Masaru Imada is a Japanese jazz pianist and composer. He had classical piano lessons. He played jazz in student bands while a student at Meiji University, after which he worked in business for a year. He then decided to pursue music professionally. From 1953 he was part of clarinetist Eiji Kitamura's band.
A sweet 70s groover from the great Lonnie Smith – a soulful little session that has the keyboardist really stretching out in some great ways! At the time, Smith fares a lot better than some of his late 60s jazz organ contemporaries – as he's got a great lean style, perfect for the decade's increasing use of electric keyboards and larger backings! This set's a great example of that style – as Smith moves way from his 60s soul jazz roots, into the soaring blend of jazz, funk, and soul that you'd also hear on Johnny Hammond albums of the time – almost more soul than jazz, given the presence of vocals on some cuts – but still always with more than enough room for the leader to stretch out and solo. Backings are nice and tight – and handled by Brad Baker (of B Baker Chocolate Company fame).
Lonnie Smith's a long way from his Blue Note years here – but the sound is still plenty darn great, thanks to some fuller arrangements from the great Brad Baker – of B Baker Chocolate Company fame! The whole thing's quite electric – with Lonnie on Fender Rhodes and other keyboards on most tracks, and rhythms that bring in bits of strings amidst the smaller jazz combo vamping – a blend that's smoothly soulful, but still more than funky enough to please our ears. Lonnie even sings a bit on the record, too – in this slightly-spacey quality that has echoes of Stevie Wonder – but the main focus overall is on his keyboards, which step out nicely over the backings.
Recorded in the U.S. with arranger Teddy Adams, What's Going On embraces in full the American influences that shape it – the polemical R&B of James Brown and Marvin Gaye looms heavy via covers of "Ain't It Funky Now" and the title cut, while the sound and sensibility clearly draw from West coast soul-jazz innovators like Les McCann and Gerald Wilson. But the curiosity and estrangement inherent in the album's stranger-in-a-strange-land origins are in fact its dominant element: Takehiro Honda doesn't simply channel his myriad influences, he also dissects them, taking them apart and putting them back together to understand how they work. The result is a wonderfully eccentric and heartfelt interpretation of American funk rendered in distinctly Japanese terms – studious but a bit goofy, formal yet passionately groovy.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. We'd hate to get caught in the force of a baritone explosion – as the horns are so big, that's a lot of metal to have to deal with! Fortunately, pianist Rein De Graaf's got the proceedings here on rock-solid territory – providing just the right sort of swing to keep things moving, yet also keep things in control – while both Ronnie Cuber and Nick Brigola open up on the bigger horns – reminding us why they're some of the few players able to carry forward the deftly soulful legacies of earlier baritone greats like Pepper Adams or Serge Chaloff! The album's a live one, and tracks are nice and long – plenty of room for solos on titles that include "Caravan", "Softly As In A Morning Sunrise", "Crack Down", "Night In Tunisia", and "Blue Train" – plus two short beautiful ballads, "What's New" and "In A Sentimental Mood".
Reissue with the latest remastering. Features original cover artwork. I have about 40 albums of Chet’s music (his last period principally) and this is one of his best. In this too short disc (45 minutes) recorded in Europe at the end of 1985, Chet is at his best, singing and playing trumpet beautifully for the Timeleless label. He is remarkably surrounded by the great French pianist Michel GRAILLER, Ricardo DEL FRA on the bass and John ENGELS on drums. Only eight songs are here on the programm, all great standards….
A great album from organist Charles Kynard – one of his best that wasn't issued on Prestige! This is one of the funky jazz LPs on Mainstream that really hits a nice groove, with Bob Shad's crisp production dovetailing with Kynard's jazz funk sensibilities just right – not too slick or uptight at all! Kynard's backed here by a nice little LA combo that includes Carol Kaye on bass, King Errison on conga, and Ernie Watts on tenor – all players who relax nicely into the groove, and let Charles hit a sweetly gliding sort of line on the Hammond. The overall groove is similar to his earlier Prestige soul jazz classic Reelin' With The Feelin – but with shorter, tighter tracks, and more emphasis on the funk side, which is what we love to hear! Titles include "She", "Nightwood", "Grits", "El Toro Poo Poo", "Greeze", and "Greens".
At last! Oliver Nelson's signature album from his Flying Dutchman period is on CD, only 47 years after it's initial release on vinyl and cassette in 1970. The album was previously available as a compressed digital download, and certain tracks were released a couple years back by Ace Records as part of the compilation Liberation Music: Spiritual Jazz And The Art Of Protest On Flying Dutchman Records 1969-1974.