| | Charles Earland Mighty Burner: The Best Of His Highnote Recordings CD Charles Earland Discography of CDs
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Recording information: Van Gelder Studios, Englewood Cliffs, NJ (02/12/1997-10/19/1999).
The Mighty Burner: The Best of His Highnote Recordings is a comprehensive single-disc overview of the final recordings made by one of the masters of the Hammond B-3, Charles Earland. These ten previously issued tracks were recorded in the late '90s and are taken from the albums Blowing the Blues Away, Cookin' With the Mighty Burner, If Only for One Night, Slammin' & Jammin', and his last session, Stomp! Even at this late period in his career, Earland's six originals and four cover versions of "Blowing the Blues Away," "Sister Sadie," "Organyk Groove," and "Killer Joe" are executed with vigor, guts, and inspiration. Alongside the organist on these tracks was an awesome set of rotating musicians who provided the delicate balance between post-bop technical excellence and the greasy funk of soul-jazz, including Eric Alexander and Carlos Garnett on tenor saxophones, trumpeter James Rotundi, guitarist Melvin Sparks, and drummer Bernard Purdie. This highly recommended compilation demonstrates that, even in the closing years of Charles Earland's life, his recorded output remained both mighty and burning. ~ Al Campbell
Personnel: Charles Earland (Hammond b-3 organ); Bill Boris, Bob DeVos (guitar); Michael Karn (tenor saxophone); James Rotondi, James Rotondi (trumpet); Buddy Williams (drums); Gary Fritz (percussion); Melvin Sparks (guitar); Najee (soprano saxophone, tenor saxophone); Eric Alexander , Carlos Garnett (tenor saxophone); Bernard "Pretty" Purdie (drums).
Liner Note Author: Joe Fields.
Mighty Burner: The Best Of His Highnote Recordings Music Charles Earland Mighty Burner: The Best Of His Highnote Recordings Songs Mighty Burner: The Best Of His Highnote Recordings Review
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A fair outing of modern big band music from a set of players spread across the East Coast, this album captures some level of the classic bop big band sound (it opens with a Tadd Dameron number, no less), as well as hints of the modern big band, as they stand. The music here tends to be somewhat overwrought, with enough references to the old style that the music can become slightly monotonous after a time. The Tadd Dameron opener is an excellent composition, but loses a bit of its luster under the mass of instrumentation. As the album progresses, this lightens up a bit. Indeed, the big band is scaled back to a sextet for a spattering of tracks within the course of the album. These sextet pieces are really excellent, giving the players more room (and more bars) to stretch out and show off their abilities. In the larger setting, the songs become somewhat predictable under the weight of their own compositions and the difficulties inherent in keeping a band of this size together suitably well. The experimentation and exploration of some of the newer big bands (Chris Walden's, for example) is seemingly missing. That said however, the group takes a turn midway through, expanding into more adventurous territory at least temporarily with a Monk-like composition and a light samba leading into a somewhat more free-form sextet number that gives co-bandleader Vince Norman some ground to make his saxes squeal a bit. The album closes with a trio of pieces built in the mold of the '70s big bands, somewhere between bop and easy listening jazz, with twists and turns thrown into the melodic lines almost too well to maintain ...
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