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| Charles Earland in Concert - At The Montreal Jazz Festival And The Lighthouse [ ÉLŐ ] |
| Charles Earland |
| első megjelenés éve: 2002 |
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| (2002)
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CD |
Kérjen
árajánlatot! |
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| 1. | Smilin'
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| 2. | We've Only Just Begun
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| 3. | Black Gun
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| 4. | Spinky
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| 5. | Freedom Jazz Dance
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| 6. | The Moontrane
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| 7. | Joe Brown
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| 8. | Morgan
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| 9. | Suite for Martin Luther King, Pt. 1: Offering
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| 10. | Suite for Martin Luther King, Pt. 2: Mode for Martin
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| 11. | Kharma
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Jazz
Charles Earland - Organ, Piano (Electric), Producer, Synthesizer
Aurell Ray - Guitar
Clifford Adams - Trombone
Darryl Washington - Drums
Dave Hubbard - Flute, Sax (Soprano), Sax (Tenor)
George A. Johnson, Jr. - Drums
Jimmy Vass - Sax (Alto), Sax (Soprano)
Jon Faddis - Trumpet
Kenneth Nash - Conga
Maynard Parker - Guitar
Ron Carter - Bass (Electric)
Known, for obvious reasons, as "the Mighty Burner," organist extraordinaire Charles Earland (1941-2000) was especially exciting when heard in person. This disc joins two superlative live albums: the first "set" is taken from a 1972 date at the legendary Lighthouse club in Hermosa Beach, California, while the second captures Earland and company in 1974 at the Montreux Jazz Festival in Switzerland. Moving seamlessly from funk (as on Sly Stone's "Smilin'") to groove-drenched post-bop classics (like Eddie Harris's "Freedom Jazz Dance" and Woody Shaw's "The Moontrane), and from his own hard-swinging originals ("Black Gun," "Joe Brown," and "Morgan"--in memory of the great trumpeter Lee Morgan) to a taste of free jazz (on his "Suite for Martin Luther King"), Earland supplements his titanic organ work with electric piano and synthesizer forays. And give the Mighty Burner extra credit for igniting the Carpenters' pop ballad "We've Only Just Begun."
* Baker Bigsby - Engineer, Mixing
* Gilles Margerin - Design
* Jamie Putnam - Art Direction
* Jim Stern - Engineer
* Joe Tarantino - Remastering
* Robert Doerschuk - Liner Notes
* Skip Shimmin - Remixing
* Tony Lane - Photography
This two-fer CD pairs 1972's Live at the Lighthouse with the less impressive, though still worthy, 1974 album Kharma, which was recorded at that year's Montreux Jazz Festival. As the head of a sextet on Live at the Lighthouse, Earland spearheaded some first-class soul-jazz, which integrated some funk and rock of the early '70s without sounding like a watered-down cocktail of all those styles (as many other soul-jazz-pop albums of the time did). The horn section of James Vass on sax and Elmer Coles on trumpet leaned more toward soul than jazz, as heard on the opening instrumental cover of Sly & the Family Stone's "Smilin'." The Carpenters' "We've Only Just Begun" wasn't the greatest tune to attempt, though Earland gamely put it into a boppish swing arrangement. Better were his originals, like "Black Gun," which really cooked with the combo of his forceful organ, peppy off-to-the-races brass, and wah-wah effects. Though Eddie Harris' "Freedom Jazz Dance" flirted with fusion, Woody Shaw's "The Moontrane" got back into the kind of bopping groove lovers of the classic mid-'60s Prestige sound love, with some almost dizzy rapid-fire trills taking it into edgier territory during the solos. Earland was getting into mixing up his customary organ with electric piano and synthesizer by the time of Kharma. While this sometimes broadened his tonal range impressively, at other times it worked against his best strengths, and his best instrument, the organ. Still, this is a respectable and energetic set, containing some real flights of inspiration, as when he seems to be barely keeping some demons in check during the more frenzied solos in "Joe Brown" and "Morgan." There's a good share of space for the three horn men in the lineup, and he lets loose with some pretty combative outer space electronics once he gets into the two-part, 16-minute "Suite for Martin Luther King," complemented by some nearly free jazz soprano sax by Dave Hubbard. That piece mellows into some near-fusion in its second half as Earland moves to electric piano, a mood that carries over to the closing "Kharma," probably the most pop-R&B-friendly of the five tracks (all Earland compositions). Note that "Morgan" appears here in a slightly edited version in order to fit both albums onto one CD.
---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
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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