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| The Dynamite Brothers |
FILMZENE
Charles Earland |
| első megjelenés éve: 1973 |
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| (1998)
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CD |
| 4.862 Ft
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| 1. | Betty's Theme
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| 2. | Never Ending Melody
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| 3. | Grasshopper
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| 4. | Shanty Blues
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| 5. | Weedhopper
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| 6. | Razor
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| 7. | Kungfusion
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| 8. | Snake
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| 9. | Incense of Essence
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Jazz / Soundtrack; Jazz-Funk, Soul-Jazz
Charles Earland - Organ, Piano (Electric), Synthesizer, Sax (Soprano)
Billy Hart - Drums
Cornell Dupree - Guitar
Daniel Moore - Trumpet, Flugelhorn
Darryl Washington - Tympani [Timpani], Drums
Dave Hubbard - Flute, Sax (Soprano), Flute (Alto), Sax (Tenor)
Eddie Henderson - Flugelhorn, Trumpet
Jon Faddis - Trumpet, Flugelhorn
Keith Loving - Guitar
Lawrence Killian - Percussion
Mark Elf - Guitar
Mervin Bronson - Guitar (Bass), Bass (Electric)
Patrick Gleeson - Synthesizer
Victor Paz - Trumpet, Flugelhorn
Wayne Andre - Trombone
Reissue of this legendary 1973 Kung Fu Blaxploitation film'ssoundtrack by Charles Earland, who wrote performed all nine tracks. Also features the original cover art.
Charles Earland composed and played on the soundtrack to The Dynamite Brothers, one of the most obscure blaxploitation movies. Although there were some soul-jazz elements in the score, it also reflected the move among many musicians from that background into funk, fusion, and rock territory in the early- to mid-'70s, particularly in the synthesizers by Patrick Gleeson. It often sounds like the kind of music you might have heard from a band warming up a crowd for a Miles Davis concert of the time. It's suitably slightly spaced soul/funk/fusion, atmospheric but not too heavy on remarkable compositional ideas. Gleeson does come up with some eerie wavering, high-pitched effects and squiggles on his ARP 2600 and Pro Soloist synths, and Earland gets down with some real earthy extended bluesy soloing on "Shanty Blues." Earland switches from organ to soprano sax on the most avant-garde and dissonant outing, the eight-minute "Snake." In 2001, the album was paired on a single-CD reissue on Prestige with another blaxploitation soundtrack, the Blackbyrds' Cornbread, Earl and Me. ~ Richie Unterberger, 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
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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