Grover Washington, Jr.

[Guy Berger]

I hadn't heard this guy before today... but I put Mister Magic on, and I'll be damned if I didn't enjoy much of it. (I'm probably fortunate in that I didn't grow up in the 70s when this stuff got overplayed.) Nice light jazz-funk.

The arrangements are erratic and at times predictable. The strings on "Passion Flower" are pretty cheesy and on the tune "Mister Magic" I would have liked a grittier backing (as well as getting rid of those frickin strings!). But Grover can PLAY and he does. "Earth Tones" was probably my favorite cut on the album, and "Black Frost" is very nice as well.

I wonder what this album would have sounded like with either a grittier or more adventurous rhythm section. I'm guessing most of this doesn't count as full-blown smooth jazz but it's clearly only a few stops down the road.

Guy

[Chuck Nessa]

I'm guessing most of this doesn't count as full-blown smooth jazz but it's clearly only a few stops down the road.

Guy

It led the way.

[JSngry]

I hadn't heard this guy before today...

Ok, it's official. I no longer am of this world.

[Chuck Nessa]

I hadn't heard this guy before today...

Ok, it's official. I no longer am of this world.

We knew that.

[JSngry]

Yeah, but...

[JSngry]

In all seriousness, Grover could play. If his records (too) often were geared towards the "pop-jazz" market, so be it. It's a vacuum (make your own joke here) that has always been filled, and Grover filled it more tastefully & soulfully than many before or since. Unlike many before or since, his playing is rooted, rooted in the much rougher Soul Jazz of the time. He takes a guest spot on Randy Weston's CTI album and does not, even slightly, embarass himself. There's also a 2001 Prestige compilation of his pre-Kudo sideman work that's very nice. And all the Jazz Snobs carped about his latter-day BN side w/Kenny Burrell, but all things considered, it ain't at all bad. Again, it fits into a vaccum (and again, make your own joke here) that has always been filled, and others have done far worse filling it.

LTB & I met when "Just The Two Of Us" was busy running up the charts (and we busy were were running up each other). The album version (on Winelight), hell that entire album, benefits greatly form the production of Ralph McDonald, one of those guys who knows (or at lest did here) how to find a way to combine taste & musicality with genuine sensuality & broad appeal. If it were really that easy, we'd have a plethora of music that tickles the bodies, soothes the souls, and doesn't insult the minds of both "common" & "other" people (Jazz Snobs don't count because all they want to do is bitch and moan, and they'd rather do that than relax and be normal every once in a while, if in fact they even could, which is something I'm none too sure about any more...). But we don't, do we...

Grover's music didn't always achieve that synergy at that level, but it's very seldom that you can say that it was for a lack of trying to. He never was a "deep" player in any way except sincerity, and what he was being sincere about was nothing to shy away from as part of a well-balanced life diet. You'll hear a lot of negative whining about what him and his music were not, but not nearly as much positive appreciation of what it was. If you don't factor in both, it's your loss.

[Chuck Nessa]

Back in the day, Grover was (as I remember it) a record buyer at E J Korvettes (anyone remember them?) in Philly. He got a recording date from Creed 'cause he was selling so many records in the store and the salesman made a pitch.

Good for him and Creed.

[7/4]

E J Korvettes (anyone remember them?)

Sure.

Around here they all turned into Caldors.

[marcello]

Grover is very good as a sideman, on these:

[Bright Moments]

In all seriousness, Grover could play. If his records (too) often were geared towards the "pop-jazz" market, so be it. It's a vacuum (make your own joke here) that has always been filled, and Grover filled it more tastefully & soulfully than many before or since. Unlike many before or since, his playing is rooted, rooted in the much rougher Soul Jazz of the time. He takes a guest spot on Randy Weston's CTI album and does not, even slightly, embarass himself. There's also a 2001 Prestige compilation of his pre-Kudo sideman work that's very nice. And all the Jazz Snobs carped about his latter-day BN side w/Kenny Burrell, but all things considered, it ain't at all bad. Again, it fits into a vaccum (and again, make your own joke here) that has always been filled, and others have done far worse filling it.

