Grover Washington jr

While there can be no doubt that the late great Grover Washington, Jr. released his most commercially successful recordings for Columbia and Elektra, there is also no doubt that, critically and creatively, Washington's most visionary material, the stuff that virtually created the template for the smooth jazz generations that came after, were on the Kudu imprint and produced by Creed Taylor. Washington was a monster saxophonist on tenor as well as soprano, and a true stylist. Before coming to Motown and Kudu he had apprenticed with a number of soul-jazz masters, including Charles Earland and Johnny "Hammond" Smith. The material here focuses on the seminal eight years Washington recorded for Motown and Kudu, beginning with his early renditions of standards like "I Loves You, Porgy," from George Gershwin's Porgy and Bess…

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."

Grover Washington Jr. (December 12, 1943 – December 17, 1999) was an American jazz-funk / soul-jazz saxophonist. Along with George Benson, John Klemmer, David Sanborn, Bob James, Chuck Mangione, Dave Grusin, Herb Alpert, and Spyro Gyra, he is considered by many to be one of the founders of the smooth jazz genre. He wrote some of his material and later became an arranger and producer.

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.

This is one of Grover Washington, Jr.'s occasional strays away from R&B-oriented jazz to play in a more straightahead setting. Switching between soprano, alto and tenor, Grover is accompanied by either Tommy Flanagan or Herbie Hancock on piano during five of the eight selections and he performs such numbers as Ron Carter's "Blues for D.P.," "Stolen Moments" and "Stella by Starlight" with swing and taste. Tenor-saxophonist Igor Butman also helps out on three songs. Worth acquiring.

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!

The story behind Grover Washington, Jr.'s first session date as a leader revolves around a sheer coincidence of being in the right place at the right time. The truth is, the date for Creed Taylor's Kudu imprint was supposed to feature Hank Crawford in the soloist's chair. Crawford couldn't make the date and longtime sideman Washington got the nod. His being closely affiliated with organists Charles Earland and Johnny Hammond didn't hurt, and his alto and tenor saxophones' tone was instantly noticeable for both its song-like quality and Washington's unique ability to dig deep into R&B territory for his expression of feeling. Released in 1972, produced by Taylor, and arranged and orchestrated by Bob James, the list of players in this band is equally impressive: James played Fender Rhodes, there's Richard Tee on organ, bassist Ron Carter…