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| 4.401 Ft
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| 1. | Time of My Life
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| 2. | All the Man That I Need
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| 3. | He Is My Shepherd
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| 4. | Prevaricator
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| 5. | The Count Is in the House
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| 6. | Stomp!
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| 7. | The Creation
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| 8. | Transfiguration
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| 9. | Thanksgiving
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Jazz
Charles Earland- Hammond B-3 organ
Eric Alexander- tenor saxophone; Michael Karn- tenor saxophone; James Rontondi- trumpet; Bill Boris- guitar; Greg Rockingham- drums
The world was saddened by the passing of The Mighty Burner, Charles Earland late last year. But the sadness of the loss is tempered somewhat by the rousing good music on this disc. Charlie's last recording with his "regular" band. Featuring Eric Alexander and Michael Karn on tenors and James Rotondi on trumpet in the front line, this has a real "Little Big Band" sound. Charles was in fine fettle when he went into the famed Van Gelder Studio for this recording, playing up a storm and contributing a set of white-hot original tunes. Hear the B-3 as only Charlie could play it, and "stomp" along with The Mighty Burner.
* Joe Fields - Executive Producer
* Maureen Sickler - Assistant Engineer
* Rudy Van Gelder - Engineer
Recorded six months before organist Charles Earland's death, this date finds "the Mighty Burner" still in excellent form. Although many of the titles (six of which are Earland originals) performed by his group refer to religion, the music swings in a hard-charging secular way, with only "Stomp!" having some spoken word by Earland. The organist sounds as powerful as always, both Eric Alexander and Michael Karn have some fine tenor solos, and there are also spots for trumpeter James Rotondi and guitarist Bill Boris, with drummer Greg Rockingham swinging steadily in support. This set is easily recommended to soul jazzhard bop collectors, as are virtually all of Charles Earland's recordings.
--- Scott Yanow, 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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