Grover Washington Baddest

Grover Washington blows over some great arrangements from William Eaton - full, but lean too - and with the same sort of slinky groove that always worked best for Grover back at Kudu Records. The sound is tight, but never too slick - that magically soulful approach that always made Grover a real standout from his contemporaries - one of the few cats who could smooth out jazz without ever losing its soul - thanks to lots of well-crafted lead lines on soprano sax!

Grover Washington, Jr. always put on exciting shows, and this performance from the Bijou Cafe in Philadelphia is a good example of his repertoire in 1977. It doesn't reach the heights of his best studio recordings or concerts, but there are some fine moments. Utilizing his octet at the time (with violinist John Blake, keyboardist James Simmons, and flutist Leslie Burrs), this LP mostly features Washington playing lesser-known tunes that wouldn't be in his repertoire for long (other than a medley that includes "Mr. Magic"), but Washington (heard on tenor, alto, and soprano) consistently brightens the material.

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.

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.

This legend of urban jazz-funk left way too soon at age 56, but listeners can at least take heart in the fact that before he departed, he lived out a career-long dream by recording an album pairing his inimitable saxophone style with classic opera pieces. While the album may hit many of his fans as an unexpected departure, it actually completes a circle that began when Washington first studied music – classical music – at Buffalo's Wurlitzer School of Music. Even as he inspired a generation of saxmen with his amazing blend of jazz and soul, his first love remained classical music. Performing here on soprano, alto, tenor, and baritone saxes, he draws upon his artistry as a melodist to capture the emotional spirit of a dozen of opera's most beautiful arias.

The Jazz Club series is an attractive addition to the Verve catalogue. With its modern design and popular choice of repertoire, the Jazz Club is not only open for Jazz fans, but for everyone that loves good music.
One of the most popular saxophonists of all time, Grover Washington, Jr. was long the pacesetter in his field. His roots were in R&B and soul-jazz organ combos, but he also fared very well on the infrequent occasions when he played straight-ahead jazz. A highly influential player, Washington pushed himself with the spontaneity and risk-taking of a masterful jazz musician.

The Great Performances/Great Songs series by Verve is a new attempt to get prospective buyers interested in its vast jazz catalog by introducing them to large-scale hits by artists who appeared either on its label proper, or on one of its licensees'. In the case of saxophonist Grover Washington, Jr., these are sides he cut for Creed Taylor's Kudu imprint - Motown’s jazz label at the time - between 1971 and 1978. The six selections are all covers of very popular soul or pop numbers, and come from recordings like Inner City Blues, All the King’s Horses, and Soul Box, Vol. 2, though the gorgeous reading of Billy Joel's “All the Things You Are” comes from 1978’s Reed Seed. Other tracks included here are stylish renditions of “Where Is the Love?,” “Georgia on My Mind,” Marvin Gaye's “Mercy Mercy Me (The Ecology Song),” a reggae version of Bill Withers’ “Lean on Me,” and Stevie Wonder’s "You are the Sunshine Of My Life”…