| | Grant Green Green Is Beautiful CD Grant Green Discography of CDs
The second album of Grant Green's thorough jazz-funk makeover, Green Is Beautiful finds the guitarist growing more comfortable with harder, funkier R&B than he seemed on the softer-hued Carryin' On. The switch from Fender Rhodes electric piano back to the more traditional Hammond organ certainly helps give the session a little extra grit, but it doesn't return Green to the land of soul-jazz by any means. Green Is Beautiful is still explicitly commercial and accessible to non-jazz audiences, and (purist objections notwithstanding) that's not necessarily a bad thing. Green's take on James Brown's "Ain't It Funky Now" is one of the funkiest items in his rare-groove period; it may be chordally very simple, but the groove is tight and percolating, and Green, tenor saxophonist Claude Bartee, and trumpeter Blue Mitchell all come up with hot, exciting solos. The album also benefits from Green's discovery of composer and occasional organist Earl Neal Creque, who contributes two bright, slinky, horn-driven originals: "The Windjammer," which became one of the signature tunes of Green's late period, and "Dracula." They help give the album a more original voice, and indicate that Green was actively making himself at home in his new musical environment, not just mixing dull originals with phoned-in covers of pop and R&B hits (as he and many other '70s Blue Note artists were accused of doing). Of course, there are still pop covers present -- the Beatles' "A Day in the Life" is a mellow, mid-tempo groove, and Bacharach's "I'll Never Fall in Love Again" doesn't stray far from the melody. Even if those aren't particularly distinctive, the remainder of Green Is Beautiful proves that Green's reinvention as a jazz-funk artist wasn't the misguided disaster it was initially made out to be. ~ Steve Huey
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on January 30, 1970. Originally released on Blue Note (84342). Includes liner notes by Morton Roth.
Personnel: Grant Green (guitar); Claude Bartee (tenor saxophone); Blue Mitchell (trumpet); Earl Neal Creque, Emanuel Riggins (organ); Jimmy Lewis (electric bass); Idris Muhammad (drums); Richard Landrum (bongos); Candido Camero (congas).
Grant Green Green Is Beautiful Songs | 1. | Ain't It Funky Now  | $1.87 | |
| 2. | Day in the Life | $1.87 | |
| 3. | Windjammer | $0.99 | |
| 4. | I'll Never Fall in Love Again From Promises, Promises | |
| 5. | Dracula | $0.99 | |
| Green Is Beautiful Review
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Buy Green Is Beautiful CD Purchase Green Is Beautiful CD To buy, Click on price to add to cart | Mike Bloomfield Super Session CD (1968) Bonus Tracks; Remastered
Green Is Beautiful album
$6.75 A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth.
Those familiar with the Live Adventures album these two recorded at the Fillmore West know how brilliant they could be on stage, and here's another gem, recorded at the Fillmore ...
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Green Is Beautiful CD music
$15.49 COME AWAY WITH ME won the 2003 Grammy Awards for Album Of The Year, Best Pop Vocal Album and Best Engineered Album (Non-Classical).
"Don't Know Why" won the 2003 Grammy Awards for Record Of The Year, Song Of The Year and Best Female Pop Vocal Performance.
Arif Mardin won the 2003 Grammy Award for Producer Of The Year (Non-Classical).
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
A direct descendant from the pedigree of one of the 20th century's virtuosos, Norah Jones might not be on such a lofty artistic level as her dad Ravi Shankar, but certainly inherited some musical intuition from him. With nary a sitar nor raga within earshot, the young newcomer sounds very much an assimilated, western, 21st century pop-jazz singer. One thing that separates her from the pack is Ms. Jones' own piano stylings--not ...
