. Love Song 1700 {Adapted ex Henry Purcell, Arr. Bob James} (4:51)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bob James

Design [Album] - Bob Ciano

Photography [Album] - Pete Turner

Stanley Turrentine - The Baddest Turrentine (1974)

A 4-track "best of compilation" from Stanley Turrentine’s hit years at CTI! If you know the man's tone, you know that he found a perfect home at CTI - where arrangements by the likes of Bob James or Eumir Deodato provided Stanley with a perfect foil for his warm exploratory blowing. The set list features Stan's great funky reading of Marvin Gaye's "Don’t Mess With Mr T", plus his classic reading of "Sugar" and the tracks "Speedball" and "Salt Song".

CTI Records, CTI 6048 S1, 1974

Recorded November, 1970 (#A1); July 1971 (#A2); May 1972 (#B1)

& June, 1973 (#B2) At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Stanley Turrentine, Randy Brecker, Joe Farrell, Pepper Adams, Bob James, Eric Gale, Ron Carter, Idris Muhammad, Milt Jackson, Cornell Dupree, Billy Cobham, Eumir Deodato, Freddie Hubbard, Lonnie Smith, George Benson ...

Tracks:

A1. Sugar {Stanley Turrentine} (10:03)

Released on: Sugar [CTI 6005]

A2. Salt Song {Milton Nascimento} (7:12)

Released on: Salt Song [CTI 6010]

B1. Speedball {Lee Morgan} (6:37)

Released on: Cherry [CTI 6017]

B2. Don't Mess With Mister T. {Marvin Gaye} (9:49)

Released on: Don't Mess With Mister T. [CTI 6030]

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Artwork - Bob Ciano

Photography - Alen MacWeeney

Hank Crawford - We Got A Good Thing Going (1972)

Of Hank Crawford's somewhat erratic output for Kudu during 1971-78, this is the album to get. The Don Sebesky arrangements for strings and an oversized rhythm section fit Crawford's soulful style well and the altoist performs consistently strong material that was also commercially successful. Of the nine numbers, Crawford is heard at his best on "Imagination," "The Christmas Song," "Alone Again (Naturally)" (the definitive version of that pop standard), "I'm Just a Lucky So and So" and "Winter Wonderland. ~ by Scott Yanow, AMG.

Kudu Records, KU-08, 1972

Columbia Records, ZK 40820, 1987

Recorded 21^st & 28^th September and 10^th October, 1972
At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Hank Crawford - Alto Saxophone

Bob James - Electric Piano (#A4,A5,B3)

Richard Tee - Organ, Electric Piano

George Benson - Guitar

Cornell Dupree - Guitar (#A4,A5,B3,10,11)

Ron Carter - Bass

Gordon Edwards - Bass (#A1,B1)

Bernard "Pretty" Purdie - Drums

Phil Kraus - Bells, Vibraphone

Arthur Jenkins - Conga, Tambourine

Margaret Ross - Harp

Charles McCracken, George Ricci, George Ricci - Cello

Harold Coletta, Theodore Israel - Viola

Tracks:

A1. We Got A Good Thing Going {The Corporation} (5:59)

A2. Imagination {Jimmy Van Heusen, Johnny Burke} (3:10)

A3. Down To Earth {Avery Vandenberg, Ronald Miller, William O'Malley} (3:27)

A4. The Christmas Song {Mel Tormé} (3:43)

A5. Alone Again [Naturally] {Ray O'Sullivan} (3:35)

B1. I Don't Know {Bill Withers} (4:23)

B2. I'm Just A Lucky So And So {Duke Ellington} (6:55)

B3. Winter Wonderland {Dick Smith, Felix Bernard} (3:35)

B4. A Little Tear {Don Sebesky} (3:36)

Bonus Tracks CD:

10. Dirt Dobbler {Alfred Ellis} (3:35)

11. Betcha By Golly Wow {Thomas Bell, Linda Creed} (5:13)

12. This Is All I Ask {Gordon Jenkins} (3:44)

13. Jazz Bridge {Don Sebesky} 2:52)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Don Sebesky

Conductor, Arranger [Strings] - Bob James (#A3,A5,B1,B2,B3)

Design - Bob Ciano

Photography - Mort Mace

Notes:

Liner Notes, Reissue Producer - Didier C. Deutsch

Digitally Remastering - Larry Keyes, 1987 (CBS Studios, NYC)

David "Fathead" Newman - Scratch My Back (1979) [vinyl>flac]

Here's another LP by David "Fathead" Newman which has been cast aside; this time from 1979 when Disco/Jazz Funk was trying to counteract the onslaught of Rock music and all its derivatives. This album is arranged and co-produced by William Fischer whom also co-writes with Newman four tunes. Many of the tracks are backed by vocals, especially Side A, but the balance showcase many well-known artists giving the listener many an opportunity to hear some great playing. These include: Randy Brecker, Earl McIntyre, James Buffington on horns, Richard Tee, Kevin Toney on keyboards, Cornell Dupree, Eric Gale on guitar, Ron Carter on bass, Harvey Mason on drums and Bill Summers on congas etc.,. Highlights include "Two Can Do It", "Scratch My Back", "After The Ball" & “The Buggs”. An album easily overlooked or put down by jazz purists but in many ways it is a great example of a new style that was emerging in the late seventies, listen with revived appreciation and enjoy!

