(Smooth Jazz, Soul) Grover Washington Jr. - Коллекция (24 альбома) [1971 - 2000] (MP3, 320 kbps, 128 kbps)

The early work of alto saxophonist and composer Grover Washington, Jr. is a rare and beautiful thing to behold. His entire Kudu period, marked by the albums Inner City Blues, All the King's Horses, Soul Box, Mister Magic, and Feels So Good, is brilliant, solid urban groove jazz played with grace, mean chops, and slippery funkiness. Soul Box, a double LP recorded in 1973, has Creed Taylor's production enhanced by a symphony orchestra and full-blown jazz band arranged and conducted by Bob James. Some of the session men include Ron Carter, Billy Cobham, Eric Gale, Idris Muhammad, Airto, and Richard Tee. Soul Box only contains seven cuts. Among them are truly innovative reads of Billy Cobham's "Taurian Matador," Stevie Wonder's "You Are the Sunshine of My Life," a side-long jam on Marvin Gaye's "Trouble Man" (the album's centerpiece and masterpiece), and the deep funk of Norman Whitfield's "Masterpiece." "Trouble Man," however, is the cut on which all the contradictions of the session come to bear and are resolved due in large part to Washington's deeply lyrical improvising and James' ability to layer an orchestra into a groove. There are cadenzas written in after choruses that bring the orchestra in to accent the sketchy funk in the tune and bring out its deep blue hues. When Washington gets to the front of it all, he lets go like he's crying from the heart. On other tracks, the orchestra adds the right drama or sweetness — as it does on Wonder's cut — but Washington makes them grittier, with soloing that sidles up to the melody before reinventing it. For its length, Soul Box

The aptly titled and much-sampled Feels So Good represents the creative apex of Grover Washington, Jr.'s sublime electric funk sound. Its shimmering, soulful grooves refute the argument that smooth jazz is little more than mere ambience, combining expert playing and intricate songwriting to create music that is both compelling and comforting. Arranger Bob James is in top form here, creating the spacious, rich milieus that are his trademark, but regardless of the name above the title, bassist Louis Johnson is the real star of the show. His supple rhythms percolate like coffee, adding oomph to the bottom of highlights "Hydra" and "Knucklehead" while Washington's cream-and-sugar soprano sax solos soar over the top.
- allmusic.com

This is one of Grover Washington, Jr.'s best-loved recordings and considered a classic of r&bish jazz. All four songs (which includes Billy Strayhorn's "Passion Flower") are quite enjoyable but it is "Mister Magic" that really caught on as a major hit. Bob James provided the colorful if somewhat commercial arrangements, there are spots for guitarist Eric Gale, and Washington (mostly on tenor and soprano) is heard in particularly creative form.
Highly recommended.
- allmusic.com
Душевный, утонченный звук, присущий исполнению Гровера, развивался в течении всех 70-х годов, и успех трёх следующих альбомов - “All the King’s Horses”, “Soul Box” и особенно “Mister Magic” - дал ему, как уже популярному музыканту, возможность выступать с разовыми концертами в больших залах, и открыл дорогу для сессионной работы с такими исполнителями, как Боб Джеймс (Bob James), Рэнди Вестон (Randy Weston), Эрик Гейл (Eric Gale) и Дэйв Грузин (Dave Grusin). Вышедшие впоследствии альбомы “Feels So Good”, “A Secret Place”, “Live At The Bijou”, “Reed Seed”, “Skylarkin’”, и “Paradise” ещё более развили успех Гровера.
- www.mymusicbase.ru

Tenor and soprano saxophonist Grover Washington, Jr. was faced with an almost impossible task in 1976: following up his two 1975 critically acclaimed and wildly successful commercial recordings Mister Magic and Feels So Good. Both recordings crossed over to R&B on the radio and on the charts. A Secret Place was produced by Creed Taylor and issued on his Kudu imprint, while the versatile David Matthews arranged the horn section.
The players include pianist Dave Grusin, drummer Harvey Mason, Ralph MacDonald on percussion, bassist Anthony Jackson, guitarist Eric Gale, trumpeter John Gatchell, and alto saxophonist Gerry Niewood. Guests include bassist George Mraz and guitarist Steve Khan, who appear only on a reading of Herbie Hancock's "Dolphin Dance".
- allmusic.com

