Hank Crawford - Hank Crawford's Back (1976)

Hank Crawford turns his back on the cover of this sweet little set from Kudu - but the groove itself is very upfront, strongly in the best mix of funky jazz and club the label had going down into the late 70s! Arrangements are by David Matthews, who keeps things lean and mean, even when the instrumentation is fairly large - and Hank's nicely burning alto is firmly in the lead, blown with a sound that echoes back to older soul jazz modes of the 60s, but which has some smoother touches overall for the 70s. The album's got plenty of keyboards from Richard Tee, plus trombone solos from Fred Wesley, flute from Jeremy Steig, and guitar from Eric Gale - plus backing vocals on some of the cuts. © Dusty Groove, Inc. 

Kudu Records, KU-33 S1, 1976
Recorded at Mediasound in New York 

Personnel:
Hank Crawford - Alto Saxophone
Fred Wesley - Trombone [Solos]
Jeremy Steig - Flute [Solos]
Richard Tee - Electric Piano [Solos]
Eric Gale - Guitar [Solos]
Gary King - Bass (#A1-A3)
Anthony Jackson - Bass (#B1,B2)
Andy Newmark - Drums (#A1-A3)
Steve Gadd - Drums (#B1,B2)
Nicky Marrero - Percussion
Frank Floyd, Ray Simpson, Zachary Sanders - Backing Vocals
David Matthews - Arranger 

Tracks:
A1. Funky Pigeon {David Matthews} (6:07)
A2. I Can't Stop Loving You {Don Gibson} (3:07)
A3. You'll Never Find Another Love Like Mine {Kenny Gamble, Leon Huff} (6:47)
B1. Canadian Sunset {Eddie Heywood, Norman Gimbel} (6:11)
B2. Midnight Over Memphis {John Stubblefield} (11:23) 

Total Time: 33:35 

Credits:
Producer - Creed Taylor
Engineer - Alan Varner, Alec Head, Joe Jorgensen
Engineer [Assistant] - Doug Epstein, Ramona Janquitto
Mixing & Mastering - Rudy van Gelder
Album Design - Rene Schumacher
Album Photography - Wendy Lombard 

Funky Pigeon

Shirley Scott - Shirley Scott & The Soul Saxes (1969) [re-rip]

One of Scott’s best albums, Shirley Scott and the Soul Saxes finds the organist on a 1969 set of mostly soul covers. This was one of her few dates for the soul-heavy Atlantic label, but it certainly qualifies as a standout in the entire soul-jazz catalog. Joined by the royal sax trio of David Newman, King Curtis, and Hank Crawford, Scott plies her smooth, yet deep B-3 alchemy atop a stellar rhythmic pulse supplied by Chuck Rainey, Bernard “Pretty” Purdie, and Richard Tee. And this fine contingent does not fail to please, especially on a joyous take of “More Today Than Yesterday” and the gospel-infused “I Wish I Knew (How It Feels Like to Be Free).” The versions of classics by the Isley Brothers, Aretha Franklin, and the Beatles aren’t bad either. ~ Stephen Cook, AMG.

Atlantic Records, SD 1532, 1969

Recorded 10^th September, 1968 (#A3) in New York City; 9^th July, 1969 (#A1,B1,B2)

and 10^th July, 1969 (#A2,B3,B4) at Regent Sound Studios, New York

Musicians:

Shirley Scott - Organ

Ernie Royal - Trumpet (#A1,A2,B1-B4)

Hank Crawford - Alto & Baritone Saxophones (#A1,A2,B1-B4)

King Curtis - Tenor Saxophone (#A1,A2,B1-B4)

David "Fathead" Newman - Tenor Saxophone, Flute (#A1,A2,B1-B4)

Richard Tee - Piano (#A1,A2,B1-B4)

Eric Gale - Guitar

Chuck Rainey - Electric Bass (#A1,A2,B1-B4)

Jerry Jemmott - Electric Bass (#A3)

Bernard Purdie - Drums (#A1,A3-B2)

Jimmy Johnson - Drums (#A2,B3,B4)

Tracks:

A1. It's Your Thing {O'Kelley Isley, Ronald Isley, Rudolph Isley} (4:27)

A2. [You Make Me Feel Like] A Natural Woman {Carole King, Gerry Goffin, Jerry Wexler} (4:17)

