Grover Washington Baddest

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald…

Grover Washington, Jr., has long been one of the leaders in what could be called rhythm & jazz, essentially R&B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit "Just the Two of Us." It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out. If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz.

THE BEST IS YET TO COME is what one has come to expect from the saxophonist. This music is polished, streamlined, passionate, and soulful. Washington is in prime form on this 1982 outing, and his solos float effortlessly over the funky rhythm section. Wonderful vocal performances are also delivered courtesy Patti LaBelle on the title track and Bobby McFerrin on "Things Are Getting Better," and McFerrin even scat sings on the latter. THE BEST IS YET TO COME is one of the best of its kind.

Tenor and soprano saxophonist Grover Washington, Jr. was faced with an almost impossible task in 1976: following up his two 1975 critically acclaimed and wildly successful commercial recordings Mister Magic and Feels So Good. Both recordings crossed over to R&B on the radio and on the charts. A Secret Place was produced by Creed Taylor and issued on his Kudu imprint, while the versatile David Matthews arranged the horn section. The players include pianist Dave Grusin, drummer Harvey Mason, Ralph MacDonald on percussion, bassist Anthony Jackson, guitarist Eric Gale, trumpeter John Gatchell, and alto saxophonist Gerry Niewood. Guests include bassist George Mraz and guitarist Steve Khan, who appear only on a reading of Herbie Hancock's "Dolphin Dance"…

Grover Washington Jr. made his mark early on with hit recordings for Kudu and Motown. After he switched to Elektra, the soulful saxophonist debuted on the label with Paradise, a decent but not overly memorable effort. Washington (on soprano, tenor, flute and baritone) plays quite well as do the members of his septet (which include violinist John Blake, guitarist Richard Steacker and bassist Tyrone Brown) but the material (seven group originals) failed to include any really catchy melodies or strong hits. This date is therefore more for Grover Washington completists than for general fans of the idiom. Washington's next project would be his best-selling Winelight.

Grover Washington, Jr.'s first album in three years (and debut for Columbia) did not yield any major hits but found him playing in prime form. Switching between his distinctive soprano, alto and tenor, Washington is joined by bassist-producer Marcus Miller, a large rhythm section and guest vocalists B.B. King ("Caught A Touch Of Your Love") and Jean Carne (on two songs). Highlights include "Strawberry Moon," "The Look Of Love," "Maddie's Blues" and "Summer Nights."

Soulful Strut is a typically smooth and swinging date from Grover Washington, Jr. Occasionally, the production by Walter Afanasieff is too slick and commercial, diluting the impact of Washington's subtle, relaxed groove. Fortunately, Washington's instrumental skills cut through the gloss, making Soulful Strut another worthy record for mainstream soul-jazz fans.

Grover Washington, Jr., has long been one of the leaders in what could be called rhythm & jazz, essentially R&B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit "Just the Two of Us." It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out. If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz.