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| 3.324 Ft
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| 1. | The Best Is Yet to Come
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| 2. | East River Drive
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| 3. | Be Mine (Tonight)
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| 4. | Can You Dig It
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| 5. | In the Name of Love
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| 6. | Just the Two of Us
feat. Bill Withers |
| 7. | Jammin'
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| 8. | Little Black Samba
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| 9. | Jet Stream
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| 10. | Let It Flow ("For Dr. J")
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Jazz / Soul-Jazz, Contemporary Jazz, Crossover Jazz, Quiet Storm
Grover Washington, Jr. Producer
Bob Defrin Art Direction
Bobby Warner Transfer Engineer
Dennis King Mastering
Dexter Wansel Producer
Kent Cooper Sequencing
Lynn Dreese Breslin Design
Ralph MacDonald Producer
Scott Reynolds Illustrations
Anyone who had seen Grover Washington, Jr. live could attest to the fact that whether he was playing electric jazz-funk or going acoustic on Billy Strayhorn's music, the Philly resident was a masterful saxman with as much technique as soul and charisma. However, the distinctive saxman's studio recordings (which range from outstanding to watered down) didn't always demonstrate just how commanding an improviser he could be. Anthology, a 1985 CD focusing on his work for Elektra, contains more hits than misses. Well worth hearing are jazz/r&b/pop instrumentals like the congenial "East River Drive" and the seductive "Let It Flow," and the r&b numbers "The Best Is Yet to Come" (which boasts a heartfelt vocal by Patti LaBelle) and Washington's major hit with Bill Withers, "Just the Two of Us." Unfortunately, Elektra made the mistake of including Washington's pointless version of reggae king Bob Marley's "Jammin'" (which is more of a pop cover than a genuine jazz interpretation), the insipid "Jet Stream," and the pleasant but not very memorable "In the Name of Love." [Elektra reissued the album in 2007.] ~ Alex Henderson, All Music Guide
Grover Washington, Jr.
Active Decades: '60s, '70s, '80s and '90s
Born: Dec 12, 1943 in Buffalo, NY
Died: Dec 17, 1999
Genre: Jazz
Styles: Soul-Jazz, Fusion, Contemporary Jazz, Crossover Jazz, Quiet Storm
One of the most popular saxophonists of all time, Grover Washington, Jr. was long the pacesetter in his field. His roots were in R&B and soul-jazz organ combos, but he also fared very well on the infrequent occasions when he played straight-ahead jazz. A highly influential player, Washington pushed himself with the spontaneity and risk-taking of a masterful jazz musician.
Grover Washington, Jr.'s, father also played saxophone and was his first influence. The younger son started playing music when he was ten, and within two years was working in clubs. He picked up experience touring with the Four Clefs from 1959-1963 and freelancing during the next two years, before spending a couple years in the Army. He moved to Philadelphia in 1967, becoming closely identified with the city from then on, and worked with several organists, including Charles Earland and Johnny Hammond Smith, recording as a sideman for the Prestige label. His biggest break occurred in 1971, when Hank Crawford could not make it to a recording date for Creed Tasylor's Kudu label; Washington was picked as his replacement, and the result was Inner City Blues, a big seller. From then on he became a major name, particularly after recording 1975's Mister Magic and Feels So Good, and later 1980's Winelight; the latter included the Bill Withers hit "Just the Two of Us."
Although some of his recordings since then found him coasting a bit, Washington usually stretched himself in concert. He developed his own personal voices on soprano, tenor, alto, and even his infrequently-used baritone. Grover Washington Jr. recorded as a leader for Kudu, Motown, Elektra, and Columbia and made notable guest appearances on dozens of records ranging from pop to straightforward jazz. He died of a sudden heart attack on December 17, 1999 while taping an appearance on CBS television's The Saturday Early Show; Washington was 56. The posthumous Aria was issued early the following year.
---Scott Yanow, All Music Guide |
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