Jazz / Jazz-Funk, Soul-Jazz, Crossover Jazz
Hank Crawford - Sax (Alto), Saxophone
Alan Rubin - Flugelhorn, Trumpet
Alan Shulman - Cello
Barry Rogers - Trombone
Bernard "Pretty" Purdie Drums
Charles Libove Violin
Charles McCracken Cello
David Nadien Violin
David Taylor Trombone (Bass)
Deborah McDuffie Vocals
Emanuel Green Violin
Eric Gale Guitar
Frank Floyd Vocals
Fred Wesley Trombone (Bass)
Gary King Bass
Harold Kohon Violin
Harry Cykman Violin
Hilda Harris Vocals
Idris Muhammad Percussion
John Frosk Trumpet, Flugelhorn
John Pintavalle Violin
Jon Faddis Flugelhorn, Trumpet
Joseph Malin Violin
Leon Pendarvis Piano
Lewis Eley Violin
Maretha Stewart Vocals
Max Ellen Violin
Max Polikoff Violin
Patti Austin Vocals
Paul Faulise Trombone
Paul Gershman Violin
Ralph MacDonald Percussion
Raoul Poliakin Violin
Richard Sortomme Violin
Richard Tee Keyboards, Piano
Robert Millikan Flugelhorn, Trumpet
Seymour Barab Cello
Steve Gadd Drums
Tony Studd Trombone (Bass)
Hank Crawford's June 1975 date was an attempt to swing for the same fences that cats like Grover Washington had sailed over the year before with "Mister Magic" and had crossed again a month before with "Feels So Good." Creed Taylor and his Kudu label scored big with Washington in what was the real precursor to smooth jazz. Crawford's "I Hear a Symphony" listed among its cast of players Richard Tee, Don Grolnick, Steve Khan, Bernard Purdie, Steve Gadd, vocalists Patti Austin and Frank Floyd, and guitarist Eric Gale, among others. Crawford ever the Memphis groover, brought his own set of soul vibes to the date and fused them willingly with Taylor's penchant for the chart-emergent disco of the day. With arrangements by David Matthews, this set is a cooker. Certainly the production is a bit dated, but the funky-butt moves in Crawford's soulful playing and the tough riffing of Gale more than transcend it. With a selection of cuts that include an Austin-fronted realization of the Motown classic title track by Holland and Dozier, to a pair of solid jazz funk tunes by Matthews in "Madison (Spirit the Power)" and "Hang on the Ceiling," to the shimmering cool shimmying version of the "The Stripper," this is a good vibe set. But it is on Crawford's "Sugar Free" where things really heat up. Crawford's take on funk was different than his producer's. This is greasy four to the floor strutting and flexing. This track could have been in any blaxploitation flick and could have pumped up any discotheque sound system. The horn charts are big and tight, and Crawford and Gale trading eights send it over. This is blowing. The sexier ballad and mid-tempo tracks all seem to have come more from the Crawford book, too, such as Jerry Ragovoy's "I'll Move You No Mountain," and Bobby Eli's "Love Won't Let Me Wait." There's plenty of meat in their silvery grooves. The set closes with a tight instrumental read of the Minnie Riperton/Leon Ware classic "Baby, This Love I Have." It's in the pocket, evolves at an unhurried pace, and croons through the tune with a chunky backbeat and popping bassline. Crawford's solo literally sings here. In all, a different, way commercial, but very satisfying session that should have done better and would have if Washington's "Feels So Good" hadn't been burning up the charts. ~ Thom Jurek, All Music Guide
Hank Crawford
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Dec 21, 1934 in Memphis, TN
Died: Jan 29, 2009 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 |