LTB & I met when "Just The Two Of Us" was busy running up the charts (and we busy were were running up each other). The album version (on Winelight), hell that entire album, benefits greatly form the production of Ralph McDonald, one of those guys who knows (or at lest did here) how to find a way to combine taste & musicality with genuine sensuality & broad appeal. If it were really that easy, we'd have a plethora of music that tickles the bodies, soothes the souls, and doesn't insult the minds of both "common" & "other" people (Jazz Snobs don't count because all they want to do is bitch and moan, and they'd rather do that than relax and be normal every once in a while, if in fact they even could, which is something I'm none too sure about any more...). But we don't, do we...

Grover's music didn't always achieve that synergy at that level, but it's very seldom that you can say that it was for a lack of trying to. He never was a "deep" player in any way except sincerity, and what he was being sincere about was nothing to shy away from as part of a well-balanced life diet. You'll hear a lot of negative whining about what him and his music were not, but not nearly as much positive appreciation of what it was. If you don't factor in both, it's your loss.

don't mean to hijack this thread - but, here's a picture of me and ralph mcdonald after a show in miami in jan 2007 (he played his ass off!!!)

[The Magnificent Goldberg]

As as sideman Grover appeared on the following Prestige albums, most of which you can get on twofer CDs from Fantasy, in the early ‘70s

Charles Earland – Livin’ Black (PRCD24182) (17/9/70)

Boogaloo Joe Jones – No way (PRCD24309) (23/11/70)

Leon Spencer – Sneak preview (PRCD24185) (7/12/70)

Melvin Sparks – Spark plug (PRCD2171) (1&8/3/71)

Johnny “Hammond” Smith – What’s going on (PR10015 LP) (12/4/70)

Leon Spencer – Louisiana Slim (PRCD24185) (7/7/71)

Boogaloo Joe Jones – What it is (PRCD24309) (16/8/71)

Only the JHS hasn’t been reissued on CD.

In addition to the ones listed earlier, he also appeared on

Johnny “Hammond” Smith – Breakout (Kudu 01) (3&4/6/71)

Lonnie Smith – Mama wailer (Kudu 02) (14&15/7/71)

Johnny “Hammond” Smith – Wild horses rock steady (Kudu 04) (10&11/71)

Breakout is, I think, available on US or Euro CD reissues. The other two are probably only on Japanese CDs.

But those are all bloody fine albums!

Mucho thanks to Chuck for telling the story about Creed Taylor giving GWJr his gig at Kudu. It was said, at the time, that he got his own first LP because Hank Crawford failed to show. But “Inner city blues”, Kudu 03, COULDN’T have been intended as a Hank Crawford date; Hank simply couldn’t have handled those arrangements, which sound like Bob James tailored them specifically for Grover.

I stopped buying Grover when he moved to Elektra, EXCEPT for “Winelight”, which is kind of the acme of his move towards Smooth, and “Togethering”. When I saw “Winelight” in the shop, I just had to buy it – that sleeve had the exact kind of vibe.

Here’s a list of Grover’s albums as leader or joint leader.

INNER CITY BLUES - KUDU 03

ALL KINGS HORSES - KUDU 07

SOUL BOX - KUDU 12/13

MR MAGIC - KUDU 20

FEELS SO GOOD - KUDU 24

A SECRET PLACE - KUDU 32

LIVE AT THE BIJOU - KUDU 36/37

REED SEED - MOTOWN 7-910

SKYLARKIN - MOTOWN 7-933

PARADISE - ELEKTRA 182

WINELIGHT - ELEKTRA 305

COME MORNING - ELEKTRA 562

BEST IS YET TO COME - ELEKTRA 60215

INSIDE MOVES - ELEKTRA 60318

TOGETHERING - BLUE NOTE 85106

HOUSE FULL OF LOVE - COLUMBIA (A) 40270

STRAWBERRY MOON - COLUMBIA (A) 40510

THEN AND NOW - COLUMBIA (A) 44256

TIME OUT OF MIND - COLUMBIA (A) 45253

NEXT EXIT - COLUMBIA (A) 48530

ALL MY TOMORROWS - COLUMBIA (A) 64319

SOULFUL STRUT - COLUMBIA (A) 57505

BREATH OF HEAVEN - COLUMBIA (A) 68527

ARIA - COLUMBIA (A) 61864

(Sorry it's a bit cockeyed.)

