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| Hustle to Survive |
| Les McCann |
első megjelenés éve: 1975
46 perc |
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| (2004)
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CD |
| 3.161 Ft
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| 1. | Us
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| 2. | Changing Seasons
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| 3. | Got To Hustle To Survive
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| 4. | Butterflies
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| 5. | Everytime I See A Butterfly
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| 6. | Says Who Says What
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| 7. | Will We Ever Find Our Fathers
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| 8. | Well Cuss My Daddy
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| 9. | Why Is Now
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| 10. | Let Your Learning Be Your Eyes
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Jazz / Soul-Jazz, Hard Bop
Les McCann - Clavinet, Strings, Vocals, Producer, Synthesizer, Keyboards
Bert de Coteaux Producer
Harold Davis Percussion
Herbie Hancock Piano
Jimmy Rowser Guitar (Bass)
Miroslaw Kudykowski Organ, Guitar
Richard Heenan Engineer
Shiela Raye Percussion, Vocals
Tony Silvester Producer
Since Layers, Les McCann went on a long retreat away from the cutting edge, basically and literally hustling to survive in a rapidly changing marketplace. Hence the emphasis on vocals and commercial backings on the remainder of his Atlantic albums, which tend to trail off in quality. The title track and "Says Who Says What" continue his string of earthy, topical, radio-friendly soul vocals that tried and tried to score hits the size of "Compared to What" but never quite captured the moment again. McCann's fascination with synthesizers and electronics also continues, although by now he is mostly interested in using the instrument as just another color instead of the basis for the music itself à la Joe Zawinul. McCann's vocals are soulful and sincere and he still plays lots of acoustic piano; it's the material that often lets him down here. Best track is the instrumental "Us," a great funkbuster. ~ Richard S. Ginell, All Music Guide
Les McCann
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Sep 23, 1935 in Lexington, KY
Genre: Jazz
Styles: Jazz-Funk, Soul-Jazz, Post-Bop, Hard Bop
Les McCann reached the peak of his career at the 1968 Montreux Jazz Festival, recording "Compared to What" and "Cold Duck Time" for Atlantic (Swiss Movement) with Eddie Harris and Benny Bailey. Although he has done some worthwhile work since then, much of it has been anti-climactic.
McCann first gained some fame in 1956 when he won a talent contest in the Navy as a singer that resulted in an appearance on television on The Ed Sullivan Show. After being discharged, he formed a trio in Los Angeles. McCann turned down an invitation to join the Cannonball Adderley Quintet so he could work on his own music. He signed a contract with Pacific Jazz and in 1960 gained some fame with his albums Les McCann Plays the Truth and The Shout. His soulful, funk style on piano was influential and McCann's singing was largely secondary until the mid-'60s. He recorded many albums for Pacific Jazz during 1960-1964, mostly with his trio but also featuring Ben Webster, Richard "Groove" Holmes, Blue Mitchell, Stanley Turrentine, Joe Pass, the Jazz Crusaders, and the Gerald Wilson Orchestra. McCann switched to Limelight during 1965-1967 and then signed with Atlantic in 1968. After the success of Swiss Movement, McCann emphasized his singing at the expense of his playing and he began to utilize electric keyboards, notably on 1972's Layers. His recordings became less interesting to traditional jazz fans from that point on, and after his Atlantic contract ran out in 1976, McCann appeared on records much less often. However, he stayed popular and a 1994 reunion tour with Eddie Harris was quite successful. A mid-'90s stroke put him out of action for a time and weakened his keyboard playing (his band began carrying an additional keyboardist) but Les McCann returned to a more active schedule during 1996 and was still a powerful singer. His comeback was solidified by 2002's Pump It Up, a guest-heavy celebration of funk and jazz released on ESC Records.
---Scott Yanow, All Music Guide |
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