A3. I Wish I Knew How It Would Feel To Be Free {Billy Taylor, Dick Dallas} (6:20)

B1. You {Ivy Hunter, Jack Goga, Jeffrey Owen} (5:40)

B2. Stand By Me {Ben E. King, Elmo Glick} (4:02)

B3. Get Back {John Lennon, Paul McCartney} (4:43)

B4. More Today Than Yesterday {Patrick Upton} (3:37)

Credits:

Producer - Joel Dorn

Marty Sheller - Arranger, Conductor (except #A3)

Engineer - Adrian Barber (#A3), Bob Liftin (#A1,A2,B1-B4)

Engineer [Re-Mix] - William Arit

Photography [Backliner] - Joel Brodsky, Walter Looss

Photography [Cover] - O. Vernon Matisse

Total Time: 33:08

Red Holloway - The Burner (1963)

This is first of four albums that Red Holloway recorded for Prestige during 1963-65. On this LP Holloway is heard in fine form as a powerful bluesy tenor sax soloist. He is notably joined by trumpeters Paul Serrano & Hobart Dotson, guitarist Eric Gale, hammond organist John Patton, bassist Leonard Gaskin and drummer Herbie Lovelle. The majority of the tunes are written by Holloway with exception of "Crib Theme" and "Moonlight In Vermont". The compositions are played in a very compelling mode of soul-jazz verging on bop with some exceptional solos by many of these gifted players. As his first on Prestige this in many ways is his best and not to be missed.

Prestige Records, PRST 7299, 1963

Recorded 27^th August (#B3) and 10^th October (#A1-B2), 1963 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

#A1-B2

Red Holloway - Tenor Saxophone

Paul Serrano - Trumpet

John Patton - Organ

Eric Gale - Guitar

Leonard Gaskin - Bass

Herbie Lovelle - Drums

#B3 Only

Red Holloway - Tenor Saxophone

Hobart Dotson - Trumpet

George Butchka [aka John Patton] - Organ

Bobby Durham - Guitar

Thomas Palmer - Bass

Charles Lindsey - Drums

Track Listing:

A1. Monkey Sho Can Talk {Red Holloway} (3:37)

A2. Brethren {Red Holloway} (5:06)

A3. Crib Theme {Ozzie Cadena} (10:12)

B1. The Burner {Red Holloway} (10:36)

B2. Miss Judie Mae {Red Holloway} (3:13)

B3. Moonlight In Vermont {John Blackburn, Karl Suessdorf} (6:00)

Credits:

Supervision - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Francis Squibb (Nov. 1963)

Grover Washington, Jr. - Inner City Blues (1971) [vinyl]

This 1971 date was Washington's first as a leader, after playing and recording with the small organ combos of Charles Earland and Johnny "Hammond" Smith. It's unheard-of for a jazz musician to make his debut complete with strings, horns, and vocal group, but Washington apparently got the opportunity when the backing tracks were in place for a Hank Crawford album and Crawford was out of the country. Stranger still, Washington is usually playing alto here rather than his customary soprano or tenor. It was an instrument he hadn't played in years, and the result of his horn switching is a compellingly original sound that's almost soprano-like. Despite the circumstances, Washington brings a lot of himself to this music, making personal statements of two contemporary Marvin Gaye songs, "Inner City Blues" and "Mercy, Mercy Me," and the standards "Georgia on My Mind" and "I Loves You, Porgy." He also puts together an effective combination of Bill Withers's "Ain't No Sunshine" and J.J. Johnson's "Theme from Man and Boy." Whether it's the tight combo of "Inner City Blues" or the full-blown orchestra with strings and backing vocals, this is soul jazz of the first rank. ~ Adam Rains.

