Grant Green alive

Alive! is the hardest funk LP Grant Green recorded during the later phase of his career, capturing a storming gig at Newark's Cliché Lounge. The sweaty club atmosphere adds something to the music that's difficult to pin down, yet unmistakably present - a certain organic quality that isn't as noticeable on Green's studio albums of the time. Moreover, Green sounds more like the captain of his ship, with greater assurance in his musical direction and more strut on the R&B material. Drummer Idris Muhammad is a monster in this live setting, and he helps push Green (plus the rest of the band, which includes organist Ronnie Foster) even farther with his kinetic, continually evolving funk rhythms. That's especially true on the swaggering Kool & the Gang cover "Let the Music Take Your Mind," but Don Covay's "Sookie, Sookie" grooves almost as powerfully…

Alive! is the hardest funk LP Grant Green recorded during the later phase of his career, capturing a storming gig at Newark's Cliché Lounge. The sweaty club atmosphere adds something to the music that's difficult to pin down, yet unmistakably present - a certain organic quality that isn't as noticeable on Green's studio albums of the time. Moreover, Green sounds more like the captain of his ship, with greater assurance in his musical direction and more strut on the R&B material. Drummer Idris Muhammad is a monster in this live setting, and he helps push Green (plus the rest of the band, which includes organist Ronnie Foster) even farther with his kinetic, continually evolving funk rhythms…

Grant Green - Live At Club Mozambique (1971) {Blue Note}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 313 Mb | MP3 @320 -> 178 Mb
Full Artwork @ 600 dpi (jpg) -> 93 Mb | 5% repair rar
© 1971, 2006 Blue Note / Capitol / EMI | 0946 3 63522 2 0
Jazz / Soul Jazz / Jazz Funk / Groove / Guitar

Live at Club Mozambique was, according to Bob Belden's liner notes, rumored to exist for decades in Blue Note's Grant Green discography, but was never released. His explanation as to why is satisfactory – Green's star had waned considerably – and makes some sense, but the label had 15 unissued albums by the guitarist by 1971. This date recorded at the famed Detroit jazz club (Green was living in the city at the time) is the second such set of grooves to be issued from the club floor – Lonnie Smith's was the first. The band consists of Idris Muhammad, Ronnie Foster, Houston Person, and the all but unknown Clarence Thomas, and the two tenor saxophonists (Thomas also played soprano here) laid out heavy, deep funk on the tunes that were chosen.

Grant Green - Live At The Lighthouse (1972) {Blue Note CDP 7243 4 93381 2 8 rel 1998}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 496 Mb | MP3 @320 -> 166 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar
© 1972, 1998 Blue Note / Capitol | CDP 7243 4 93381 2 8
Jazz / Soul Jazz / Jazz Funk / Guitar

Some of Grant Green's hottest moments as a jazz-funk bandleader came on his live records of the era, which were filled with extended, smoking grooves and gritty ensemble interplay. Live at the Lighthouse makes a fine companion piece to the excellent Alive!, though there are some subtle differences which give the album its own distinct flavor. For starters, the average track length is even greater, with four of the six jams clocking in at over 12 minutes. That makes it easy to get lost in the grooves as the musicians ride and work them over.

Grant Green - The Final Comedown (1971) {Blue Note Japan, Paper Sleeve, TOCJ-9522 rel 2003}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 237 Mb | MP3 @320 -> 87 Mb | Artwork | 5% repair rar
© 1971, 2003 Blue Note / Toshiba-EMI Japan | TOCJ-9522 | 24bit by RVG
Jazz / Jazz Funk / Soul Jazz / Guitar

The Final Comedown was Blue Note's first film soundtrack and a departure for both the label and Grant Green. True, many of Green's sessions from this period dipped into funk and R&B, but most of the tracks heard here are pensive mood pieces, conceived as the backing tracks to the blaxploitation film of the same name. As can be expected, there are a handful of cuts – "Past, Present and Future," "Slight Fear and Terror," "Battle Scene" – featuring things like staccato horn punches, dramatic tympani, and little in the way of instrumental soloing – standard fare for the genre.