  |
|
|
 |
| The Mighty Burner - The Best of His Highnote Recordings |
| Charles Earland |
| első megjelenés éve: 2004 |
|
| (2004)
|
|
CD |
| 4.401 Ft
|
|
| 1. | Blowin' the Blues Away
|
| 2. | Sister Sadie
|
| 3. | The Count Is in the House
|
| 4. | Stomp!
|
| 5. | My Love
|
| 6. | Organyk Groove
|
| 7. | Killer Joe
|
| 8. | The Creation
|
| 9. | My Blues Is Funky
|
| 10. | Transfiguration
|
Jazz
Charles Earland - Organ (Hammond), Producer
Bernard "Pretty" Purdie - Drums
Bill Boris - Guitar
Bob DeVos - Guitar
Carlos Garnett - Sax (Tenor)
Eric Alexander - Sax (Tenor)
Gary Fritz - Percussion
James Rotondi - Trumpet
Melvin Sparks - Guitar
Michael Karn - Sax (Tenor)
Najee - Sax (Soprano), Sax (Tenor)
It has been said that, as a composer, Mozart did nothing new or radical, he just did it better than anybody else. The same might be said of Charles "The Mighty Burner" Earland. He didn't define a new technique, he didn't explore spaced-out harmonies but, as Bill Milkowski wrote, "Earland was indeed the burning-est." There was something about the surging nature of his swing, the relentless right-hand flurries of notes and the way he built his solos to visceral peaks that always elicited screams from the audience. For the last decade or so of his lamentably short life, Earland recorded for HighNote records amassing what many feel to be his most impressive body of work. This release has assembled the best of his recordings from his HighNote sessions at the famed Rudy Van Gelder Studio with all-star line-ups including Eric Alexander, Melvin Sparks, Najee and others.
* Brad Wrolstad - Art Direction, Design
* Joe Fields - Executive Producer, Liner Notes, Producer
* Maureen Sickler - Assistant
* Michael Hurzon - Compilation Producer
The Mighty Burner: The Best of His Highnote Recordings is a comprehensive single-disc overview of the final recordings made by one of the masters of the Hammond B-3, Charles Earland. These ten previously issued tracks were recorded in the late '90s and are taken from the albums Blowing the Blues Away, Cookin' With the Mighty Burner, If Only for One Night, Slammin' & Jammin', and his last session, Stomp! Even at this late period in his career, Earland's six originals and four cover versions of "Blowing the Blues Away," "Sister Sadie," "Organyk Groove," and "Killer Joe" are executed with vigor, guts, and inspiration. Alongside the organist on these tracks was an awesome set of rotating musicians who provided the delicate balance between post-bop technical excellence and the greasy funk of soul-jazz, including Eric Alexander and Carlos Garnett on tenor saxophones, trumpeter James Rotundi, guitarist Melvin Sparks, and drummer Bernard Purdie. This highly recommended compilation demonstrates that, even in the closing years of Charles Earland's life, his recorded output remained both mighty and burning.
--- Al Campbell, 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 |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
