Because the Jazz Crusaders in the early '70s dropped the "Jazz" from their name and later in the decade veered much closer to R&B and pop music than they had earlier, it is easy to forget just how strong a jazz group they were in the 1960s. This CD reissues one of their rarer sessions, augmenting the original seven-song LP program (highlighted by "Blues Up Tight," "Doin' That Thing," and "Milestones") with previously unissued versions of "'Round Midnight" and John Coltrane's "Some Other Blues." The Jazz Crusaders (comprised of tenor saxophonist Wilton Felder, trombonist Wayne Henderson, pianist Joe Sample, drummer Stix Hooper, and, during this period, bassist Leroy Vinnegar) are heard in prime form.
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.
On their second album, 1969's "Suite Feeling", Lighthouse reached the height of their most experimental phase. Particularly on the ten-minute instrumental "Places on Faces Four Blue Carpet Traces," the jazz-rock-classical ensemble stretched out with graceful, passionate improvisations that had seldom been heard in rock arrangements. Other songs such as "Feel So Good," "Places on Faces," and "Could You Be Concerned" were among the most popular staples of their early concerts, which established them as favorites on North America's mushrooming rock festival circuit. The record also featured some of their most classical-influenced pieces, "Presents of Presence" and "Taking a Walk." They also put their individual stamp on covers of the Band's "Chest Fever" and, most adventurously of all, the Beatles' "A Day in the Life."
Prog Temple present a reissue of Lighthouse's Good Day, originally released in 1974. Having been named "Vocal/Instrumental Group of the Year" for the third time at Canada's prestigious Juno Awards in 1973, Lighthouse entered Thunder Sound in Toronto the following year to record their final album. Downplaying the horn-heavy sound that had previously defined them, it's a taut set of progressive rock with prominent synth and it sees founder member and drummer Skip Prokop switching to lead guitar. It makes its long-overdue CD debut here. Includes background notes and images.
This two-fer CD pairs 1972's Live at the Lighthouse with the less impressive, though still worthy, 1974 album Kharma, which was recorded at that year's Montreux Jazz Festival. As the head of a sextet on Live at the Lighthouse, Earland spearheaded some first-class soul-jazz, which integrated some funk and rock of the early '70s without sounding like a watered-down cocktail of all those styles (as many other soul-jazz-pop albums of the time did). The horn section of James Vass on sax and Elmer Coles on trumpet leaned more toward soul than jazz, as heard on the opening instrumental cover of Sly & the Family Stone's "Smilin'." The Carpenters' "We've Only Just Begun" wasn't the greatest tune to attempt, though Earland gamely put it into a boppish swing arrangement.