Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. The most free-thinking Larry Young album of the 60s – and that's saying a lot, considering the rest of his work! The session's quite an unusual one – with two drummers in the group, grounding a sextet that features Larry on organ, James Spaulding on alto and flute, Herbert Morgan on tenor sax, and the great Eddie Gale on trumpet! The tracks are all quite long, open, and flowing – richly organic, and kind of an extension of the groove first laid down by Young on Unity – pushed into more spiritual, late-Coltrane territory. The sound is amazing – incredibly majestic, and on a par with the most far-reaching jazz on Impulse Records of the late 60s – a real standout for Blue Note, and for Young, who wouldn't record this way again until the 70s! Titles include "Falaq", "Seven Steps To Heaven", "Of Love & Peace", and "Pavanne".
Quite possibly the greatest Larry Young album of the post-Blue Note years – and a massive bit of funk that totally redefines his sound! Larry's working here with his hip group Fuel – an ensemble that features Laura Logan on lead vocals, giving the tunes a real focus through her lyrics – and letting them pack a bit more punch too, since her voice sounds a lot like Betty Davis at the time! Larry's keyboards are forceful, but never too over the top – and he's notched things down a bit to focus on the overall groove of the set – still keeping things adventurous on the keys, but also working in a mode that's much more heavily jazz funk! The album's one of THE essential electric jazz sets of the 70s – and features the classic break cut "Turn Out the Lights" – plus other great tracks that include "Floating", "Fuel for the Fire", "I Ching", "H+J=B (Hustle + Jam = Bread)" and "New York Electric Street Music".
Some stellar stuff in there, and other bits that are a bit more on the forgettable side of things. Even though Young's output was starting to be a bit inconsistent, he was still very much trailblazing and this CD is nonetheless an important document; This was to be his last complete album session before his untimely passing at age 38, and it shows the maverick organ player charting a course for the funkier and electrified side of things. This CD was only made available in Japan, as a part of the "Legends Of Cosmic Jazz Funk" paper sleeve series.
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A brilliant album that would forever change the way the organ was used in jazz! The set's the greatest contribution ever from organist Larry Young – a lean and modal session recorded with help from a young quartet that includes Woody Shaw, Joe Henderson, and Elvin Jones – all leaping and loping with Larry's free-thinking work on the Hammond – stretching things out into spiritual grooves that belie Young's fascination with Coltrane's sound of the time, and his freer fusion work of later years!
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. An incredible album from the man that changed the way the world hears the Hammond! This album was Larry Young's first for Blue Note – and it's a mindblowing batch of tunes that push the organ into realms that had never been heard of in jazz. Young's got a real penchant for a modal groove – no doubt inspired by his friend and sometimes collaborator John Coltrane – and he's working here with a totally hip group that includes Sam Rivers, Grant Green, and Elvin Jones.
Unity is an album by jazz organist Larry Young, released on the Blue Note label. While not free jazz, the album features innovative experimentation. The title was chosen by Young because "although everybody on the date was very much an individualist, they were all in the same frame of mood. It was evident from the start that everything was fitting together." The album was Young's second for Blue Note, following on from Into Somethin'.
The late Larry Young was an organist whose fairly brief career had lots of highs and very few middles or lows. Take this session from 1973 – his first non-Blue Note date as a leader and post-Lifetime – as a for instance. It is startling for its fresh look at how the organ is used in jazz and in improvisation, period. On Lawrence of Newark, Young enlisted a host of younger New York session cats who were hanging around the fringes of the funk and avant-garde scenes – James Blood Ulmer, trumpeter Charles MacGee, Cedric Lawson, and about a dozen others all jumped into Young's dark and freaky musical stew.