Sweetness" was not a replica of his first album. Of the 13 tracks not all were disco or dance oriented. Wishing to broaden his appeal Green and James included the ballads "I'm Just A Fool For Your Love," "Too Young To Fall In Love" and "In Love For The First Time." The dance cuts were as high energy as his previous releases. The standouts were; "Get Up Get Down," "Boogietime," "Dance To The Beat" and "Music Takes Me Higher." A 12" single of "Music Takes Me Higher" on Unidisc made it's way down here from Canada.
After several years of R&B success but no crossover hits, vocalist Freddie Jackson left Capitol for RCA late in 1993. His RCA debut has several excellent performances, but unfortunately, there's no single standout cut. There are brilliantly sung numbers, ("Come Home II U," "I Love," "My Family") but there's no track that can stand alongside "Rock Me Tonight," "Nice And Slow" or any of a half-dozen other past Jackson hits. Jackson merits pop attention more than many others with a much larger profile.
Similar to his first Shelter outing (Getting Ready), but with more of a rock feel. That's due as much to the material as the production. Besides covering tunes by Jimmy Rogers, Howlin' Wolf, and Elmore James, King tackles compositions by Leon Russell and, more unexpectedly, Bill Withers, Isaac Hayes-David Porter, and John Fogerty (whose "Lodi" is reworked into "Lowdown in Lodi"). King's own pen remained virtually in retirement, as he wrote only one of the album's tracks.
Produced in part by Mike Vernon, who worked on The Legendary Christine Perfect Album, this is an entertaining and concise package of ten songs performed by the late Freddie King and a slew of guests. Opening with Gonzalez Chandler's "Pack It Up," featuring the Gonzalez Horn Section, the youthful legend was only 40 years of age when he cut this career LP two years before his death. Though no songs went up the charts like his Top Five hit in 1961, "Hide Away," Burglar is one of those gems that journeymen can put together in their sleep. Tom Dowd produced "Sugar Sweet" at Criteria Studios in Miami, FL, featuring Jamie Oldaker on drums, Carl Radle on bass, and guitarists Eric Clapton and George Terry, which, of course, makes this album highly collectable in the Clapton circles. The sound doesn't deviate much from the rest of the disc's Mike Vernon production work; it is pure Freddy King, like on the final track, E. King's "Come On (Let the Good Times Roll)," where his guitar bursts through the horns and party atmosphere, creating a fusion of the pure blues found on "Sugar Sweet" and the rock that fans of Grand Funk grooved to when he opened for that group and was immortalized in their 1973 number one hit "We're an American Band" a year after this record's release.
Freddie Roach differentiated himself from the legions of soul-jazz organists on his debut album, Down to Earth. Many jazz organists played the instrument down and dirty, and while there's funk in Roach's playing, his style is ultimately lighter than many of his peers, with clean, concise solos and chords. His backing trio - guitarist Kenny Burrell, tenor saxophonist Percy France, and drummer Clarence Johnston - follows his lead, providing supple instrumental support that never loses sight of the groove. Furthermore, Burrell and France both have their chances to shine, contributing some nicely understated solos…
This CD is a straight reissue of a Pablo LP. Norman Granz teamed together the very distinctive trumpeters Dizzy Gillespie, Freddie Hubbard and Clark Terry with pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown and drummer Bobby Durham for a "Trumpet Summit." This particular release features (with one exception) unissued material from the session. There are four versions of a slow blues (only the fourth was released before), all of which have very different solos from the three trumpeters. In addition they interact on "Wrap Your Troubles in Dreams" and share the spotlight on a three-song ballad medley; Hubbard's "Here's That Rainy Day" is hard to beat.
Laid-back and loosely swinging, Good Move captures organist Freddie Roach near the peak of his form. Roach never leans too heavily on his instrument, preferring a calmer, tasteful attack, yet he is never boring because he has a strong sense of groove. He keeps things moving on slower numbers like Erroll Garner's "Pastel" and Gershwin's "It Ain't Necessarily So," but the true highlights are on originals like "Wine, Wine, Wine" and "On Our Way Up," where the bluesy structures and fluid rhythms give Roach a chance to stretch out. Throughout the record, he is capably supported by guitarist Eddie Wright and drummer Clarence Johnston, as well as trumpeter Blue Mitchell and tenor saxophonist Hank Mobley, who both contribute fine solos.