Charlie Earland

[Soul Stream]

I know there are a few Earland threads floating around. That said, it would be nice to see a general thread on the man himself. Over the years I've come back over and over again to albums like Black Talk, Live at the Key Club as well as some of his earlier singles. He needs to be rethought, reaccessed, re-everythinged! Charlie was a true master of the B3. Man, his lines were SO in the pocket. His concept was SO his own. He had about a dozen licks that he loved to play, but the way and WHERE his played them... were so right on. He had a STYLE. Yes, a STYLE all of his own. THAT ain't easy. I love Charlie and I'm not afraid to say I get as much enjoyment from Black Talk as I do Unity by LY. It's no joke. Earland was as good, great as any. Always I guy I come back to and love to hear over and over again. The human freight train.

Edited November 20, 2008 by Soul Stream

[The Magnificent Goldberg]

Yes. I think Earland was the only organist who was REALLY into Hard Bop, more or less throughout his career. Well, kind of a mixture of Hard Bop and George Clinton But Jimmy Smith and Don Patterson seem far more oriented towards Bebop than Hard Bop and Larry Young moved outside after a while. Earland stuck to it and, after a period making synthesised music on the synthesiser, returned to it.

But just the way Earland arranged the horns on "Black drops" - even on "Sing a simple song" - is so TUFF! Compare that with any hard bop arrangement of a contemporary black pop tune. Earland had a deep feeeling for soul and funk material and was better able to adapt it for Hard Bop than anyone else. After nearly forty years, that album still gets me more than "Black talk", "Intensity" and "Leaving this planet". But all this music seems to be the proud continuation of the Horace Silver & Jazz Messengers of the fifties. Music that was groovy, danceable, ground into the roots of the black community and also adventurous, exciting and burning hot!

For me, Earland's personal take on Hard Bop is what Hard Bop could have been but usually wasn't.

His period with Mercury has also got the occasonal gem. "Cosmic fever" on "Oddesey" is another burner where you least expect it. And I think there's another one or two on his other Mercury albums.

But it's the albums he made for Joe Fields, on Muse, HighNote and Savant, that show that he hadn't lost his touch. "Pleasant Afternoon" and "Infant eyes" are both great LPs from around the same period as the Mercury and Columbia stuff. And with the nineties, he was back with Fields and made "Whip appeal" (with Johnny Coles on trumpet). And he even makes a Kenny G tune - "Songbird" - sound like a goddam masterpiece on that album.

His later stuff isn't ALL great, but there's enough there - "Ready 'n able", "Blowing the blues away", "Slammin' & jammin'" and "Cookin' with the mighty burner" to satisfy anyone who thought the young lions weren't doing it.

MG

[mr jazz]

Intensity introduced me to "the mighty burner" AND Lee Morgan way back in college so I've always been an Earland fan and, recently, have collected his cds as my interest in the B3 has also increased (there's some B3 trio out of Michigan that's pretty good ) . I also have a wonderful live show from Berlin in 1990 where he is in top form all the way through with an excellent band which he introduces in a enjoyable way. While his later stuff might not quite equal his late 60s and 70s output, the more modern recording techniques really allow the listener to hear his pedal technique and is a great subwoofer workout! I'll look for the above rec and thanks!

[Soul Stream]

I always return to the earthy simplicity of his early Prestige sides and the few LPs he did with Lou Donaldson. Black Talk is just about a perfect recording. His playing on that, his breakout masterpiece, is a marvel of swinging, lean simplicity. Simplicity, NOT simplistic. There's a huge difference that gets lost. I also dig his early 45s and pre-Prestige albums such as Black Power.

Black Talk just blows my mind EVERY time. The horns, Idris, Melvin and the Mighty Burner welding it all together like he's at a shipyard. More Today Than Yesterday deservedly gets all the attention from that album, but my personal favorite has always been The Age Of Aquarius.

[Hot Ptah]

Yes. I think Earland was the only organist who was REALLY into Hard Bop, more or less throughout his career. Well, kind of a mixture of Hard Bop and George Clinton But Jimmy Smith and Don Patterson seem far more oriented towards Bebop than Hard Bop and Larry Young moved outside after a while. Earland stuck to it and, after a period making synthesised music on the synthesiser, returned to it.

