Charles Earland Albums (31)
What The Critics Say
Although Funk Fantastique is a somewhat thrown-together affair, the music presented on the album represents solid work by organist/keyboardist Charles Earland and company. The material at the center of the album (tracks four through seven) was originally released as Charles III in 1972, and the surrounding tracks are previously unreleased. Since the unreleased material comes from two different sessions, three different ensembles grace Funk Fantastique. The presence of singer Joe Lee Wilson on the dated "Auburn Delight" (think cheesy '70s jazz) offers even more variety. Through it all, though, Earland's funky organ and keyboard brings all the material together under the banner of soul-jazz. Even on an unsuccessful and sexist piece like "Auburn Delight," Earland's organ work has a brisk, spunky quality that makes the instrumental portion of the song sparkle. Much better, however, are "Charles III" and "Girl, You Need a Change of Mind," both supported by large, energetic horn sections. There's also some solid guitar work from Jack Turner on the latter piece. Among the unreleased tracks, there's a fun version of "Never Can Say Goodbye," the old Jackson 5 hit, with nice soprano work by Jimmy Vass. Funk Fantastique never ties up all of its loose ends, but it nonetheless lives up to its title. ~ Ronnie D. Lankford, Jr., All Music Guide
'Keepers of the Flame'
Release Date 10/15/2002
Tracks 8
Label High Note
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'Black Drops'
Release Date 8/20/2002
Tracks 6
Label Original Jazz Classics
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What The Critics Say
The late '60s and early '70s were a very productive time for Charles Earland. At his best, the organist delivered five-star gems during that period, such as Black Talk and Living Black -- and at his worst, he provided decent, if unremarkable, albums like Black Drops. Although not in a class with Black Talk or Living Black, this Bob Porter-produced soul-jazz/hard bop LP is satisfying and generally enjoyable. Earland surrounds himself with mostly fellow Philadelphians, including tenor and soprano saxophonist Jimmy Heath, guitarist Maynard Parker, trombonist Clayton Pruden, and drummer Jimmy Turner -- in fact, the only non-Philadelphian on Black Drops is trumpeter Virgil Jones. Highlights of the LP range from the driving hard bop of Earland's "Buck Green" and John Coltrane's "Lazybird" to a funky workout on Sly Stone's "Sing a Simple Song" and some mellow, congenial grooving on "Don't Say Goodbye," and Burt Bacharach's "Raindrops Keep Falling on My Head." ~ Alex Henderson, All Music Guide
What The Critics Say
Recorded six months before organist Charles Earland's death, this date finds "the Mighty Burner" still in excellent form. Although many of the titles (six of which are Earland originals) performed by his group refer to religion, the music swings in a hard-charging secular way, with only "Stomp!" having some spoken word by Earland. The organist sounds as powerful as always, both Eric Alexander and Michael Karn have some fine tenor solos, and there are also spots for trumpeter James Rotondi and guitarist Bill Boris, with drummer Greg Rockingham swinging steadily in support. This set is easily recommended to soul jazz/hard bop collectors, as are virtually all of Charles Earland's recordings. ~ Scott Yanow, All Music Guide
'Cookin' with the Mighty Burner'
Release Date 7/27/1999
Tracks 8
Label High Note
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What The Critics Say
Organist Earland is known far and wide as one of the more inventive, awe-inspiring, soul-sending practitioners of the B-3. On this set, he still sounds like the man to beat, but in many instances he instead allows his bandmates to shine. Those mates include younger firebrands (trumpeter Jim Rotundi and saxophonist Eric Alexander), as well as longtime sidemen (guitarist Melvin Sparks and drummer Bobby Durham), helped by percussionist Gary Fritz. Of course, when Earland wants to burn, he can, and does on many occasions. He recapitulates a piece from Front Burner which was titled "Mom & Dad," but is re-named "Seven of Nine." It's a modal cooker in 10/8 that is even more relentless than the original with a reworked head for the horns. Earland leads the way on Carole King's half-speed "Will You Love Me Tomorrow," but the trumpet and tenor, separately or together, inspire the charge on other cuts; Rotundi quite naturally on "Seven Steps to Heaven," "Milestones," and "Stella By Starlight." Alexander is really hitting his stride, getting fluttery and animated on "Seven Steps" and "Seven of Nine." And Sparks, who is woefully underdocumented these days, proves why he is still one of the all-time greats. His shimmering chords on "Milestones" and fleet single lines in the middle of "Seven Steps" provide plenty of evidence for this contention. At first you think this is a head-solo-tail fest, with the first four cuts running true to predictable form. But then Earland steps forward, turns up the heat, and things cook along nicely until the end. This is one of Earland's better efforts in the last ten years of his life, consistent from start to finish. The burner is in the house, and mightier than ever. ~ Michael G. Nastos, All Music Guide
'Intensity'
Release Date 7/20/1999
Tracks 6
Label Original Jazz Classics
See Album Tracklist and Review
What The Critics Say
