For the Funk of It is the second thematically focused volume in Blue Note's Original Jam Master Series that draws from guitarist Grant Green's late-period recordings for the label, from 1969 to 1972. Some of the players involved in these sessions include drummer Idris Muhammad, saxophonist Claude Bartee, Jr., Cornell Dupree (rhythm guitar), percussionists Hall Bobby Porter and Ray Armando, bassist Chuck Rainey, organist Emanuel Riggins, and many others. The material here is less bombastic than the soul and funk covers on Green's Ain't It Funky Now!, but they are still deep in the jukebox soul-jazz groove that was rapidly disappearing during the era.
Some of Grant Green's hottest moments as a jazz-funk bandleader came on his live records of the era, which were filled with extended, smoking grooves and gritty ensemble interplay. Live at the Lighthouse makes a fine companion piece to the excellent Alive!, though there are some subtle differences which give the album its own distinct flavor. For starters, the average track length is even greater, with four of the six jams clocking in at over 12 minutes. That makes it easy to get lost in the grooves as the musicians ride and work them over.
Quite an unusual album from Grant Green – a record that's quite different than his earlier records for Blue Note, but still pretty darn great overall! Grant's working here in a large group – Kudu style – with arrangements by David Matthews, but a sound that's still pretty lean overall! There's a fair bit of great players in the lineup – including Jon Faddis on trumpet, Hubert Laws on flute, and Joe Farrell on tenor – and the horns soar out nicely to set the scene over some tightly stepping backings – all served up with plenty of room for Grant to solo spaciously on guitar! The title track – "The Main Attraction" – is nearly 20 minutes long – and the other two tracks, "Creature" and "Future Feature", both approach the 10 minute mark themselves!
On the heels of Matador and Solid, two of his most advanced albums, Grant Green decided to continue the more modal direction he'd begun pursuing with the help of members of Coltrane's quartet. Accordingly, he hooked up with organist Larry Young, who was just beginning to come into his own as the first Hammond B-3 player to incorporate Coltrane's modal innovations into his own style. Talkin' About is the first of three albums the Green/Young team recorded together with Coltrane drummer Elvin Jones, and it's exceptional, one of the most underrated items in Green's discography.
This release presnts all of Grant Green and Baby Face Willette's collaborative albums as leaders. Recorded in 1961-62, they consist of the LP "Grant's First Stand" (Blue Note BST-84064), issued under the guitarist's name, and “Baby Face” Willette's albums "Face to Face" (Blue Note BST-84068) and "Stop and Listen" (Blue Note BST-84084). Other than their three LPs as leaders, Green and Willette only recorded together on Lou Donaldson's album Here ‘Tis, from which it has been added the title song, a long blues, as a bonus.
Grant Green's star rose after his signing to Blue Note in 1960, though he appeared as a sideman on several releases during the 1950s. These previously unissued live recordings, made in 1959 and 1960 at the Holy Barbarian Coffee House in St. Louis, document some of his earliest work. Although the music wasn't taped professionally, the sound is quite good, with several extended performances. The St. Louis native is joined by tenor saxophonist Bob Graf (a former Woody Herman sideman who had returned to his hometown), the somewhat obscure organist Sam Lazar, and drummer Chauncey Williams, though none of the three have very large discographies.
This great Jazz two-fer features two of guitarist Grant Green's '60s work trio and quartet featuring incredible organ work from Sam Lazar and Big John Patton. This release contains the complete albums Space Flight (1960) and Iron City (1967). The question "When is a Grant Green album not a Grant Green album?" is answered by this release, with the reply, when "It's actually Grant Green as a sidesman on two album released by other artists". In this case "Space Flight" released as an album credited to Sam Lazar, and secondly one recorded as "Iron City" by Big John Patton. "Space Flight" is the quartet album which also has Willie Dixon on bass and Chauncey Williams on drums. The album doesn't give very much prominence to Green, though he does make some telling additions to several of the tracks. About Lazar I know practically nothing other than that I ordered an album I thought Argo were going to release way back when (probably 1961),which never arrived, and this one was recorded in June 1960. The release shows no sign of remastering, but as I'd never heard it before that's a guess!
A wicked late Blue Note album from Grant Green – quite different than his smaller combo work from the early years, and done with some great larger arrangements that feature some ultra-hip vibes from the legendary Billy Wooten! Wooten's as great here as on his famous work with the Ninteenth Whole, and his vibes bring a nice edge to the record – ringing out in bold chromatic tones behind Green's guitar – amidst some warm electric backings that feature keyboards from Emmanuel Riggins, drums from Idris Muhammad, and congas from Ray Armando.