But just the way Earland arranged the horns on "Black drops" - even on "Sing a simple song" - is so TUFF! Compare that with any hard bop arrangement of a contemporary black pop tune. Earland had a deep feeeling for soul and funk material and was better able to adapt it for Hard Bop than anyone else. After nearly forty years, that album still gets me more than "Black talk", "Intensity" and "Leaving this planet". But all this music seems to be the proud continuation of the Horace Silver & Jazz Messengers of the fifties. Music that was groovy, danceable, ground into the roots of the black community and also adventurous, exciting and burning hot!

For me, Earland's personal take on Hard Bop is what Hard Bop could have been but usually wasn't.

His period with Mercury has also got the occasonal gem. "Cosmic fever" on "Oddesey" is another burner where you least expect it. And I think there's another one or two on his other Mercury albums.

But it's the albums he made for Joe Fields, on Muse, HighNote and Savant, that show that he hadn't lost his touch. "Pleasant Afternoon" and "Infant eyes" are both great LPs from around the same period as the Mercury and Columbia stuff. And with the nineties, he was back with Fields and made "Whip appeal" (with Johnny Coles on trumpet). And he even makes a Kenny G tune - "Songbird" - sound like a goddam masterpiece on that album.

His later stuff isn't ALL great, but there's enough there - "Ready 'n able", "Blowing the blues away", "Slammin' & jammin'" and "Cookin' with the mighty burner" to satisfy anyone who thought the young lions weren't doing it.

MG

MG, This is one reason why I missed you when you were off the board. You are better than any published book on this stuff.

[blind-blake]

Has anyone ever run across a copy of his "Soul Crib" and/or "Boss Organ" albums? I've always wanted to hear them -- I think they were his first. Are they any good? And does anyone know if there are any plans to re-release them?

[The Magnificent Goldberg]

Has anyone ever run across a copy of his "Soul Crib" and/or "Boss Organ" albums? I've always wanted to hear them -- I think they were his first. Are they any good? And does anyone know if there are any plans to re-release them?

I actually got "Boss organ" yesterday.

Yes, it's good.

The two Choice LPs have kind of been reissued, because most (not all) of the tracks were reissued on the Muse LPs "Smokin'" and "Mama Roots" (and some reappeared on 32Jazz). But there are differences. I'm still trying to sort this out.

MG

[blind-blake]

Has anyone ever run across a copy of his "Soul Crib" and/or "Boss Organ" albums? I've always wanted to hear them -- I think they were his first. Are they any good? And does anyone know if there are any plans to re-release them?

I actually got "Boss organ" yesterday.

Yes, it's good.

The two Choice LPs have kind of been reissued, because most (not all) of the tracks were reissued on the Muse LPs "Smokin'" and "Mama Roots" (and some reappeared on 32Jazz). But there are differences. I'm still trying to sort this out.

MG

Wow! I have those two lps. When you figure this out, please let me know!

[The Magnificent Goldberg]

Has anyone ever run across a copy of his "Soul Crib" and/or "Boss Organ" albums? I've always wanted to hear them -- I think they were his first. Are they any good? And does anyone know if there are any plans to re-release them?

I actually got "Boss organ" yesterday.

Yes, it's good.

The two Choice LPs have kind of been reissued, because most (not all) of the tracks were reissued on the Muse LPs "Smokin'" and "Mama Roots" (and some reappeared on 32Jazz). But there are differences. I'm still trying to sort this out.

MG

Wow! I have those two lps. When you figure this out, please let me know!

I assume you mean you've got "Smokin'" and "Mama Roots". If I thought you had "Soul crib", I'd want to get your address and my burglar's uniform out.

MG

[blind-blake]

Has anyone ever run across a copy of his "Soul Crib" and/or "Boss Organ" albums? I've always wanted to hear them -- I think they were his first. Are they any good? And does anyone know if there are any plans to re-release them?

I actually got "Boss organ" yesterday.

Yes, it's good.

The two Choice LPs have kind of been reissued, because most (not all) of the tracks were reissued on the Muse LPs "Smokin'" and "Mama Roots" (and some reappeared on 32Jazz). But there are differences. I'm still trying to sort this out.

