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| 6.426 Ft
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| 1. | Ease Back
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| 2. | Hurt So Bad
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| 3. | I Don't Want Nobody to Give Me Nothing (Open Up the Door I'll Get ...)
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| 4. | Upshot
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| 5. | Cease the Bombing
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Jazz / Soul Jazz, Jazz Instrument, Guitar Jazz
Billy Bivens Vibraphone
Bob Venosa Cover Design
Bob Weinstein Composer
Clarence Palmer Piano (Electric)
Claude Bartee, Jr. Sax (Tenor)
Francis Wolff Photography, Producer
Frank Gauna Art Direction
Grant Green Guitar
Idris Muhammad Drums
Jimmy Lewis Bass (Electric), Bass, Guitar (Bass)
Neal Creque Piano (Electric)
Patrick Roques Design
Rudy Van Gelder Engineer
Stanley Dance Liner Notes
William Bivens Vibraphone
Reissued on CD as part of Blue Note's Rare Groove series, Carryin' On was Grant Green's first album for Blue Note since 1965, an absence of four years during which he recorded just two albums for other labels. Green's return was accompanied by a seismic shift in direction -- Carryin' On was an album of commercially accessible jazz-funk with a heavy r&b influence, plus miles and miles of Fender Rhodes electric piano. It would typify Green's approach over the next few years, which later made him a hero among acid-jazz aficionados, even though it was the last thing purists wanted to hear from him. Those audiences will certainly be split over Carryin' On, whose entire first half is devoted to r&b covers -- The Meters' "Ease Back"; Little Anthony & the Imperials' doo wop standard "Hurt So Bad"; and a tense, barely recognizable version of James Brown's "I Don't Want Nobody to Give Me Nothing." The hottest soloing comes on Green's original "Upshot," and closer "Cease the Bombing" -- though it has no lyrics -- has all the hallmarks of a starry-eyed save-the-world anthem, yet was later covered by Pucho & The Latin Soul Brothers. The presence of Brown-inspired funky drummer Idris Muhammad virtually guarantees a load of sample-ready breakbeats, and Green and the rest of the mostly anonymous sextet work a simmering groove over his propulsive rhythms. Green's playing features more chordal work than usual, but gets very bluesy when he does grab the spotlight. While it won't win over fans of Green's older work, Carryin' On is a solid addition to any acid-jazz/funk/rare-groove library, as are most of Green's albums from this period. ~ Steve Huey, All Music Guide
Grant Green
Active Decades: '50s, '60s and '70s
Born: Jun 06, 1931 in St. Louis, MO
Died: Jan 31, 1979 in New York, NY
Genre: Jazz
Styles: Jazz-Funk, Soul Jazz, Hard Bop, Jazz Instrument, Guitar Jazz
Grant Green was born in St. Louis on June 6, 1931, learned his instrument in grade school from his guitar-playing father and was playing professionally by the age of thirteen with a gospel group. He worked gigs in his home town and in East St. Louis, IL, until he moved to New York in 1960 at the suggestion of Lou Donaldson. Green told Dan Morgenstern in a Down Beat interview: "The first thing I learned to play was boogie-woogie. Then I had to do a lot of rock & roll. It's all blues, anyhow."
His extensive foundation in R&B combined with a mastery of bebop and simplicity that put expressiveness ahead of technical expertise. Green was a superb blues interpreter, and his later material was predominantly blues and R&B, though he was also a wondrous ballad and standards soloist. He was a particular admirer of Charlie Parker, and his phrasing often reflected it. Green played in the '50s with Jimmy Forrest, Harry Edison, and Lou Donaldson.
He also collaborated with many organists, among them Brother Jack McDuff, Sam Lazar, Baby Face Willette, Gloria Coleman, Big John Patton, and Larry Young. During the early '60s, both his fluid, tasteful playing in organ/guitar/drum combos and his other dates for Blue Note established Green as a star, though he seldom got the critical respect given other players. He was off the scene for a bit in the mid-'60s, but came back strong in the late '60s and '70s. Green played with Stanley Turrentine, Dave Bailey, Yusef Lateef, Joe Henderson, Hank Mobley, Herbie Hancock, McCoy Tyner, and Elvin Jones.
Sadly, drug problems interrupted his career in the '60s, and undoubtedly contributed to the illness he suffered in the late '70s. Green was hospitalized in 1978 and died a year later. Despite some rather uneven LPs near the end of his career, the great body of his work represents marvelous soul-jazz, bebop, and blues.
A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar. Like Stanley Turrentine, he tends to be left out of the books. Although he mentions Charlie Christian and Jimmy Raney as influences, Green always claimed he listened to horn players (Charlie Parker and Miles Davis) and not other guitar players, and it shows. No other player has this kind of single-note linearity (he avoids chordal playing). There is very little of the intellectual element in Green's playing, and his technique is always at the service of his music. And it is music, plain and simple, that makes Green unique.
Green's playing is immediately recognizable -- perhaps more than any other guitarist. Green has been almost systematically ignored by jazz buffs with a bent to the cool side, and he has only recently begun to be appreciated for his incredible musicality. Perhaps no guitarist has ever handled standards and ballads with the brilliance of Grant Green. Mosaic, the nation's premier jazz reissue label, issued a wonderful collection The Complete Blue Note Recordings with Sonny Clark, featuring prime early '60s Green albums plus unissued tracks. Some of the finest examples of Green's work can be found there.
---Michael Erlewine and Ron Wynn, All Music Guide |
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