Grover Washington, Jr. always put on exciting shows, and this performance from the Bijou Cafe in Philadelphia is a good example of his repertoire in 1977. It does not reach the heights of his best studio recordings or concerts, but there are some fine moments. Utilizing his octet of the time (with violinist John Blake, keyboardist James Simmons, and flutist Leslie Burrs), this CD (a straight reissue of the original LP) mostly features Washington playing lesser-known tunes that would not stay in his repertoire for long (other than a medley that includes "Mr. Magic"), but Washington (heard on tenor, alto, and soprano) consistently uplifts the material.
- allmusic.com

Grover Washington Jr. made his mark early on with hit recordings for Kudu and Motown. After he switched to Elektra, the soulful saxophonist debuted on the label with Paradise, a decent but not overly memorable effort. Washington (on soprano, tenor, flute and baritone) plays quite well as do the members of his septet (which include violinist John Blake, guitarist Richard Steacker and bassist Tyrone Brown) but the material (seven group originals) failed to include any really catchy melodies or strong hits.
This date is therefore more for Grover Washington completists than for general fans of the idiom. Washington's next project would be his best-selling Winelight.
- allmusic.com

Reed Seed was Grover Washington, Jr.'s final album for Kudu/Motown. It was also one of two recordings his issued in 1978 -- the other is the stone-killer live set Live at the Bijou. While the saxophonist had been experimenting with funk since 1971's Inner City Blues, by 1975's breakthrough recordings Mister Magic and Feels So Good, he'd perfected his groove. His appeal to fans of more radio-friendly material was ready: he had stellar grooves, very polished production, and accessible arrangements -- not too mention his stellar emotive attack on any saxophone he chose to play.
Many straight-ahead jazz fans dug Washington's sound as well because of his technical facility on his instruments.
- allmusic.com

Grover Washington, Jr., has long been one of the leaders in what could be called rhythm & jazz, essentially R&B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit "Just the Two of Us." It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out.
If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz.
- allmusic.com
Вышедший в 1980-м году альбом “Winelight” принёс Гроверу звание ведущего исполнителя - инструменталиста. Этот диск получил 2 премии "Grammy" в номинациях "лучшая запись в стиле джаз-рок" и "лучшая песня в категории ритм-н-блюз" (“Just the Two of Us”).
Журнал “DownBeat Magazine” писал: “Вашингтон играет с изысканной интонацией, диапазоном и мастерством - всегда в совершенстве.” “Boston Herald - American” назвал альбом “истинным шедевром художника, обладающего способностью сочетать лучшие элементы стилей поп, соул и джаза и трансформировать их в уникальную форму, присущую только ему”.
Альбом “Winelight” стал платиновым, и к сегодняшнему продан тиражом свыше 2.000.000 копий.
- www.mymusicbase.ru

Background singers, symthesizers. This is more programmed mood music than jazz. Smooth and nice. Gold album.
- allmusic.com
Альбом “Come Morning” (1981) с участием перкуссиониста Ральфа МакДональда (Mac Donald), барабанщика Стива Гэдда (Steve Gadd), гитариста Эрика Гейла (Eric Gale), пианиста Ричарда Ти (Richard Tee), басиста Маркуса Миллера (Marcus Miller) и вокалиста Грейди Тейта (Grady Tate) принёс Гроверу четвёртый "Золотой Диск".
- www.mymusicbase.ru

On The Best Is Yet to Come, the title cut was a major R&B hit, with Patti Labelle doing vocals. The rest, unfortunately, is formulaic fusion.
- allmusic.com
После выхода альбома “The Best Is Yet To Come” вокалистка Пэтти Лабэлл (Patti Labelle) за участие в заглавной композиции была номинирована на “Grammy”.
- www.mymusicbase.ru

Although Grover Washington Jr. (on alto, tenor, soprano and baritone) puts on his usual strong effort, the forgettable material (which included no hits) and the emphasis on vocals (particularly those of Jon Lucien who is on five of the seven selections) makes this one of Washington's weaker efforts and the least essential of his four Elektra recordings. The background vocalists do not help much either.
This was Grover Washington, Jr.'s only full-length album as a leader during the 1982-86 period but was not worth the effort.
- allmusic.com
Изюминкой альбома “Inside Moves” (1984) стал вокал Джона Люсьена (Jon Lucien).
- www.mymusicbase.ru