MG

Wow! I have those two lps. When you figure this out, please let me know!

I assume you mean you've got "Smokin'" and "Mama Roots". If I thought you had "Soul crib", I'd want to get your address and my burglar's uniform out.

MG

I've got four dogs, and their loud! I guess your above post means that Smokin and Mama Roots don't cover Soul Crib, is that right? What's the deal with Soul Crib. Is that any good? Any possibiilty of it being reissued?

[The Magnificent Goldberg]

Has anyone ever run across a copy of his "Soul Crib" and/or "Boss Organ" albums? I've always wanted to hear them -- I think they were his first. Are they any good? And does anyone know if there are any plans to re-release them?

I actually got "Boss organ" yesterday.

Yes, it's good.

The two Choice LPs have kind of been reissued, because most (not all) of the tracks were reissued on the Muse LPs "Smokin'" and "Mama Roots" (and some reappeared on 32Jazz). But there are differences. I'm still trying to sort this out.

MG

Wow! I have those two lps. When you figure this out, please let me know!

I assume you mean you've got "Smokin'" and "Mama Roots". If I thought you had "Soul crib", I'd want to get your address and my burglar's uniform out.

MG

I've got four dogs, and their loud! I guess your above post means that Smokin and Mama Roots don't cover Soul Crib, is that right? What's the deal with Soul Crib. Is that any good? Any possibiilty of it being reissued?

Hey, I don't know, man! If I knew what it was like, I'd have a copy and wouldn't need to think about getting my burglar's uniform on.

The deal with "Soul crib" is that I think most, all, or many of the "Soul crib" tracks have been reissued on Muse. But there are George Coleman overdubs on two of the "Boss organ" tracks reissued on Muse. And Dave Schnitter is supposed to be on these "Soul crib" tracks on Muse and, if so, he's thought to be too young to have made the recordings in 1969. So are there Dave Schitter overdubs on the Muse reissues? Or is the sleeve wrong? Or don't we know his correct age? Or what?

MG

[JSngry]

He had about a dozen licks that he loved to play, but the way and WHERE his played them... were so right on.

You know, I used to debate about this with myself, whether it was my weakness for liking such a blatantly limited vocabulary, or if it was Earland's credit for being able to make it work.

Finally, I just said fuck it. It is what it is, I dig it, good enough, let's groove. If/when that's not what I want to hear, I just don't listen to it. But I don't lnow that there's ever been a time when I've heard an Earland cut come on the radio that I didn't turn the volume up and hunker down for some good grooveness.

Thing about Earland in his recording prime though, even moreso that most organist-led groups, this cat always had badass tenor players. Not always "great" mind you, but always badass. It was on an Earland side that I first got hipped to Bootsie Barnes. Now, Bootsie Barnes is not a "great" tenor player, but he damn sure is a badass tenor player.

And actually, considering the turf, that's really the object of the game, as was pretty much everything else about Charles Earland.

[The Magnificent Goldberg]

It was on an Earland side that I first got hipped to Bootsie Barnes. Now, Bootsie Barnes is not a "great" tenor player, but he damn sure is a badass tenor player.

Sure you don't mean Don Patterson? Bootsie was on "Why not" - the one with the sleeve showing a pair of lips and tongue. As far as I know, he's never recorded with Earland.

MG

[JSngry]

Uh, yeah. It was years ago and all that... My bad.

But the point about Earland holds anyway!

[The Magnificent Goldberg]

Uh, yeah. It was years ago and all that... My bad.

But the point about Earland holds anyway!

So does the point about Bootsie!

MG

[Jim Alfredson]

Saw Bootsie in Philly a few years ago at Ortlieb's. He's still a badass tenor player!

Earland is like Grant Green; very limited vocabulary, but swings like a mofo and puts a smile on your face!

[blind-blake]

Has anyone ever run across a copy of his "Soul Crib" and/or "Boss Organ" albums? I've always wanted to hear them -- I think they were his first. Are they any good? And does anyone know if there are any plans to re-release them?

I actually got "Boss organ" yesterday.

Yes, it's good.