Kudu Records, KU-03, 1971

Recorded September, 1971 at Van Gelder Studios, Englewood Cliffs, New Jersey

Musicians:

Grover Washington, Jr. - Alto & Tenor Saxophones

Thad Jones - Trumpet, French Horn

Eugene Young - Trumpet, Flugelhorn

Wayne Andre - Trombone

Don Ashworth - Baritone Saxophone

Bob James - Electric Piano

Richard Tee - Organ

Eric Gale - Guitar

Don Ashworth, Ron Carter - Bass

Idris Muhammad - Drums

Airto Moreira - Percussion

Strings:

Alan Shulman, Anthony Sophos, Charles McCracken, Maurice Brown - Cello

Harry Katzman, Julius Brand, Julius Held, Leo Kahn, Max Pollikoff, Paul Gershman, Paul Winter, Raoul Poliakin - Violin

Vocals:

Hilda Harris, Maretha Stewart, Marilyn Jackson, Tasha Thomas

Tracks:

A1. Inner City Blues {Marvin Gaye} (7:10)

A2. Georgia On My Mind {Hoagy Carmichael, Stuart Gorrell} (4:39)

A3. Mercy Mercy Me [The Ecology] {Marvin Gaye} (5:06)

B1. Ain't No Sunshine {Bill Withers} / Better Days {J.J. Johnson} (8:33)

B2. Until It's Time For You To Go {Buffy Sainte-Marie} (4:36)

B3. I Loves You Porgy {DuBose Heyward, George & Ira Gershwin} (5:06)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bob James

Design [Album] - Bob Ciano

Photography - Steve Salmieri

This is one of Grover Washington Jr.'s finest, yet funky, and complex works. Creed Taylor (a musical magician) had obviously been an inspiration as a producer. In Grover's later works, it shows. This one is so very soulfully deep, it is not to be missed for any Grover collector! ~ Beverly P, Amazon.

This is vintage Grover Washington in all his melodic genius and mellow tones. Grover's soulful style and creative riffs will entice new listeners to this genre as it continues to amaze and delight longtime jazz and soul fans since it's release in 1971. ~ Nora Rellihcs, Amazon

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

Grover Washington, Jr. - Feels So Good (1975)

The aptly titled and much-sampled Feels So Good represents the creative apex of Grover Washington, Jr.'s sublime electric funk sound. Its shimmering, soulful grooves refute the argument that smooth jazz is little more than mere ambience, combining expert playing and intricate songwriting to create music that is both compelling and comforting. Arranger Bob James is in top form here, creating the spacious, rich milieus that are his trademark, but regardless of the name above the title, bassist Louis Johnson is the real star of the show. His supple rhythms percolate like coffee, adding oomph to the bottom of highlights "Hydra" and "Knucklehead" while Washington's cream-and-sugar soprano sax solos soar over the top. ~ by Jason Ankeny, AMG.

Kudu Records, KU-24 S1, 1975

Recorded May & July, 1975 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Grover Washington Jr. - Tenor & Soprano Saxophones

John Frosk, Jon Faddis, Randy Brecker, Bob Millikan - Trumpet, Flugelhorn

Barry Rogers - Trombone

Alan Ralph, Dave Taylor - Bass Trombone

Sid Weinberg - Oboe, English Horn

Bob James - Piano, Electric Piano, Synthesizer

Eric Gale - Guitar

Gary King - Bass (#A1-A3)

Louis Johnson - Bass (#B1,B2)

Steve Gadd - Drums (#A1,A2)

Kenneth "Spider Webb" Rice - Drums (#B1,B2)

Ralph MacDonald - Percussion

Charles McCracken, Seymour Barab - Cello

Alfred Brown, Manny Vardi - Viola

Barry Finclair, David Nadien, Emanuel Green, Guy Lumia,
Harry Lookofsky, Lewis Eley, Max Ellen, Raoul Poliakin - Violin

Tracks:

A1. The Sea Lion {Bob James} (5:57)

A2. Moonstreams {Grover Washington Jr.} (5:55)

A3. Knucklehead {Grover Washington Jr.} (7:59)

B1. It Feels So Good {Ralph MacDonald, William Salter} (8:19)

B2. Hydra {Grover Washington Jr.} (9:09)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger - Bob James

Photography - Alen MacWeeney

Art Direction & Design - Richard Mantel

Liner Note - Todd Barkan

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

Idris Muhammad - House Of The Rising Sun (1976) [vinyl>flac]

