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2 x CD |
| 7.382 Ft
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| 1. CD tartalma: |
| 1. | Black Talk
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| 2. | Letha
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| 3. | Sing a Simple Song
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| 4. | Spinky
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| 5. | Milestones
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| 6. | Betty's Dilemma
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| 7. | Morgan
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| 8. | Murilley
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| 9. | My Favorite Things
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| 10. | Warp Factor 8
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| 2. CD tartalma: |
| 1. | Leaving This Planet
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| 2. | Red Clay
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| 3. | Betty's Theme
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| 4. | Intergalactic Love Song
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| 5. | Cosmic Fever
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| 6. | Betty Boop
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| 7. | Let the Music Play
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| 8. | Over and Over
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| 9. | Coming to You Live
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| 10. | Phire
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| 11. | The Woman in You
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| 12. | Marcia's Waltz
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Jazz / Jazz-Funk, Soul-Jazz
Charles Earland - Vocals, Percussion, Fender Rhodes, Moog Synthesizer, Organ (Hammond), Arp Pro Soloist, Producer, Sax (Soprano), Synthesizer, Arp Strings, Arp, Clavinet, Piano, Mini Moog, Arp Echoplex, Piano (Electric), Organ, String Ensemble
Abe Speller - Drums
Alfredo Rios - Conga
Arthur Grant - Sax (Tenor), Clarinet (Bass)
Bernard Reed - Bass
Bill Hardman - Trumpet
Billy Cobham - Bass, Drums
Billy Harper - Sax (Tenor), Flute (Alto)
Brian Brake - Drums
Buddy Caldwell Tambourine, Conga
Buddy Williams Drums
Cliff Richmond Vocals (Background), Guitar
Clifford Adams Trombone
Cornell Dupree Guitar
Darryl Thompson Guitar
Darryl Washington Drums, Percussion, Tympani [Timpani]
Deborah McDuffie Vocals (Background)
Doc Powell Guitar
Dr. George Butler Producer
Eddie Arkin Guitar
Eddie Henderson Trumpet
Eric Gale Guitar
Frank Wess Sax (Alto)
Freddie Hubbard Trumpet, Flugelhorn
Garnett Brown Tuba, Trombone
Gary Chandler Trumpet
Grady Tate Drums
Greg Crockett Guitar
Harold Vick Sax (Tenor)
Harvey Mason, Sr. Drums
Hilda Harris Vocals (Background)
Hosea Cheo Santos Percussion
Houston Person Producer, Sax (Tenor)
Howard King Drums
Hubert Laws Piccolo
Idris Muhammad Drums
Jack Turner Guitar, Drums, Vocals (Background), Percussion, Vocals
Jesse Kilpatrick Drums
Jimmy Heath Sax (Tenor), Sax (Soprano)
Jimmy Vass Flute, Sax (Soprano), Sax (Alto)
Joe Shepley Flugelhorn, Trumpet
John Abercrombie Guitar
Jon Faddis Trumpet, Flugelhorn
Keith Henderson Guitar
Keith Loving Guitar
Kenneth Nash Conga
Lawrence Killian Percussion
Lee Morgan Trumpet
Marcus Miller Fender Jazz Bass
Maynard Parker Guitar
Melvin "Sparks" Hassan Guitar
Melvin Sparks Guitar
Mervin Bronson Guitar (Bass)
Michael Brecker Sax (Tenor)
Michal Urbaniak Violin
Morris Jennings Drums
Norman Connors Drums
Pat Ankrom Percussion
Paul Jackson, Jr. Bass
Phillip Ballou Vocals
Ralph Dorsey Percussion
Randy Brecker Electric Trumpet, Trumpet
Randy Muller Keyboard Computer, Producer
Richard Gene Williams Flugelhorn, Trumpet
Robert Lowe, Jr. Guitar
Rodney Jones Guitar
Ron Carter Bass
Rubens Bassini Percussion
Rudy Copeland Vocals
Seldon Powell Sax (Baritone), Flute (Alto)
Solomon Roberts, Jr. Guitar (Rhythm)
Sonny Morgan Conga
The Phenix Horns Horn
Tom Washington Producer
Urbie Green Trombone
Vernon Brown Vocals (Background)
Victor Paz Flugelhorn, Trumpet
Virgil Jones Trumpet
Wayne Andre Trombone
William Thorpe Sax (Baritone)
Yolanda McCullough Vocals (Background)
Yvonne Lewis Vocals (Background)
This two-disc set from London's Soul Brother Records does a great job of consolidating Hammond B-3 player Charles Earland's early and late stylistic phases, picking key tracks from his Prestige and Muse soul-jazz period for the first disc and tracks from his later jazz-funk era with Mercury and Columbia for the second disc. Since fans of one style might not be fans of the other, it's nice having them separated like this, and everything you really need for an introduction to Earland's full career is here, from his first big side, "Black Talk," through his intergalactic "Betty Boop" phase, while the common denominator between the two discs is Earland's relentless pursuit of the groove. ~ Steve Leggett, 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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