MG

Edited May 28, 2007 by The Magnificent Goldberg

[John L]

Mr. Magic was very helpful in getting me interested in jazz. So I owe him quite a lot. Nuff said.

[CJ Shearn]

I remember listening to "A Secret Place" on vinyl as a kid, the best thing about it is that version of "Dolphin Dance". I second Grover playing his ass off, I love his playing on "CTI Summer Jazz at the Hollywood Bowl", "Breakout", the appearance on the "One Night With Blue Note" DVD, and Joey D's "Live at the Five Spot". When going to CVS of all places, they play "Just the Two of Us" a lot over their music cycle and I stop to just listen to that solo.

[Jim R]

Many many moons ago, I remember seeing a young Wynton Marsalis on a stage, fielding questions from an audience on a show hosted by Tony Brown (or perhaps Ramsey Lewis). Somebody asked him what he thought of Washington. The context was "jazz", and Wynton went on a rampage about Washington being an instrumental pop artist, as though that were a felony.

I never paid a lot of attention to Grover, never bought the LP with Burrell despite my tendency to buy anything and everything with KB on it. Some years later, somebody sent me some miscellaneous stuff on vhs which included a live performance with Washington sitting in with (I think I have this right) Lou Donaldson's band. Entirely not bad... a lot more interesting than anything I'd ever heard Wynton play.

[jazzbo]

E J Korvettes (anyone remember them?)

Sure.

Around here they all turned into Caldors.

"Put your hands on your radio. . . .

"Don't send your money to the Lord. . . don't send your money to the church of your choice. . . send your money to me, Rev. E. J. Corvette. . . ."

---Firesign Theater

[7/4]

[Kari S]

I think "Mr Magic" (both the tune and the LP) is a classic, as is "Winelight". I also love "Earth Tones" which has a nice, folky, exotic feel to it.

... and the original of course

[Man with the Golden Arm]

Mr. Magic was very helpful in getting me interested in jazz. So I owe him quite a lot. Nuff said.

Harrumpfh!

Those Kudus - 'Feels So Good' too, and the first two Bob James CTs got me down the road as well and I never fell into the smooth jazz ditch.

... and thanks Jim R for more evidence of what a hypocritcal dick WM is. I wonder whether Blakey press-rolls in his grave.

[The Magnificent Goldberg]

I always felt that the best of his Kudu albums was "Inner city blues". It was a total surprise when that came out - it did actually break the mould of what jazz with orchestras could sound like. Very exciting.

But the follow ups were kind of more of the same.

MG

[Man with the Golden Arm]

The family and I were walking down a 90º Newbury Street yesterday and a group of Berkley guys akin to the Gorillaz - but much hipper - thumped into "Knucklehead".

Impressed the kiddies (hardly) by calling the tune in the first few bass drops on the lead-in.

I was very proud of myself.

Simple things....

[Noj]

I'm a fan. Grover's got a number of jazz funk classics, must-haves in the sub-genre. "Knucklehead" is definitely one of them, MWTGA!

[John L]

I've been spending much of my time in Nigeria lately, and have met a number of Nigerian musicians. I am struck that many Nigerian horn players idolize Grover Washington.

[Dave James]

Other than the song Just The Two Of Us, Winelight remains one of my guilty pleasures. I'm guessing more than a few of us were first attracted to instrumental music and, ultimately, to real jazz by the likes of Mr. Washington, George Benson, John Klemmer and others with smooth proclivities. A lot of these guys, like Washington and Sado Wantanabe had reasonable mainstream chops but, when choices had to be made, they gravitated to where to money was. Who can blame them? Its siren song even turned Turrentine's head and took him to places where we could not follow.