Prestige Records, P-10108, 1979

Recorded March, 1979 at Fantasy Studios, Berkeley, California

Personnel:

David Newman - Flute, Soprano, Alto & Tenor Saxophones

Randy Brecker, Jon Faddis - Trumpet

Earl McIntyre - Trombone

James Buffington - French Horn (#A3)

Jerry Dodgion, Kenneth Harris, George Marge - Flute

Richard Tee - Acoustic Piano (#A1-A3,B3,B4)

Kevin Toney - Electric Piano, Clavinet, Synthesizers

Cornell Dupree - Guitar (#A3,B1-B4)

Eric Gale - Guitar (#A1,A2)

Ron Carter - Acoustic Bass (#A1-A3,B3,B4)

Wilbur Bascomb, Jr. - Electric Bass (#A3,B1,B2)

Harvey Mason - Drums

Bill Summers - Congas, Percussion

Flame Braithwaite, Deborah McGriff, Bessie Ruth Scott, Tanyette - Vocals

and Strings

Tracks:

A1-A2. One Step At A Time_You Gotta Keep Gotta Keep Dancin' {Newman, Fischer} (12:22)

A3. Two Can Do It {David "Fathead" Newman, William Fischer} (6:32)

B1. Scratch My Back {Kevin Toney} (5:51)

B2. Rock Me,Baby [Like My Back Ain't Got No Bone] {Kevin Toney, Bessie Scott} (5:32)

B3. After The Ball {David "Fathead" Newman, William Fischer} (3:40)

B4. The Buggs {Claude Johnson} (3:26)

Credits:

Producer - Orrin Keepnews, William Fischer

Arranger - William Fischer

Recording Engineer - Vince McGarry

Assistant Engineer - James Faber

Art Direction - Phil Carroll

Design - Kris Johnson

Photography - Phil Bray

Hank Crawford - It's A Funky Thing To Do (1971) [vinyl]

Hank Crawford slides into the electric 70s with this sweet little set of funky tracks - working in a tight small combo format with Richard Tee on electric piano and Cornell Dupree on electric guitar - and grooving in a laidback slinky funk mode that's perfect for his soulful tone on the alto sax! The groove ranges from mellow funk to gentle soul – and the album's title track is an excellent version of "It's A Funky Thing To Do", with Pee Wee Ellis joining the group on electric piano! Other tracks include "Hills Of Love", "You're The One", "Sophisticated Soul", "Kingsize Man", and "Parker's Mood". © Dusty Groove, Inc.

"It's A Funky Thing To Do" was Hank Crawford's final recording for Atlantic after a commercially successful ten-year run. The soulful altoist is backed by a funky rhythm section (either Eric Gale or Cornell Dupree on guitar, keyboardist Richard Tee, Chuck Rainey or Ron Carter on electric bass, and drummer Bernard Purdie), and Crawford as usual plays well.

Cotillion Records, SD 18003, 1971

Recorded 1971 at Regent Sound Studios, New York

Musicians:

Hank Crawford - Alto Saxophone

Alfred "Pee Wee" Ellis - Electric Piano (#A1)

Richard Tee - Piano, Electric Piano

Cornell Dupree, Eric Gale - Guitar

Chuck Rainey, Ron Carter - Electric Bass

Bernard Purdie - Drums

Tracks:

A1. It's A Funky Thing To Do {Alfred "Pee Wee" Ellis} (3:29)

A2. If Ever I Should Leave You {Alan Jay Lerner, Frederick Loewe} (4:29)

A3. Hills Of Love {James Shaw, Carlos Malcolm} (5:13)

A4. Sophisticated Soul {Hank Crawford} (4:34)

B1. You're The One {Adolph Smith} (4:17)

B2. Parker's Mood {Charlie Parker} (6:17)

B3. Kingsize Man {Hank Crawford} (5:52)

Credits:

Producer - Joel Dorn

Recording Engineer - Bob Liftin

Remix Engineer - Lewis Hahn

Photography - Jim Cummins

Album Design - Loring Eutemey

Hank Crawford - Help Me Make It Through The Night (1972) [vinyl>flac]