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$15.09 On FIRST LOVE, contemporary jazz saxophonist and composer Everette Harp moves deeper into the space he addressed on 2007's excellent MY INSPIRATION. Produced by George Duke, the meld of acoustic and electric instruments here is perfectly balanced. Melodic and harmonic structures are much more complex and don't always fit the C-jazz cookie-cutter mold. Check his original "The Council of Nicea," one of the most satisfying things here. Harp's tenor is accompanied by James Genus' acoustic bass, and some spot-on breaks by Terri Lyne Carrington, a beautiful bluesy, hard bop trumpet solo by Michael "Patches" Stewart, and Lenny Castro's hand percussion. Directing the band is Duke on Fender Rhodes with help from the exquisite if understated electric guitar work from Dwight Sills. The ballad "Before You Leave" follows suit with Carrington providing elegant brushwork. These are pretty basic straight-ahead numbers. This is not to suggest that there isn't some funky work here, too. Check Duke's "Soul Fries" with Genus on electric bass. The funkiness of the Rhodes is smokin' and the blues factor in Harp's playing with Stewart gets a solid groove going behind a tight, sophisticated arrangement. Duke contributes ...
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Green Is Beautiful CD music
$6.09 This 1975 compilation does a good job of synopsizing the early career of one of the world's finest songsmiths. Cohen's initial modus operandi was to deliver dark, poetic imagery in a sedate-but-effective manner over his own nylon-string fingerpicking. Musically, early tunes like "Suzanne," "Bird on the Wire" and "Sisters of Mercy" adhere to traditional folk ballad form, but the literary depth of the lyrics and ...
| | Max Bennett Plays CD (2005) (Import) Japan; 24 Bit Remastered; Mini LP Sleeve
Green Is Beautiful music CDs
$30.75 Max Bennett became one of the top session bassists in California, but beforehand was in the midst of the West Coast early progressive jazz movement that was informed by bop. His debut recording for the Bethlehem label (recorded in New York City) featured an amalgam of eastern boppers like Bostonians alto saxophonist Charlie Mariano and pianist Dave McKenna, and fellow members of the Stan Kenton bands like trombonist Carl Fontana, baritone saxophonist Jack Nimitz, drummer Mel Lewis, and Woody Herman alumnus trumpeter Nick Travis. This straight reissue of the original 1955 LP features a handful of standards, some hot hard bop originals, and nary a speck of the laid-back sounds the Los Angeles scene was identified with. The tracks with just a quartet have the brilliant Fontana leading out on the melody lines. The trombonist breezes through the ballad "Polka Dots & Moonbeams," a song he would perform as a signature tune for decades onward. No slouch on bop for "My Heart Belongs to Daddy," Fontana rips through the melody supported by McKenna's modal comping chords, and clamps down firmly for the joyous "Strike Up the Band," as close to perfection as can be. McKenna, who is well known for playing early style vintage jazz outside of bop, is outstanding, and could go note for note against even the vaunted Bud Powell on this date. With Bennett and Lewis, they do the delightful original of the pianist's "13 Toes," while McKenna gets ample solo space on Al Cohn's fun and well swung "Max Is the Factor." While an expert at quarter-note walking, Bennett gets to play lead melodies for "Something to Remember You By" and "Nice Work If You Can Get It." The entire septet goes for it on the singing and tuneful then-fashionable bopper written by Lennie Niehaus, "Johnny Jaguar," Travis gets a big piece of the action for Bob Brookmeyer's "Ira of the I.R.A.," while the whole horn section chirps at and strafes over Bennett for "Nice Work." This is clearly a cooperative band no matter the configuration, featuring the common sense approach of the leader, great musicianship from all; it's very well recorded, and made for an auspicious debut recording that perfectly reflects the sound of the time. ~ Michael G. Nastos
The follow-up recording for Max Bennett as a leader includes some sessions that were left off from his debut effort, and includes others from Los Angeles with a different band from the same year of 1955. Vocalist Helen Carr is included on two songs, trombonist Frank Rosolino, pianist Claude Williamson, and drummer Stan Levey contribute on the majority of the cuts, and alto saxophonist Charlie Mariano plays a larger role than on the previous date. This is a diverse effort in terms of instrumentation, a larger emphasis on standards, but retains more of a jam session feel. Two quartet ...
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