Grover Washington Baddest

The aptly titled and much-sampled Feels So Good represents the creative apex of Grover Washington, Jr.'s sublime electric funk sound. Its shimmering, soulful grooves refute the argument that smooth jazz is little more than mere ambience, combining expert playing and intricate songwriting to create music that is both compelling and comforting. Arranger Bob James is in top form here, creating the spacious, rich milieus that are his trademark, but regardless of the name above the title, bassist Louis Johnson is the real star of the show. His supple rhythms percolate like coffee, adding oomph to the bottom of highlights "Hydra" and "Knucklehead" while Washington's cream-and-sugar soprano sax solos soar over the top.

Eddie Henderson's lovely flugelhorn colors the opening track, "E Preciso Perdoar (One Must Forgive)," setting the mood for a very mellow set. Washington, accompanied by six pieces, plays the standards straighter than Johnny Mathis sings them; everything is ratcheted down '40s-ish/'50s-ish cozy nightclub style.

Inner City Blues kicks off with its title track, a burning version of the Marvin Gaye tune with Washington lending a heft and depth to it that reveals the sophistication of Gaye's original. From Airto's hand drums and the hi hat whispers of Muhammad to the chunky wah-wah guitar vamp and a funky bassline by Carter, it becomes clear that Washington's methods of deep soul articulation on his horn extend into the heart of this mix. James decorated his charts with subtle organ flourishes and his piano, but this is early jazz-funk at best.

One of the most popular saxophonists of all time, Grover Washington, Jr. was a pacesetter in his field. With roots in rhythm and blues and soul-jazz organ combinations, he also played straight-ahead jazz. A highly influential player, Washington pushes himself with the spontaneity and chance-taking of a masterful jazz musician.A renowned live performer, Washington is able to display his own personal voices on soprano, tenor, alto and even his infrequently used baritone sax.

Paradise written by John Blake, is one of those pieces that you can listen too and never tire off. Like a walk through paradise, it is constantly revealing beauty and discovery , awesome and spiritual for me I am close to God as i listen to PARADISE the titled song of the ALBUM.. the start of the song is leading you into paradise, and it guides you on a journey throughout Paradise as you venture on, like a ride you enjoy that stops too soon. Paradise invites you to come back again.

For this set of Christmas-related songs, Grover Washington Jr. (mostly on soprano but also contributing some tenor and alto) sounds soulful but restrained. The renditions are lightly funky, atmospheric and generally quite dull. Billy Childs is excellent on piano, and the musicianship of the other players is fine, but the similarity of moods and grooves, along with the somber feel of most of the music, makes this a surprisingly tedious listen.

Originally released as a two-record set in 1973, Soul Box has in the past been issued as two separate volumes, both on vinyl and compact discs, although the CD versions were available for only the shortest of time. To this date, this set has never been reissued in its entirety and in a fashion that recalls the original packaging and graphics. It’s a sad state of affairs for what is Washington’s finest moment in the spotlight. With arrangements by Bob James, the saxophonist covers a diverse set of numbers including standards, pop ditties, and original material. In typical Creed Taylor fashion, the supporting cast is nothing short of top shelf, with Richard Tee, Ron Carter, Billy Cobham, Eric Gale, Hubert Laws, and Airto being just a few of the names on the roster.