For 1972's Intensity, Charles Earland's fifth of ten Prestige discs, the Mighty Burner seemed to be aiming toward something a little different than his usual collection of soulful tenor-organ jams. The presence of two songs from the rock group Chicago and a small trumpet-dominated horn section indicate that jazz-rock was the goal. The result, the LP's four original tracks plus two tracks from the same date originally released as part of Charles III, is one of his very best.
Unfortunately, though, Intensity has the notorious reputation as the last recording trumpeter Lee Morgan participated in (done two days before his girlfriend shot him to death). But Morgan is perhaps the least notable aspect of what makes the record work well. His playing here - and elsewhere at the time - sounds rather indifferent, sometimes sloppy and far less stellar than the glowing commentary he offered up on a string of excellent Blue Note records throughout the 1960s (evident on his own lackluster "Speedball," also included here).
What does stand out is Earland's strong performances, especially on two lesser known Chicago tunes ("Happy Cause I Love You" and a "Lowdown" that is not Boz Scaggs's more famous hit, as the disc's liners imply). Both are punctuated for effect with a needless fuzz guitar. But it doesn't detract from the attractive energy the Earland-Laws-Morgan triumvirate achieves.
Earland also contributes two of his own above average originals: the wonderfully melodic medium tempo swinger, "Cause I Love Her," and the cooking "Morgan" (named after the fact of death, but neither a Morgan feature nor specifically dedicated to him).
One notices, too, the interesting sound spectrum engineer Rudy Van Gelder achieves here. The occasional trumpet punctuation (arranged by Earland and the underrated trumpeter Virgil Jones) shimmers, even though its glory-hallelujah harshness seems a bit overheated. But the combo tracks are superbly captured. Compare the sound here to any one of Laws's Van Gelder engineered CTI dates. Then listen to any one of Morgan's Van Gelder engineered Blue Note dates. The difference is remarkable. Unfortunately, though, Billy Cobham's exceptionally vibrant drumming sounds as muffled and in-the-next-room as too many Van Gelder sessions did during that time.
The Prestige records Earland made between 1969 and 1974 remain his finest work. Intensity certainly ranks among the best, capturing a fine player at the very top of his game and easily recommended to those who seek meaningful organ jazz and of equal appeal to fans of the ever-diverse Hubert Laws.
Songs:Happy Cause I'm Goin Home; Will You Still Love Me Tomorrow; Cause I Love Her; Morgan; Lowdown; Speedball.
Players:Charles Earland: organ; Lee Morgan, Virgil Jones, Victor Paz, Jon Faddis: trumpet, flugelhorn; Dick Griffin, Clifford Adams: tenor trombone; Jack Jeffers: bass trombone; Billy Harper: tenor sax; William Thorpe: baritone sax; Hubert Laws: flute, piccolo; John Fourie, Greg Miller, Maynard Parker: guitar; Billy Coham: drums; Sonny Morgan: congas.
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.