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| 1. | Tyrone
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| 2. | Plaza de Toros
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| 3. | Paris Eyes
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| 4. | Backup
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| 5. | Ritha
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| 6. | Ritha [Quartet Version][*]
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Jazz / Soul-Jazz; Hard Bop; Modal Music; Avant-Garde Jazz
Recorded: November 12, 1964, Van Gelder Studio, Englewood Cliffs, New Jersey
Digitally remastered by Ron McMaster.
This is part of Blue Note's Limited Edition Connoisseur series.
Larry Young - Organ
Elvin Jones - Drums
Grant Green - Guitar
Sam Rivers - Sax (Tenor)
While most practitioners of the instrument have followed closely on the heels of Jimmy Smith, on INTO SOMETHIN', Larry Young demonstrates his unique horn-like approach to melody. With the help of Sam Rivers (saxophone), Grant Green (guitar), and Elvin Jones (drums), Young puts forth a swinging collection of tunes that isn't particularly drenched in the traditional gospel/soul sound usually produced by an organ ensemble. Instead, this is a crisp, exciting session that, along with UNITY, would eventually help make Young one of the legends of the B-3.
The effortless waltzing bounce of "Tyrone" opens the set as Rivers and Young glide through the melody while Jones swings intensely in the background. The heavy Latin groove of "Plaza de Toros" sets up some stunning rhythmic interactions between Grant, Young, and Jones. The intricate "Paris Eyes" and the bluesy "Backup" are both excellent swinging numbers that further display Young's non-traditional approach to the instrument and his masterful soloing prowess. Finally, the classic "Ritha"--presented here in both trio and quartet versions--is an exhilarating composition that displays the full wealth of Young's legendary abilities.
* Alfred Lion - Producer
* Michael Cuscuna - Reissue Producer
* Rudy Van Gelder - Engineer
Larry Young who like most organists originally sounded close to Jimmy Smith, took a big step away from the organ's dominant influence on this adventurous and colorful set, which was his debut as a leader for Blue Note. Performing with a quartet also including tenor saxophonist Sam Rivers, guitarist Grant Green and drummer Elvin Jones, Young performs four of his originals plus Green's "Plaza de Toros." Other than the blues "Backup," the music is fairly complex, grooving in its own fashion and showing that Young was quite aware of John Coltrane's modal excursions.
---Scott Yanow, All Music Guide
Larry Young
Active Decades: '60s and '70s
Born: Oct 07, 1940 in Newark, NJ
Died: Mar 30, 1978 in New York, NY
Genre: Jazz
Styles: Jazz-Funk, Soul-Jazz, Fusion, Post-Bop, Hard Bop, Modal Music, Avant-Garde Jazz
If Jimmy Smith was "the Charlie Parker of the organ," Larry Young was its John Coltrane. One of the great innovators of the mid- to late '60s, Young fashioned a distinctive modal approach to the Hammond B-3 at a time when Smith's earthy, blues-drenched soul-jazz style was the instrument's dominant voice. Initially, Young was very much a Smith admirer himself. After playing with various R&B bands in the 1950s and being featured as a sideman with tenor saxman Jimmy Forrest in 1960, Young debuted as a leader that year with Testifying, which, like his subsequent soul-jazz efforts for Prestige, Young Blues (1960), and Groove Street, (1962), left no doubt that Smith was his primary inspiration. But when Young went to Blue Note in 1964, he was well on his way to becoming a major innovator. Coltrane's post-bop influence asserted itself more and more in Young's playing and composing, and his work grew much more cerebral and exploratory. Unity, recorded in 1965, remains his best-known album. Quick to embrace fusion, Young played with Miles Davis in 1969, John McLaughlin in 1970, and Tony Williams' groundbreaking Lifetime in the early '70s. Unfortunately, his work turned uneven and erratic as the '70s progressed. Young was only 38 when, in 1978, he checked into the hospital suffering from stomach pains, and died from untreated pneumonia. The Hammond hero's work for Blue Note (as both a leader and a sideman) was united for Mosaic's limited-edition six-CD box set The Complete Blue Note Recordings.
---Alex Henderson, All Music Guide |
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