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| 3.651 Ft
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| 1. | My Babe
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| 2. | Share Your Love With Me
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| 3. | Git It!
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| 4. | TAin't Nobody's Bizness If I Do
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| 5. | Our Day Will Come
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| 6. | Mother Nature
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| 7. | That's All
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| 8. | St. Louis Blues
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| 9. | Beale Street After Dark
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| 10. | Amazing Grace
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Jazz
Hank Crawford - Sax (Alto)
Bernard "Pretty" Purdie - Drums
Danny Mixon - Organ, Piano
Melvin Sparks - Guitar
Stanley Banks - Bass
Wilbur Bascomb, Jr. - Bass
* Bob Porter - Producer
* Dick Shurman - Liner Notes
* Jamie Putnam - Art Direction, Design
* John Abbott - Photography
* Maureen Sickler - Assistant Engineer
* Rudy Van Gelder - Engineer, Mastering
Recorded when he was 63, After Dark finds Hank Crawford excelling by sticking to what he does so well: uncomplicated, blues-drenched, gospel-minded soul-jazz. Warmth and accessibility continued to define the veteran alto saxophonist, who sounds like he's still very much in his prime on everything from "Amazing Grace" to W.C. Handy's "St. Louis Blues" and the standard "T'aint Nobody's Business If I Do." Crawford reminds us how appealing and sentimental a ballad player can be on "That's All," and he demonstrates that Ruby & The Romantics' early-1960s soul-pop gem "Our Day Will Come" can work quite well in a jazz setting. The saxman's noteworthy support includes producer Bob Porter (who, true to form, is smart enough to step aside and let Crawford do his thing), guitarist Melvin Sparks and drummer Bernard "Pretty" Purdie. It's been said that Crawford is jazz's equivalent of a charismatic soul singer like Sam Cooke, Marvin Gaye or his former employer Ray Charles, and After Dark makes it very hard to disagree with that assertion.
---Alex Henderson, All Music Guide
Hank Crawford
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Dec 21, 1934 in Memphis, TN
Genre: Jazz
Styles: Crossover Jazz, Hard Bop, Jazz-Funk, R&B, Soul-Jazz
With an unmistakable blues wail, full of emotion and poignancy, altoist Hank Crawford bridges the gap between that tradition and that of jazz more completely than any other living horn player. Born in Memphis, Crawford was steeped in the blues tradition from an early age. He began playing piano but switched to alto when his father brought one home from the army. He claims his early influences as Louis Jordan, Earl Bostic, and Johnny Hodges. Crawford hung out with Phineas Newborn, Jr., Booker Little, and George Coleman in high school. Upon graduating, Crawford played in bands fronted by Ike Turner, B.B. King, Junior Parker, and Bobby "Blue" Bland at Memphis' Palace Theater and Club Paradise. In 1958 Crawford went to college in Nashville where he met Ray Charles. Charles hired Crawford originally as a baritone saxophonist. Crawford switched to alto in 1959 and remained with Charles' band -- becoming its musical director -- until 1963. The phrasing and voicings he learned there proved invaluable to him as the hallmark of his own sound. He also wrote and arranged a tune for Charles. The cut, "Sherry," his first for the band, was put on the Live at Newport album. Crawford cut a slew solo albums for Atlantic while with the band, and when he formed his group, he remained with the label until 1970. He signed with Creed Taylor's Kudu in 1971 and cut a series of fusion-y groove jazz dates through 1982. In 1983 he moved to Milestone and returned to form as a premier arranger, soloist, and composer, writing for small bands -- that included guitarist Melvin Sparks, organist Jimmy McGriff, and Dr. John -- as well as large. Crawford has been constantly active since then, as a leader and sideman, recording the best music of his long career.
---Thom Jurek, All Music Guide |
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