Westwoods Sample

Pianist Joe Sample's Warner Bros. session mostly features relaxed acoustic music. Sample emphasizes his original melodies during his improvisations and is backed quite ably by bassist Jay Anderson, drummer Ralph Penland and an occasional percussionist. Most notable is that tenor saxophonist Charles Lloyd guests on three tracks, playing in his usual mellow version of John Coltrane.

On his first solo-piano CD, dedicated to the pioneering bandleader James Reese Europe, Sample demonstrates his jazz cred with a mastery of stride and ragtime. Save for reflective and expansive reprises of hits "Spellbound" and "Soul Shadows," Sample delves into early 20th Century pop and Tin Pan Alley standards. The supple, southern syncopations on Scott Joplin's "The Entertainer" and Jelly Roll Morton's sizzling "Shreveport Stomp" offer evidence of Sample's strong left hand and the elegance of his improvisations, mixing blues feeling, Creole rhythms, and elements of the European classics.

One of the many jazzmen who started out playing hard bop but went electric during the fusion era, Joe Sample was, in the late '50s, a founding member of the Jazz Crusaders along with trombonist Wayne Henderson, tenor saxman Wilton Felder, and drummer Stix Hooper. The Crusaders' debt to Art Blakey's Jazz Messengers wasn't hard to miss - except that the L.A.-based unit had no trumpeter, and became known for its unique tenor/trombone front line. Sample, a hard-swinging player who could handle chordal and modal/scalar improvisation equally well, stuck to the acoustic piano during The Crusaders' early years - but would place greater emphasis on electric keyboards when the band turned to jazz-funk in the early '70s and dropped "Jazz" from its name.

One of the most successful Japanese piano trio recordings of the 70s – a super-session performed by a a trio of Americans that includes Joe Sample on acoustic piano, Ray Brown on bass, and Shelly Manne on drums! Given that Sample's best known during the era for his electric keys with the Crusaders (and on countless studio sessions), it's a real treat to hear him tickle the ivories in an acoustic way – and a genuine surprise to hear how strong his work is in such a format.

The daughter of the popular late R&B singer Donny, husky voiced Lalah Hathaway is the perfect foil for Joe Sample's compelling notion that The Song Lives On. Finding a happy medium between the graceful straight-ahead jazz trio vibe of his Invitation album and the plucky pop energy of Spellbound, Sample provides Hathaway on seven of the 11 tunes with a showcase for her sultry approach.His and Bill Shnee's production approach is generally sparse, not much more than piano and bass, enhanced on occasion by Fender Rhodes and the occasional smoky input of Kirk Whalum. Sample doesn't seem to mind playing second fiddle most of the time, his trademark mix of dark chords and dancing, optimistic improvisations forming harmony lines behind her; often, though, his itchiness to step higher into the mix comes clear and he breaks into extended upbeat improvisations. On a cover of his Crusaders hit "Street Life," Hathaway turns the title into a mantra and Sample echoes her sentiments with sharp, percussive reiterations of the song's main melody. Then Hathaway stops and Michael Thompson steps in with some edgy electric guitar lines.

There is some serious shaking going on in the studio here, and it appears the veteran Sample has found a great situation to let out his more aggressive edges. What must it be like to be a legend and try to somehow uncover a path you haven't driven on before? How can a cat like Sample top himself? It's always rewarding when a veteran artist twists expectations with a brand new sound, even if reaching into his past for the germ of the idea. Sample darts at the listener with a whole new, nonstop brass funk approach, allowing his all-star Soul Committee to lay down the grooves beneath his still plucky ivory spirit. Though Did You Feel That? cooks from start to finish, employing inventive rhythmic touches, simmering cool, and a flashy retro production style, it's sometimes too easy to compare the wild horn tandem of Oscar Brashear and Joel Peskin with old Sample cohorts Wilton Felder and Wayne Henderson…

Beautifully played & produced with an excellent song selection, there is no reason for any R&B/jazz lover not to have this in their collection. Both Sample and David T. Walker are hot, and have a great rappore. The horn section absolutely kicks. The only bad thing about this album is it ends to soon and leaves you hungry for more.

There is a fair amount of variety on this reasonably enjoyable but not essential release from keyboardist Joe Sample. Most of the tunes fall into the area of funky crossover with strong melodies, danceable rhythms and few chances taken…

Pianist Joe Sample is a pioneer at creating melodic and accessible pop-jazz. His recordings of the 1970s and '80s were consistently popular, especially this best-seller. Sample is joined on most selections by fellow Crusader Stix Hooper on drums, electric bassist Abraham Laboriel, percussionist Paulinho Da Costa, and, often, guitarist Dean Parks…