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| 1. | Corazón
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| 2. | Wildflower
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| 3. | Mr. Blues
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| 4. | You've Got It Bad Girl
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| 5. | Good Morning Heartache
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Jazz
Jazz-Funk
Soul-Jazz
Crossover Jazz
Recorded: Jun 28-29, 1973
Hank Crawford (alto saxophone)
Marvin Stamm (trumpet); Jimmy Buffington, Brooks Tillotson (French horn); Wayne Andre, Paul Faulise (trombone); Tony Studd (bass trombone); Richard Tee (piano, organ); Joe Beck (guitar); Bob Cranshaw (bass); Idris Muhammad (drums); Rubens Bassini, George Devens, Dave Friedman, Arthur Jenkins, Phil Kraus, Ralph MacDonald (percussion); Bill Eaton, Hilda Harris, Randy Peyton, Maeretha Stewart (background vocals)
Hank Crawford's '60s sides for Atlantic rightfully established him among the preeminent soul-jazz saxophonists. For pure phrasing and feel, Crawford was in a class by himself. When Creed Taylor kicked off CTI in 1970, he brought Crawford on board immediately. This date from 1973 -- one of eight cut between 1971 and 1978 -- is Crawford's strongest for the label and one of the better records of his career, though jazz purists would never agree. Produced and arranged by Bob James with a smoking cast that includes Joe Beck, Idris Muhammad, Richard Tee, and Bob Cranshaw, as well as a brass section of crack New York studio cats, Wildflower is the album Crawford had been trying to make since 1971. Recorded in two days, the band provides a slick, right, colorful platform for Crawford's melodic improvisation that is rooted in the art of the phrase. One long note held on "Mr. Blues" or a series of carefully articulated verbal feelings, such as on "Corazon," may not step out of the groove, but make it both a deeper blue and as wide as the human heart's complexity. On the title cut, with a vocal chorus in the background, Crawford turns a pop melody into a torrent of raw emotionalism and savvy groove-conscious glory. James' charts are big but never obtrusive; they point in one direction only, to bring that huge soul sound out of Crawford's alto -- check out the way the melody line breaks down into the solo in Stevie Wonder's "You've Got It Bad Girl," or the backbeat arpeggio exercises in "Good Morning Heartache." This record is so hot the only soul-jazz it can be compared to in both its contemporary form and funky feel are Grover Washington's Feels So Good and Mister Magic issues. In other words, Crawford's Wildflower is indispensable as a shining example of '70s groove jazz at its best.
---Thom Jurek, All Music Guide
Hank Crawford
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Dec 21, 1934 in Memphis, TN
Genre: Jazz
Styles: R&B, Jazz-Funk, Soul-Jazz, Hard Bop, Crossover Jazz
With an unmistakable blues wail, full of emotion and poignancy, altoist Hank Crawford bridges the gap between that tradition and that of jazz more completely than any other living horn player. Born in Memphis, Crawford was steeped in the blues tradition from an early age. He began playing piano but switched to alto when his father brought one home from the army. He claims his early influences as Louis Jordan, Earl Bostic, and Johnny Hodges. Crawford hung out with Phineas Newborn, Jr., Booker Little, and George Coleman in high school. Upon graduating, Crawford played in bands fronted by Ike Turner, B.B. King, Junior Parker, and Bobby "Blue" Bland at Memphis' Palace Theater and Club Paradise. In 1958 Crawford went to college in Nashville where he met Ray Charles. Charles hired Crawford originally as a baritone saxophonist. Crawford switched to alto in 1959 and remained with Charles' band -- becoming its musical director -- until 1963. The phrasing and voicings he learned there proved invaluable to him as the hallmark of his own sound. He also wrote and arranged a tune for Charles. The cut, "Sherry," his first for the band, was put on the Live at Newport album. Crawford cut a slew solo albums for Atlantic while with the band, and when he formed his group, he remained with the label until 1970. He signed with Creed Taylor's Kudu in 1971 and cut a series of fusion-y groove jazz dates through 1982. In 1983 he moved to Milestone and returned to form as a premier arranger, soloist, and composer, writing for small bands -- that included guitarist Melvin Sparks, organist Jimmy McGriff, and Dr. John -- as well as large. Crawford has been constantly active since then, as a leader and sideman, recording the best music of his long career.
--- Thom Jurek, All Music Guide |
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