Even if the performances on Intensity weren't excellent, this Charles Earland session would be required listening for jazz historians because it marked the last recorded documentation of Lee Morgan. Only two days after Intensity was recorded at Rudy Van Gelder's famous New Jersey studio on February 17, 1972, the influential trumpeter was shot and killed by a girlfriend at the age of 33. Refusing to confine himself to hard bop, Morgan was exploring soul-jazz and fusion during the last years of his life -- and his enthusiasm for soul-jazz is hard to miss on Earland's funky "'Cause I Love Her" as well as inventive interpretations of Chicago's "Happy 'Cause I'm Goin' Home" and the Shirelles' "Will You Still Love Me Tomorrow." Originally released on LP by Prestige, Intensity was out of print for many years but was reissued on CD in 1999 for Fantasy's Original Jazz Classics (OJC) series. For the CD, Fantasy added two bonus tracks: a passionate remake of Morgan's "Speedball" and a driving version of Chicago's "Lowdown," which shouldn't be confused with Boz Scaggs' 1976 hit. The importance of this reissue cannot be denied. ~ Alex Henderson, All Music Guide
What The Critics Say
Recorded at the same show that produced his Jazz Organ Summit live album with Johnny "Hammond" Smith, Dr. Lonnie Smith and Jimmy McGriff, this is the full set, recorded live in Chicago on his birthday. Backed by a hard swinging quintet including Bob Devos on guitar, Greg Rockingham on drums, Eric Anderson on tenor sax and Jim Rotundi on trumpet, Earland swings through a set that includes great renditions of his "Black Talk," "The Burner's Magic" and closes with a swinging version of Pat Upton's "More Today than Yesterday." One burning set by a true master of the B-3. Highly recommended. ~ Cub Koda, All Music Guide
What The Critics Say
There were a number of different sides to Charles Earland's musical personality, all of them capable of representing him fully in any given moment. This date from 1971 at the legendary Lighthouse club offers a stunning vision of Earland the soul organist, not the jazzman. Certainly there is plenty of improvisation here and many unexpected twists and turns in the arrangements, with decisions made and reacted to on the spot. But that's not what makes this date so special. This is Earland digging so deeply into a groove emotionally that he's unconcerned with anything but feeling. No, dammit, it's doesn't mean that the playing is sloppy. Raw, yeah. Sloppy? If you've heard the cat's music, you should've known better. If you haven't, you're forgiven this time. In any case, beginning with Sly Stone's "Smiling," Earland is hooked into something. He's got the essence of the tune in his hands, but something about it just won't give; he's digging deep within these huge chords, trying to get it to crack, but it won't -- until Maynard Parker's guitar solo comes from out of chordville with huge, gritty voicings and single-note runs that give Earland a harmony read on the feel. As for the horns, played by trombonist Clifford Adams and saxophonist Jimmy Vass, it's a soul jam and they play in classic J.B.'s style. And just as the band begins to wind it out and move into the darkness, Earland finds what he's looking for and shifts the emotional context into bright, black light. This is evidenced further by the most swinging version ever of "We've Only Just Begun." Who ever thought that a puff piece of a pop tune could groove? Obviously Earland, because he takes the band through a funky, sprightly version where soul-jazz harmonics meet funky sweetness in a melodic romp guaranteed to put a smile on the most committed pessimist's face. But Earland isn't content to stay in the sunshine too long; he's got to get back to the underground where all of the real sounds happen first, and he accomplishes this with this acid-test funked-up version of "Black Gun." The trumpet playing of Elmer Cole here is astonishing, as it holds together the different sonorities of Vass and Adams; he steps out and pushes the front line into the stratosphere harmonically. While there isn't a weak second here, the finish of "Freedom jazz Dance," which moves directly into "Moonframe," deserves mention for its sheer over-the-top raucousness bordering on chaos that never, ever leaves the heart of the groove. This is a demanding gig -- it demands that you stay on your feet for its entirety. Make sure no one at your next throwdown has heart disease before you spin it. ~ Thom Jurek, All Music Guide
What The Critics Say
Charles Earland composed and played on the soundtrack to The Dynamite Brothers, one of the most obscure blaxploitation movies. Although there were some soul-jazz elements in the score, it also reflected the move among many musicians from that background into funk, fusion, and rock territory in the early- to mid-'70s, particularly in the synthesizers by Patrick Gleeson. It often sounds like the kind of music you might have heard from a band warming up a crowd for a Miles Davis concert of the time. It's suitably slightly spaced soul/funk/fusion, atmospheric but not too heavy on remarkable compositional ideas. Gleeson does come up with some eerie wavering, high-pitched effects and squiggles on his ARP 2600 and Pro Soloist synths, and Earland gets down with some real earthy extended bluesy soloing on "Shanty Blues." Earland switches from organ to soprano sax on the most avant-garde and dissonant outing, the eight-minute "Snake." In 2001, the album was paired on a single-CD reissue on Prestige with another blaxploitation soundtrack, the Blackbyrds' Cornbread, Earl and Me. ~ Richie Unterberger, All Music Guide
