Grant Green Matador Blue Note / Music Matters 2009 (1964)
This may be the reissue of 2009: a resplendent vinyl pressing of guitarist Grant Green's Matador on two 180-gram, 45-rpm records from Music Matters. This May 1964 recording was, like many Blue Note sets, not released until many years later (November 1979 in Japan in this case) and only reached the U.S. on CD in 1990. It has not been remastered since. The record teams Green with two-thirds of saxophonist John Coltrane's rhythm section of the time--pianist McCoy Tyner and drummer Elvin Jones--plus bassist ...read more
Grant Green (1931-79) is probably the most sampled guitarist of his generation, and is rightly regarded as a godfather of acid jazz. His debut, Grant's First Stand (Blue Note, 1961)--heavy on the good foot groove--was made with soul jazz organist Baby Face Willette, and by 1965, when Green recorded an album for Verve, the label was able to title it, accurately enough, His Majesty King Funk. Many of Green's post-1970 recordings were built around extended, vamp or ostinato driven jams.
But along with a singularly melodic take on funk and blues, Green was capable of considerable harmonic and ...read more
> Grant Green Idle MomentsBlue Note1964 Guitarist Grant Green is most widely remembered today as a godfather of acid jazz, a consequence of the many groove-centric albums he recorded during his career. His debut, Grant's First Stand (Blue Note, 1961), was made with soul jazz organist Baby Face Willette and in 1965, when Green recorded an album for Verve, the label was able to title it His Majesty King Funk and face no challengers. Most of Green's later albums, particularly those made post-1970, were built around extended blues/funk jams.
This is some apotheosis of both jazz-funk and Grant Green, just when you thought Blue Note was practicing overexposure by adding yet another Green disk to last year's three discs worth of funky compilations. But this live session, which spent 35 years in the vault, transcends all previous Grant Green funk sessions by a mile. A lot of the credit has to go to the pluperfect chemistry of the band. Green may have been Blue Note's most erratic artist of the '60s and '70s, but the key to his best work involved matching him with a drummer ...read more
A previously unreleased live session, Live At Club Mozambique captures Grant Green at the start of his final, groove-driven decade.
By this time, fame and dope had taken a heavy toll on the guitarist, who'd downsized to Detroit, where Club Mozambique hosted one of his regular gigs. Blue Note, now without Alfred Lion, pulled out several stops for this recording. Producer Francis Wolff flew in from New York, as did tenor saxophone soul star Houston Person and groove-centric drummer Idris Muhammad. Clarence Thomas (saxophones) and Ronnie Foster (organ) were members of Green's regular band at the Mozambique, where the performances ...read more
There are a lot of Grant Green records on the market these days, entirely too much for those of us who think of him as one of the more erratic talents in the distinguished Blue Note catalog. But Sunday Mornin', coming immediately after the recent release of three funk-themed Green compilations of questionable value, is a gem, arguably the finest album of his career. Green had the misfortune of being saddled by his record company with painfully stupid concept albums that may have contributed to his depression and drug abuse. Imagine if Impulse Records had asked Archie Shepp ...read more
Tempting as it is to dismiss this Grant Green album as the sixties' slant on lite jazz, overriding talent, as one would expect, has a tendency to compensate for a decided lack of risk taking, the very virtue, considering the quality of these players, that could have elevated Goin' West to a minor classic. Recorded in November of 1962 and shelved until 1969, possibly because of its brevity or the glut of Green releases on the market, Goin' West , if one wanted to labor the point, is actually a third of a cycle of would-be concept albums cut by ...read more