Grover Washington, Jr.'s first album in three years (and debut for Columbia) did not yield any major hits but found him playing in prime form. Switching between his distinctive soprano, alto and tenor, Washington is joined by bassist-producer Marcus Miller, a large rhythm section and guest vocalists B.B. King ("Caught A Touch Of Your Love") and Jean Carne (on two songs).
Highlights include "Strawberry Moon," "The Look Of Love," "Maddie's Blues" and "Summer Nights."
- allmusic.com
Для создания “Strawberry Moon” (1987) Гровер объединился с легендарным блюзовым гитаристом Би Би Кингом (B.B.King) и вокалисткой, поющей в стилях джаз и ритм-н-блюз Джин Карн (Jean Carne).
- www.mymusicbase.ru

This is one of Grover Washington, Jr.'s occasional strays away from R&B-oriented jazz to play in a more straightahead setting. Switching between soprano, alto and tenor, Grover is accompanied by either Tommy Flanagan or Herbie Hancock on piano during five of the eight selections and he performs such numbers as Ron Carter's "Blues for D.P.," "Stolen Moments" and "Stella by Starlight" with swing and taste. Tenor-saxophonist Igor Butman also helps out on three songs. Worth acquiring.
- allmusic.com

One of the most electrified of Grover Washington, Jr.'s albums, this Columbia set features the popular saxophonist (who plays soprano, alto and tenor) joined by oversized rhythm sections and plenty of keyboards on a variety of funky and danceable material. Not one of Washington's more essential releases (his Columbias overall have not been that memorable), the pacesetter among r&bish saxmen is actually in fine form; if only the material were better.
- allmusic.com

The man who wrote the book on R&B/fusion returns with yet another set of what he does best. Washington's sax shares time with vocal tracks featuring the likes of Nancy Wilson, Lalah Hathaway, and the Four Tops. A solid, if predictible outing.
- allmusic.com

Eddie Henderson's lovely flugelhorn colors the opening track, "E Preciso Perdoar (One Must Forgive)," setting the mood for a very mellow set. Washington, accompanied by six pieces, plays the standards straighter than Johnny Mathis sings them; everything is ratcheted down '40s-ish/'50s-ish cozy nightclub style. Freddy Cole resembles his brother, Nat King Cole, on "Overjoyed," while "Happenstance" showcases Henderson's absolute trumpeting skills. But if you expected to exercise your fingers with a few impromptu snaps, these tracks won't take you there.
Washington's Winelight album, one of his best, was laid-back also but Washington's M.O. was stamped all over it; here you need credits and liner notes for verification, and only the opening tune emits any sparks. An attempt to silence the die-hard jazz critics who considered him a lightweight, but a disappointment for his Mister Magic fans.
- allmusic.com

Soulful Strut is a typically smooth and swinging date from Grover Washington, Jr. Occasionally, the production by Walter Afanasieff is too slick and commercial, diluting the impact of Washington's subtle, relaxed groove. Fortunately, Washington's instrumental skills cut through the gloss, making Soulful Strut another worthy record for mainstream soul-jazz fans.
- allmusic.com

This legend of urban jazz-funk left way too soon at age 56, but listeners can at least take heart in the fact that before he departed, he lived out a career-long dream by recording an album pairing his inimitable saxophone style with classic opera pieces. While the album may hit many of his fans as an unexpected departure, it actually completes a circle that began when Washington first studied music -- classical music -- at Buffalo's Wurlitzer School of Music. Even as he inspired a generation of saxmen with his amazing blend of jazz and soul, his first love remained classical music.
Performing here on soprano, alto, tenor, and baritone saxes, he draws upon his artistry as a melodist to capture the emotional spirit of a dozen of opera's most beautiful arias, from Puccini's "O Mio Babbino Caro" to Delibes's "Flower Duet," all with a sensibility that is very much of our day. The Orchestra of St. Lukes is most effective wrapping its lushness around the tenor on a dramatic rendering of Puccini's "Donna Non Vidi Mai." Bassist Ron Carter and pianist Billy Childs complete a beautiful trio. This isn't Grover at his most inventive or exciting, but like everything he did, it's full of pure heart.
- allmusic.com
Посмертный альбом Гровера Вашингтона.