Idris Muhammad's House of the Rising Sun is a legendary soul-jazz album, and for good reason. First there's the fact that, Grady Tate notwithstanding, Idris Muhammad is easily the greatest of all soul-jazz drummers. Next, it is revealed that label boss and producer Creed Taylor was at his most inspired here, and wasn't afraid to err on the rhythm and blues side of the jazz equation. The material is top-notch, and David Matthews, who orchestrated and arranged this date with the exception of one track -- "Sudan" was written by Muhammad and Tom Harrell, and Harrell arranged it -- was on fire. As a bandleader, Muhammad is shockingly effective. Not because one could ever doubt his ability, but because of his reputation as one of the great studio drummers in jazz. Finally, this is the single greatest lineup in Kudu's history, and features the talents of Don Grolnick, Eric Gale, Will Lee, Roland Hanna, Joe Beck, David Sanborn, Michael Brecker, Hugh McCracken, Bob Berg, Fred Wesley, Patti Austin, and a dozen others playing their asses off. From the title track which opens the album, with Austin reaching the breaking point in her delivery, to the stunningly funky groove in Ashford and Simpson's "Hard to Face the Music," to the minor key funk of the Chopin-adapted theme in "Theme for New York City," to "Sudan"'s triple-timed drums and killer Eastern-tinged hooks, and a read of the Meters' "Hey Pocky A-Way," with Eric Gale's dirty finger poppin' bass atop McCracken's bluesed-out slide work, this is a steaming, no let-up album. Add to this a gorgeous version of the Ary Barroso Brazilian jazz classic "Bahia," and you have the set for a classic jazz album. But the complete disregard for the political correctness of "Jazz" itself, in order to get the deeply funky and soulful grooves across, is what makes this set so damn special and even spiritual in its inspiration. Jazz purists lost all credibility when they slagged this one off, caught as they were in tainted, even racist views of the past that made no allowances for jazz musicians to actually follow their time-honored tradition of mining the pop music of the day to extend the breadth and reach of jazz itself. Anybody who wants to believe that George Gershwin is somehow more important than George Porter Jr. is already lost in his own cultural fascism. Muhammad, who understands this better than anyone, pulled out all the stops here and blasted out one amazingly tough, funky slab. Brilliant. ~ Thom Jurek, AMG.

Kudu Records, KUDU 27, KU-27S1, 1976
Recorded 18th-27th June; 23rd September-8th October, 1975
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:
Idris Muhammad - Drums, Percussion [Log Drum] (#A1)
Tom Harrell - Trumpet
Fred Wesley - Trombone
Barry Rogers - Trombone (#B1)
David Sanborn - Alto Saxophone
Ronnie Cuber - Baritone Saxophone
George Young - Tenor Saxophone (#A2)
Mike Brecker - Tenor Saxophone (#A2)
Bob Berg - Tenor Saxophone (#B1)
Leon Pendarvis - Piano (#A1)
Don Grolnick - Piano (#A2,A3,B2)
Roland Hanna - Piano (#B1,A4)
Eric Gale - Bass (#A3,B2), Guitar (#B2)
Hugh McCracken - Guitar (#B2)
Joe Beck - Guitar (#A3)
Will Lee - Bass (#A1)
Wilbur Bascomb - Bass (#A2,A4,B1)
Alan Shulman, Charles McCracken, Seymour Barab - Cello
George Devens - Percussion
Charles Libove, David Nadien, Emanuel Green, Harold Kohon, Harry Cykman, Joe Malin, Max Ellen, Paul Gershman - Violin
Frank Loyd - Vocals (#A1,B2)
Debbie McDuffie, Hilda Harris, Patti Austin - Vocals (#A2)

Track Listing:
A1. House Of The Rising Sun {Traditional} (4:45)
A2. Baia [Boogie Bump] {Ary Barroso, Ray Gilbert} (4:40)
A3. Hard To Face The Music {Valerie Simpson, Nickolas Ashford} (4:52)
A4. Theme For New York City [Based On Prelude No. 4] {Frederic Chopin} (3:29)
B1. Sudan {Idris Muhammad, Tom Harrell} (10:54)
B2. Hey Pocky A-Way {Ziggy Modeliste, Art Neville, Leo Nocenteli, George Porter, Jr.} (6:07)

Credits:
Producer - Creed Taylor
Arranger - David Matthews, Tom Harrell (#B1)
Recording Engineer - Rudy Van Gelder
Design - Rene Schumacher
Photography - Alen Mac Weeney

Shirley Scott - Soul Song (1969) [vinyl.flac,24b/48k]

A nice late 60s effort by Shirley - and one that's been pretty hard to find over the years! Soul Song actually has a bit more of a funk groove than earlier work, and a little bit more of a soul jazz sound than some of her Prestige albums. The record features Eric Gale playing some nice guitar, plus Stanley Turrentine blowing tenor on a number of cuts, and Shirley on organ, and even singing on one track. The tracks are a bit longer than usual, too - and titles include a cover of "Think", plus "Soul Song", "Mr. Businessman", "When A Man Loves A Woman", and "Like A Lover". ~ Dusty Groove, Inc.

