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Jazz / Psychedelic Rock; Jazz Fusion
Recorded: 1966-1970
David Axelrod
* Al Casey - Guitar
* Al McKibbon - Bass
* Allan Harshman - Viola
* Allen DiRienzo - Copyist, Trumpet
* Alvin Dinkin - Strings
* Anne Goodman - Viola
* Armand Karpoff - Cello, Strings
* Arnold Belnick - Strings
* Arthur Maebe - French Horn
* Arthur Wright - Bass
* Assa Drori - Violin
* Benjamin Barrett - Contractor
* Bill Green - Clarinet, Flute, Piccolo, Sax (Alto), Sax (Baritone), Saxophone
* Bill Henderson - Violin
* Bill Hinshaw
* Bill Hymanson - Violin
* Bobby Bruce - Violin
* Cannonball Adderley - Sax (Alto)
* Carol Kaye - Bass
* Chris Cofoni - A&R
* Dave Cooley - Mastering, Mixing
* David Axelrod - Arranger, Producer
* David Duke - French Horn
* David McCallum - Vocals
* Diana Lee - Vocals
* Don Randi - Conductor, Keyboards, Organ, Piano
* Donald Christlieb - Bassoon
* Douglas Davis - Strings
* Earl Palmer - Drums
* Edgar Lustgarten - Cello
* Eli Wolf - A&R, Executive Producer
* Eothen Alapatt - Compilation Producer, Compilation Research
* Ernie Watts - Flute, Oboe, Sax (Tenor)
* Freddie Hill - Trumpet
* Freddie Slatkin - Strings
* Gareth "Garry" Nuttycombe - Viola, Violin
* Gary Coleman - Mallets, Percussion, Vibraphone
* Gene Cipriano - Saxophone
* Gene Estes - Percussion, Vibraphone
* Gene Hicks - Engineer
* Gerald Vinci - Violin
* H.B. Barnum - Conductor, Orchestral Arrangements
* Harry Bluestone - Strings
* Harry Hyams - Strings
* Henry Roth - Strings, Violin
* Howard Roberts - Guitar
* Israel Baker - Violin
* Jack Shulman - Violin
* Jackie Kelso - Flute, Sax (Baritone), Sax (Tenor), Saxophone
* James Getzoff - Strings
* Jan Gassman - Vocals
* Jeff Jank - Art Direction, Design
* Jeffrey Solow - Cello
* Jerry Whitman - Vocals
* Jim Horn - Flute, Piccolo, Saxophone
* Joe Clayton - Bongos, Conga
* Joe Polito - Engineer
* Joe Reilich - Viola
* Joe Zawinul - Piano (Electric)
* John Arnold - Percussion, Strings
* John Guerin - Drums, Tambourine
* Jon Joyce - Vocals
* Ken Watson - Percussion, Vibraphone
* Leonard Malarsky - Strings
* Les Buie - Guitar
* Letta Mbulu - Vocals
* Lew McCreary - Trombone
* Lewis E. Moreford - Vocals
* Lou Raderman - Violin
* Lou Rawls - Vocals
* Louis Morell - Guitar
* Marshall Sosson - Strings
* Marvin Limonick - Violin
* Max Bennett - Bass
* Michael T. Axelrod - Lyric Adaptations
* Michel Ruppli - Annotation, Research
* Milton Thomas - Viola
* Morty Corb - Bass
* Myron Sandler - Strings, Viola
* Nat Adderley - Cornet
* Nathan Ross - Strings
* Neil Levang - Guitar
* Ollie Mitchell - Trumpet
* Paul Hubinon - Trumpet
* Paul Shure - Violin
* Perry Greenfield - Product Manager
* Pete Wyant - Guitar
* Plas Johnson - Saxophone
* Ralph Shaeffer - Violin
* Raphael Kramer - Cello
* Ray Brown - Bass
* Rex Updegraft - Engineer
* Richard Hyde - Trombone
* Richard Leith - Strings, Trombone
* Robert Jung - Violin
* Robert Sushel - Strings
* Robert West - Bass
* Roy McCurdy - Drums
* Samuel Boghossian - Strings, Viola
* Sid Sharp - Violin
* Sonny Anderson - Vibraphone
* Stanley Plummer - Violin
* Tibor Zelig - Strings
* Tom Bahler - Vocals
* Tony Terran - Trumpet
* Vincent DeRosa - French Horn
* Walter Booker - Bass
* William Hymanson
* William S. Fischer - Conductor
Though he worked for a series of labels over the course of his storied career, David Axelrod is best known as one of Capitol Records' foremost producers during the company's glory years in the 1960s. Under his production, actor David McCallum released four albums; soulster Lou Rawls released a countless number of LPs (including his first gold album, Lou Rawls Live); Cannonball Adderly released Mercy, Mercy, Mercy (1966), one of the highest selling jazz albums of all time; and countless artists from Letta Mbulu to Common People released albums that spanned the gamut from funky African folk to psychedelic rock. Axelrod himself released three albums as a solo artist on Capitol - Songs of Innocence (1968), Songs of Experience (1969), and Earth Rot (1970) - the first of which even legendary producer Quincy Jones admitted was the immediate precursor to jazz-fusion.
David Axelrod was instrumental in creating the Black Music division at Capitol Records in the mid-'60s, and had a string of hit albums with artists such as soul singer Lou Rawls and jazz saxophonist Cannonball Adderley. Today he is best known in the hip-hop world for three albums he released on Capitol under his own name between 1968-1970. Songs of Innocence, Songs of Experience, Earth Rot, and other ancillary Axelrod productions are among the most sampled records in hip-hop history, having been mined by producers as varied as Madlib, DJ Shadow, and Dr. Dre, Mos Def, and many others.
Original LPs that Axelrod produced are coveted among DJs and crate-diggers. This definitive retrospective is the first release to put his career in its proper context and present it with the sonic quality it merits.
EMI in Great Britain reissued David Axelrod's three albums for Capitol in fine editions on both vinyl and CD at the end of the 1990s. Fantasy issued its own retrospective, The Axelrod Chronicles, in 2000. Blue Note is finally getting its act together here by taking a look at the work Axelrod did as both a producer and artist with Capitol from 1966-1970. The Edge is not perfect, but for 17 tracks it does give a halfway decent look at the wide range of projects and artists Axe worked with, despite the album's aesthetic inconsistency. Some of the most compelling of these are the tracks with actor David McCallum on vocals -- who played Robert Vaughn's sidekick Ilya Kuryakin in The Man from U.N.C.L.E. -- Axelrod produced four albums for him. "House of Mirrors," is a way tripped-out psychedelic piece with vocals Echoplexed to the max. The title cut is an instrumental that is all dreamy shimmering flute, vibes, guitars, and a horn section for drama. There is also a cut here from the South African artist Letta Mbulu, complete with a thunderstorm as an intro. Spacey, drifty, it's utterly beautiful with spare percussion and Mbulu's haunting voice sensing in her native tongue. Or course Lou Rawls is represented here with a monologue and his burning rendition of "You've Made Me So Very Happy." Axelrod himself has the lion's share of the set with nine cuts taken from his three Capitol albums, Songs of Innocence, Songs of Experience, and Earth Rot. Thankfully, Cannonball Adderley is represented as well with "Tensity," from the ambitious Cannonball Adderley Quintet & Orchestra. It's not a perfect example, but at least it's here. The Edge is an okay place to start, but it's got little that will please longtime and hardcore fans and collectors. Hopefully, Axelrod's own catalog will be reissued domestically.
---Thom Jurek, All Music Guide |
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