The two Choice LPs have kind of been reissued, because most (not all) of the tracks were reissued on the Muse LPs "Smokin'" and "Mama Roots" (and some reappeared on 32Jazz). But there are differences. I'm still trying to sort this out.

MG

Wow! I have those two lps. When you figure this out, please let me know!

I assume you mean you've got "Smokin'" and "Mama Roots". If I thought you had "Soul crib", I'd want to get your address and my burglar's uniform out.

MG

I've got four dogs, and their loud! I guess your above post means that Smokin and Mama Roots don't cover Soul Crib, is that right? What's the deal with Soul Crib. Is that any good? Any possibiilty of it being reissued?

Hey, I don't know, man! If I knew what it was like, I'd have a copy and wouldn't need to think about getting my burglar's uniform on.

The deal with "Soul crib" is that I think most, all, or many of the "Soul crib" tracks have been reissued on Muse. But there are George Coleman overdubs on two of the "Boss organ" tracks reissued on Muse. And Dave Schnitter is supposed to be on these "Soul crib" tracks on Muse and, if so, he's thought to be too young to have made the recordings in 1969. So are there Dave Schitter overdubs on the Muse reissues? Or is the sleeve wrong? Or don't we know his correct age? Or what?

MG

Wo! The plot thickens! This shit is complicated, isn't it?

[suitandtieguy]

Charles Earland had a limited vocabulary _only_ when it came to soloing.

i used to hear a lot about how all his solos sounded the same and that crap. in fact, i let it affect my opinion of him that i never went up to see him when i had the chance ... and i had a lot of them since he was playing all the time until he died.

a while after he died, i decided to revisit my impression of his music. then i really "got" it, and i felt terrible.

Earland might have been a "predictable" soloist, and an unwavering bassist, but the man was a _brilliant_ bandleader and arranger.

also: Leaving This Planet is totally amazing. he wanted to bring the electronic sounds in, but didn't want to lose touch of the groove and the dirt. so instead of trying to do something that left behind the traditional workflow, he decided to basically record a soul jazz record at Van Gelder's studio and layer a bunch of synths on the multitrack machine with Patrick Gleeson. i do wish that he'd done it without Gleeson's help, because it confuses what Charles did and what Pat did, but it's still a great record.

anyone here fond of Earland's Jam? i really enjoy that one too.

[Jim Alfredson]

Good points, STG. I too have recently come to re-evaluate Earland and my appreciation for what he did has grown.

[Soul Stream]

I think anybody who sits long enough at a B3 and tries to play it realizes how great Earland really was. He swung like hell, and....well, just put on Black Talk. That whole thing is a masterpiece, his solo on Age of Aquarius is also a favorite of mine. Don't EVER get confused... simple but not simplistic, that was Earland's genius. Also LOVE his playing on Say It Loud by Lou Donaldson. Amazing, amazing player. Wow.

[Soulstation1]

Soul stream should break each song on Black Talk

That CD is one of my favs

[CJ Shearn]

Charles Earland had a limited vocabulary _only_ when it came to soloing.

i used to hear a lot about how all his solos sounded the same and that crap. in fact, i let it affect my opinion of him that i never went up to see him when i had the chance ... and i had a lot of them since he was playing all the time until he died.

a while after he died, i decided to revisit my impression of his music. then i really "got" it, and i felt terrible.

Earland might have been a "predictable" soloist, and an unwavering bassist, but the man was a _brilliant_ bandleader and arranger.

also: Leaving This Planet is totally amazing. he wanted to bring the electronic sounds in, but didn't want to lose touch of the groove and the dirt. so instead of trying to do something that left behind the traditional workflow, he decided to basically record a soul jazz record at Van Gelder's studio and layer a bunch of synths on the multitrack machine with Patrick Gleeson. i do wish that he'd done it without Gleeson's help, because it confuses what Charles did and what Pat did, but it's still a great record.

anyone here fond of Earland's Jam? i really enjoy that one too.

STG, you raise an interesting point about Earland's playing. Earland's solos were kind of like Art Blakey, you knew the bag of tricks but everything just sounded so good that you don't care. Both Blakey and Earlsand swung like hell on their respective axes and were brilliant at bringing out texture and the tightness of arrangements.