1972

#everybodydigs 153. Charles Mingus – Let My Children Hear Music

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#everybodydigs is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy.

One of Charles Mingus’ most ambitious efforts and among the finest albums from the last stage of his career, this 1972 recording features extended compositions for jazz orchestra. Let My Children Hear Music songs It’s serious, sophisticated, modernist music that still swings hard. Soloists include Charles McPherson, James Moody, and Sir Roland Hanna, with arrangements and orchestrations beautifully handled by Sy Johnson. Mingus called this his personal favorite among all his recordings.

Rappamelo’s favorite track.

Full Album Stream.

everybodydigs#138 Oscar Peterson – Reunion Blues

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everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

Pianist Oscar Peterson joins up with his old friends, vibraphonist Milt Jackson and bassist Ray Brown, in addition to his drummer of the period, Louis Hayes, for a particularly enjoyable outing. After a throwaway version of the Rolling Stones’ “(I Can’t Get No) Satisfaction,” the all-star quartet performs Jackson’s title cut, Benny Carter’s ballad “Dream of You,” and four standards. Although not up to the excitement of Peterson’s best Pablo recordings of the 1970s, this is an enjoyable album. ~ Scott Yanow

Rappamelo’s favorite track:

everybodydigs#97 Ann Peebles – Straight from the Heart

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everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

A lean, tough set that was not only a triumph for Peebles, but illustrated how the Hi label had surpassed its crosstown Stax rival for quality Memphis soul in the early ’70s. The guitars are spare, funky, and bluesy, the horn section punchy, and the material far earthier and down-home than the increasingly formulaic grooves at Stax. There were three modest R&B hits on the album (“Slipped, Tripped and Fell in Love,” “I Feel Like Breaking Up Somebody’s Home,” “Somebody’s on Your Case”), much of which was penned by Peebles or her husband Don Bryant. Peebles’ vocals were convincingly biting, and she never, unlike many other singers of the era, tried too hard for her own good. The main flaw of the record is its length (26 minutes), which was short even by early-’70s standards. (allmusic)

Rappamelo’s favorite track:

everybodydigs#88 Ronnie Foster – Two Headed Freap

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everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

Ronnie Foster’s debut album Two Headed Freap is a set of contemporary funky soul-jazz from the early ’70s, which means it sounds closer to the soundtrack of a lost blaxploitation flick than Back at the Chicken Shack, Pt. 2. Foster certainly does display a debt to Jimmy Smith, but his playing is busier than Smith’s and a bit wilder. Ironic, then, that his playing is in service to the groove and blends into the mix of wah-wah guitars, funk rhythms, electric bass, harps, and percolating percussion. Everything on Two Headed Freap is about glitzy groove — it sounds cinematic, colorful, and funky. It’s true that there is little real improvisation here and the songs all have a similar groove, but it’s worked well, and the music is ultimately appealing to fans of this genre.

Rappamelo’s favorite track:

everybodydigs#35 Hubert Laws – Morning Star

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everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

Flutist Hubert Laws is joined by a large string orchestra on this set, which was arranged and conducted by Don Sebesky. Keyboardist Bob James is in the supporting cast, and some unnecessary background vocalists (including Debra and Eloise Laws) are employed on some of the numbers, but the focus is mostly on Laws’ brilliant and appealing flute. Highlights include “Let Her Go,” “Where Is the Love,” and, particularly, “Amazing Grace.” The results are pleasing, if not quite essential.

Personnel: Hubert Laws (flute, alto flute, piccolo); Debra Laws, Eloise Laws, Lani Groves, Tasha Thomas (vocals); John Tropea (guitar); Gloria Agostini (harp); Elliot Rosoff, David Nadien, Gene Orloff, Irving Spice, Harry Cykman, Max Ellen, Paul Gershman, Emanuel Green, Harry Lookofsky (violin); Lucien Schmit, George Koutzen, Charles McCracken (cello); Romeo Penque (flute, alto flute, piccolo, English horn); Phil Bodner (flute, alto flute, clarinet); Jack Knitzer (bassoon); Alan Rubin, Marvin Stamm (trumpet, flugelhorn); James Buffington (French horn); Garnett Brown (trombone); Bob James (electric piano); Dave Friedman (vibraphone, percussion); Billy Cobham (drums); Ralph MacDonald (percussion)

Rappamelo’s favorite track: