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| 4.100 Ft
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| 1. | Funk Fantastique
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| 2. | Don't Let Me Lose This Dream
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| 3. | Never Can Say Goodbye
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| 4. | Charles III
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| 5. | Girl, You Need a Change of Mind
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| 6. | Auburn Delight
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| 7. | My Favorite Things
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| 8. | Grab 'Hole a Dis!!
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| 9. | Speedball [Alternate Take]
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Jazz
Charles Earland - Arranger, Organ, Percussion, Piano (Electric), Producer, Sax (Soprano)
Billy Cobham - Drums
Billy Harper - Flute (Alto), Sax (Tenor)
Buddy Caldwell - Conga
Darryl Washington - Drums, Percussion
Deb Sibony - Design
Dick Griffin - Trombone
Garnett Brown - Trombone
Gary Chandler - Trumpet
Houston Person - Sax (Tenor)
Hubert Laws - Flute, Piccolo
Jack Jeffers - Trombone, Tuba
Jack Turner - Guitar, Percussion
Jamie Putnam - Art Direction
Jesse Kilpatrick - Drums
Jesse Nichols - Assembly, Digital Transfers
Jim Rein - Associate Producer
Jimmy Vass - Sax (Alto), Sax (Soprano)
Joe Lee Wilson - Vocals
Joe Shepley - Flugelhorn, Trumpet
Joe Tarantino - Remastering
Jon Faddis - Flugelhorn, Trumpet
Lawrence Killian - Conga
Lee Morgan Quintet - Soloist, Trumpet
Maynard Parker - Guitar
Ozzie Cadena - Supervisor
Richard Gene Williams - Flugelhorn, Trumpet
Rudy Van Gelder - Engineer
Seldon Powell - Flute (Alto), Sax (Baritone)
Sonny Morgan - Conga
Stuart Kremsky - Compilation Producer
Stuart Scharf - Guitar (Acoustic)
Tom Terrell - Liner Notes
Tony Lane - Photography
Victor Paz - Flugelhorn, Trumpet
Virgil Jones - Soloist, Trumpet
William Thorpe - Sax (Baritone)
Although Funk Fantastique is a somewhat thrown-together affair, the music presented on the album represents solid work by organist/keyboardist Charles Earland and company. The material at the center of the album (tracks four through seven) was originally released as Charles III in 1972, and the surrounding tracks are previously unreleased. Since the unreleased material comes from two different sessions, three different ensembles grace Funk Fantastique. The presence of singer Joe Lee Wilson on the dated "Auburn Delight" (think cheesy '70s jazz) offers even more variety. Through it all, though, Earland's funky organ and keyboard brings all the material together under the banner of soul-jazz. Even on an unsuccessful and sexist piece like "Auburn Delight," Earland's organ work has a brisk, spunky quality that makes the instrumental portion of the song sparkle. Much better, however, are "Charles III" and "Girl, You Need a Change of Mind," both supported by large, energetic horn sections. There's also some solid guitar work from Jack Turner on the latter piece. Among the unreleased tracks, there's a fun version of "Never Can Say Goodbye," the old Jackson 5 hit, with nice soprano work by Jimmy Vass. Funk Fantastique never ties up all of its loose ends, but it nonetheless lives up to its title.
---Ronnie D. Lankford, Jr., All Music Guide
Charles Earland
Active Decades: '60s, '70s, '80s and '90s
Born: May 24, 1941 in Philadelphia, PA
Died: Dec 11, 1999 in Kansas City, MO
Genre: Jazz
Styles: Jazz-Funk, Soul-Jazz, Hard Bop, Jazz Blues, Mainstream Jazz
Charles Earland came into his own at the tail end of the great 1960s wave of soul-jazz organists, gaining a large following and much airplay with a series of albums for the the Prestige label. While heavily indebted to Jimmy Smith and Jimmy McGriff, Earland came armed with his own swinging, technically agile, light-textured sound on the keyboard and one of the best walking-bass pedal techniques in the business. Though not an innovative player in his field, Earland burned with the best of them when he was on.
Earland actually started his musical experiences surreptitiously on his father's alto sax as a kid, and when he was in high school, he played baritone in a band that also featured fellow Philadelphians Pat Martino on guitar, Lew Tabackin on tenor, and yes, Frankie Avalon on trumpet. After playing in the Temple University band, he toured as a tenor player with McGriff for three years, became infatuated with McGriff's organ playing, and started learning the Hammond B-3 at intermission breaks. When McGriff let him go, Earland switched to the organ permanently, forming a trio with Martino and drummer Bobby Durham. He made his first recordings for Choice in 1966, then joined Lou Donaldson for two years (1968-69) and two albums before being signed as a solo artist to Prestige. Earland's first album for Prestige, Black Talk!, became a best-selling classic of the soul-jazz genre; a surprisingly effective cover of the Spiral Starecase's pop/rock hit "More Today Than Yesterday" from that LP received saturation airplay on jazz radio in 1969. He recorded eight more albums for Prestige, one of which featured a young unknown Philadelphian named Grover Washington, Jr., then switched to Muse before landing contracts with Mercury and Columbia. By this time, the organ trio genre had gone into eclipse, and in the spirit of the times, Earland acquired some synthesizers and converted to pop/disco in collaboration with his wife, singer/songwriter Sheryl Kendrick. Kendrick's death from sickle-cell anemia in 1985 left Earland desolate, and he stopped playing for awhile, but a gig at the Chickrick House on Chicago's South Side in the late '80s brought him out of his grief and back to the Hammond B-3. Two excellent albums in the old soul-jazz groove for Milestone followed, and the '90s found him returning to the Muse label. Earland died of heart failure on December 11, 1999, the morning after playing a gig in Kansas City; he was 58.
--- Richard S. Ginell, All Music Guide |
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