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Four seasoned veterans bring back the 1960s through a nostalgic look at the music from the first James Bond thriller. Organ, guitar, bass and drums remind us how well the organ combo fit popular music of the day. The film’s scenery, which included tropical beaches and open waters, made it possible for a variety of popular music to fit in.
The organ-guitar combo has brought us many years of pleasurable jazz. The four Masters of Groove recall those years, but in a fresh context. Grant Green, Jr. and Reuben Wilson deliver the James Bond theme with energy while Bernard Purdie and Tarus Mateen dress up its foundation. All four swing with a heartfelt blues alliance. Green’s crisp articulation and phrasing would make his father proud. He delivers “Three Blind Mice” as it’s seldom heard: with a gospel echo and a New Orleans shuffle. Wilson, on the other hand, prefers legato phrasing that forces one to view each piece as a whole. In a sense, the forest is full of vibrant life, while each tree stands still and alone. Particularly on the calypso numbers, Wilson delights with a lyrical style that wraps up the melody in one big mass of wall-to-wall sound. Purdy and Mateen complement each other with their take-charge rhythmic base. It’s the kind of rhythm that thrilled Dr. No audiences in 1962 and continues to thrill younger generations today.
Track Listing: Masters of Groove Twist; Dr. No Shuffle; Under the Mango Tree; Jamaican Rock; Bond II; III Blind Mice; Jump Up; Crab Key Lullaby.
Personnel: Reuben Wilson- organ; Grant Green, Jr.- guitar; Tarus Mateen- bass; Bernard Purdie- drums; Mauro Refosco- congas, percussion; Leo Gangleman- alto saxophone on
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...