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Kérjen
árajánlatot! |
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| 1. | No Tears
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| 2. | All the King's Horses
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| 3. | Where Is the Love?
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| 4. | Body and Soul
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| 5. | Lean on Me
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| 6. | Lover Man
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| 7. | Love Song 1700
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Jazz
Grover Washington, Jr. - Sax (Alto), Sax (Tenor), Saxophone, Soloist
Airto Moreira - Percussion
Alan Rubin - Flugelhorn, Trumpet
Alex Cores - Violin
Arthur Clarke - Flute, Sax (Baritone)
Bernard "Pretty" Purdie - Drums
Bernard Eichen - Violin
Billy Cobham - Drums
Bob James - Harpsichord, Piano (Electric)
Bob James & Creations - Adaptation, Arranger, Conductor, Harpsichord, Piano (Electric)
Brooks Tillotson - French Horn
Charles McCracken - Cello
Cornell Dupree - Guitar
David Nadien - Violin
David Spinozza - Guitar, Soloist
Donald Corrado - French Horn
Emanuel Green - Violin
Emanuel Vardi - Viola
Eric Gale - Guitar, Soloist
Ernie Royal - Flugelhorn, Trumpet
Fred Klein - French Horn
Gene Bertoncini - Guitar
Gene Orloff - Violin
George Marge - Flute, Horn, Horn (English), Oboe, Recorder, Sax (Alto)
George Ricci - Cello
Gordon Edwards - Bass
Harold Kohon - Violin
Harry Lookofsky - Violin
Irving Spice - Violin
Irwin "Marky" Markowitz - Flugelhorn, Trumpet
Joe Malin - Violin
John Frosk - Flugelhorn, Trumpet
John Pintavalle - Violin
Joseph Malin - Violin
Margaret Ross - Harp
Marky Markowitz - Flugelhorn, Trumpet
Marvin Stamm - Flugelhorn, Soloist, Trumpet
Max Ellen - Violin
Paul Faulise - Trombone
Paul Gershman - Violin
Pepper Adams - Sax (Baritone)
Ralph MacDonald - Conga, Percussion
Ray Alonge - French Horn
Richard Dickler - Viola
Richard Tee - Organ
Ron Carter - Bass
Snooky Young - Flugelhorn, Trumpet
Tony Studd - Trombone
Wayne Andre - Trombone
* Andy Kman - Production Coordination
* Bob Ciano - Design
* Creed Taylor - Producer
* Harry Weinger - Reissue Supervisor
* Hollis King - Art Direction
* Isabelle Wong - Design
* Kevin Reeves - Mastering
* Rudy Van Gelder - Engineer
Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well -- especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous -- and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk -- is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.
--- Thom Jurek, 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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