Atlantic Records, SD 1515, 1969

Recorded 9^th (#B2) & 10^th (#A2) September at Atlantic Studios, New York City;

6^th (#A3,B1) & 7^th (#A1,B3) November, 1968 at RCA Studios, New York City

Musicians:

Shirley Scott - Organ, Vocals (#B3)

Stanley Turrentine - Tenor Saxophone (#A1-B2)

Eric Gale - Guitar (#A1,A2,B2,B3)

Bob Cranshaw - Fender Bass (#A3,B1)

Roland Martinez - Fender Bass (#A2,B2)

Bernard Purdie - Drums (#A2,B2)

Ray Lucas - Drums (#A3,B1)

Specs Powell - Drums (#A1,B3)

Track Listing:

A1. Think {Lowman Pauling} (7:57)

A2. When A Man Loves A Woman {Calvin Lewis, Andrew Wright} (6:51)

A3. Mr. Businessman {Ray Stevens} (3:08)

B1. Blowin' In The Wind {Bob Dylan} (6:17)

B2. Soul Song {Shirley Scott} (5:24)

B3. Like A Lover {Alan & M. Bergman, Danilo Caymmi, Nelson Motta} (4:00)

Credits:

Producer - Joel Dorn

Recording Engineers - Adrian Barber, Paul Goodman

Cover Illustration & Design - Stanislaw Zagorski

Liner Notes - Bernard Drayton

Urbie Green - The Fox (1976) [vinyl>flac]

Smooth and silky jazz funk from trombonist Urbie Green - a record that's much more in a mainstream R&B fusion mode than his earlier work - yet also arranged by David Matthews in a soulful style that still keeps things pretty real on the best cuts! The group's a good one for the mellow groove of the material - and includes Mike Mainieri on keyboards, Eric Gale on guitar, Jeremy Steig on flute, and Toots Thielemans laying down a bit of harmonica - all kicking back in classic 70s CTI styles. Titles include the nice modal groover "Mertensia", plus "Manteca", "Foxglove Suite", "Another Star", and "Goodbye". © Dusty Groove, Inc.

CTI Records, CTI 7070, 1977

Recorded July, Oct. & Nov., 1976 at Van Gelder Studios, Englewood Cliffs, New Jersey

Personnel:

Urbie Green - Trombone

Fred Gripper - Piano (#A3,B2-B3)

Mike Abene - Piano (#A2)

Mike Mainieri - Vibraphone (#A2,A4,B2)

Barry Miles - Synthesizer (#A1,B1)

Jeremy Steig - Flute (#A1,B1)

Joe Farrell - Soprano Saxophone (#A3)

Eric Gale - Guitar (#A3,B2-B3)

Toots Thielemans - Harmonica (#A2,A4,B3), Whistle (#A2,A4)

George Mraz - Acoustic Bass (#A1,B1)

Anthony Jackson - Electric Bass (#A1,A3-A4,B2-B3)

Jimmy Madison - Drums (#A1,B1)

Andy Newmark - Drums (#A3,B2-B3)

Sue Evans - Percussion (#A1,B1)

Nicky Marrero - Percussion (#A2,A4)

David Matthews - Percussion [Footsteps] (#A4)

Track Listing:

A1. Another Star {Stevie Wonder} (7:14)

A2. Goodbye {Gordon Jenkins} (2:57)

A3. Mertensia {David Matthews} (4:57)

A4. You Don’t Know What Love Is {Don Raye, Gene De Paul} (3:52)

B1. Manteca {Dizzy Gillespie, Gil Fuller, Luciano Gonzales} (6:32)

B2. Foxglove Suite [From Tristan And Isolde] {Richard Wagner} (7:25)

B3. Please Send Me Someone To Love {Percy Mayfield} (5:32)

Credits:

Producer - Creed Taylor

Arranger - David Matthews

Recording Engineer - Rudy van Gelder

Design [Album] - Rene Schumacher

Photography [Cover & Liner] - White Gate