Help Me Make It Through the Night is one of those Hank Crawford albums: large band, many horns, funky chunky Hammond B-3, strings, and polyrhythms dropping all over the arrangements by Don Sebesky and company. This 1972 set by Crawford is an exemplary portrait of his movin' and groovin' style. With the help of Sebesky and Pee Wee Ellis, Crawford provides the deep groove side of his work without reservation. Jazz takes a back seat as the R&B pours forth all sweaty, greasy, and dripping with a raw, honeylike sweetness. With cats like Airto, Eric Gale, Cornell Dupree, Grover Washington, Jr., Pepper Adams, Snooky Young, and Richard Tee in the house, a masterful groove session was to be expected. Listeners get their money's worth after the opener, which is the title track. With the Junior Walker stinging alto countered by the Hammond, the mess is loose and the vibe is pure downtown. Other cuts such as "Imagine," "Go Away Little Girl," "Brian's Song" -- perfect string arrangement by Sebesky -- and "In the Wee Small Hours of the Morning" make this a date of some of the most stellar covers Crawford ever cut. There are no extra notes, but there are plenty of extra beats; the improvisation is red hot, but the strings and supporting rhythm section are out of this world. Help Me Make It Through the Night is indeed one of those Crawford records. ~ Thom Jurek, Rovi

Kudu Records, KU-06, 1972

Recorded January 1972, except #B3 August 1971 at Van Gelder Studios, Englewood Cliff, New Jersey

Personnel:

Hank Crawford - Alto Saxophone, Tenor Saxophone (#B3)

Grover Washington, Jr. - Tenor Saxophone (#B3)

Pepper Adams - Baritone Saxophone (#B3)

Al DeRisi, Eugene "Snooky" Young - Trumpet (#B3)

Wayne Andre - Trombone (#B3)

Richard Tee - Organ (#A1,A4,B3,B4), Piano (#A2,A3), El-Piano (#B1,B2)

Phil Kraus - Vibraphone (#A1,A4,B1)

Cornell Dupree - Electric Guitar

Eric Gale - Electric Guitar (#B3)

Ron Carter - Bass (#A2-A4,B1,B2,B4), Electric Bass (#A1,B3)

Bernard Purdie - Drums

Idris Muhammad - Drums (#B3)

Airto Moreira - Percussion (#B3)

Strings Section [All Tracks, except #B3]:

Bernard Eichen, Felix Giglio, Emanuel Green,
Harold Kohon, Harry Lookofsky, Joe Malin,

Gene Orloff, Max Polikoff, Elliot Rosoff - Violin

Alfred Brown, Theodore Israel, Emanuel Vardi - Viola

Charles McCracken, George Ricci - Cello

Margaret Ross - Harp

Track Listing:

A1. Help Me Make It Through The Night {Kris Kristofferson} (5:53)

A2. Brian's Song {Michel Legrand} (3:24)

A3. Uncle Funky {Hank Crawford} (5:36)

A4. In The Wee Small Hours Of The Morning {Bob Hilliard, Redd Evans} (2:51)

B1. Go Away Little Girl {Gerry Goffin, Carole King} (4:21)

B2. Imagine {John Lennon} (4:07)

B3: Ham {Alfred Ellis} (3:09)

B4. The Sun Died {Ann Grégory, Hubert Giraud, Pierre Delanoë, Ray Charles} (4:09)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger - Don Sebesky, Pee Wee Ellis (#B3)

Album Design - Bob Ciano

Photography - William Cadge

Gary Chandler - Outlook (1972) [vinyl>flac]

Charles Earland was instrumental in introducing many new musicians to the attention of the jazz world. One such artist was Gary Chandler and here we have his rare and powerful album as a leader. Joined with Harold Ousley, Cornell Dupree, Buddy Caldwell, Idris Muhammad and others this LP is truly a jazz-funk gem.

After catching the attention of producer Bob Porter via Charles Earland dates including Living Black!, trumpeter Gary Chandler finally earned his shot as leader with Outlook, and don't let the absence of subsequent efforts fool you -- this is one of the true lost classics of jazz-funk, a Molotov cocktail lit with a burning joint. Cut with an all-star supporting cast including guitarist Cornell Dupree, organist Ceasar Frazier, tenorist Harold Ousley, and drummer Idris Muhammad, the record is less a collection of songs than one long, steamroller groove. Crate diggers and DJs have coveted "Baby Let Me Take You (In My Arms)" for years, but in truth, damn near every second of Outlook demands consideration as a sample. ~ Jason Ankeny, AMG.

Eastbound Records, EB 9001, 1972

Track Listing:

A1. Baby Let Me Take You [In My Arms] {Abrim Tilmon} (10:04)

A2. Flamingo {Edmund Anderson, Theodor Grouya} (6:38)

B1. Kaleidoscope {Gary Chandler} (4:40)

B2. The Jet Set {Gary Chandler} (4:02)

B3. Blue Dues {Gary Chandler} (7:17)

Personnel:

Gary Chandler - Trumpet

Harold Ousley - Tenor Saxophone

Dick Griffin - Trombone

Ceasar Frazier - Organ

Cornell Dupree - Guitar

Gordon Edwards - Electric Bass [Fender] (#A1, B1, B3)

Buddy Caldwell - Congas, Tambourine (#A1, B1-B3)

Idris Muhammad - Drums (#A1, B1-B3)

Robert Battle - Drums (#A2)