Earl Klugh Albums (26)
What The Critics Say
Back in the '70s, when Earl Klugh was launching his career with easy grooving, melodic solo albums like Finger Painting and his Grammy winning One on One collaboration with Bob James, he probably had no idea he was helping lay the foundations for the later smooth jazz phenomenon. Throughout the '80s and '90s, tracks by the 13-time Grammy nominated Detroit-born composer and acoustic guitarist became staples of that format -- but he took a sudden leave of absence after his single Windham Hill Jazz date, Peculiar Situation, in 1999. Emerging in sweetly eloquent style from a six-year studio hiatus, he gets back to his warm-toned basics on his Koch Records debut -- which will easily remind longtime fans of his one previous stripped down, standards-heavy gem, 1989's Solo Guitar. Another masterpiece of fingerstyle jazz guitar, the new collection features intimate solo interpretations of 13 standards and pop classics, as well as "Angelina," a beloved tune from Klugh's self-titled 1976 solo debut that he wrote in 1971 -- a fitting closing track that in many ways brings his career full circle. Although fans of his more pop-oriented material may grow impatient, Klugh explores a deeper artistry putting his indelible stamp on well-known tunes ("The Summer Knows," "Ding Dong the Witch Is Dead," "I Want to Hold Your Hand" and "Moon River") as well as slightly more obscure pieces. He also puts a uniquely Latin twist on a lesser-known song by film composer John Williams, "In the Moonlight." Overall, this is a welcome return from a true master of his instrument. ~ Jonathan Widran, All Music Guide
'Peculiar Situation'
Release Date 7/27/1999
Tracks 11
Label Windham Hill
See Album Tracklist and Review
What The Critics Say
Windham Hill's eagerness to become one of smooth jazz's top labels has led them to sign a handful of influential masters of the form. They couldn't have placed a surer bet than on Earl Klugh, whose snappy acoustic style first hit the airwaves in the mid-'70s. While he's experimented a few times in recent years with orchestral projects, his Peculiar Situation finds him for the most part mining familiar and friendly territory. The sharp crisp melody over a thick, rolling bass groove on the title cut (with the occasional synth flourish at the end of the chorus part) characterizes his overall funk approach, while the graceful high-toned melody that leads "Southern Dog" is classic Klugh balladry. One of his more unique traits is how he modulates his strings; the melody line on the title track features a high tone, and his solo improvisation delves into the lower registers. Klugh has long enjoyed sampling the worldbeat experience, getting his fill here with the galloping samba basslines, vibes harmonies, conga line festivity, and call and response African-flavored vocals on "Desert Paradise." Roberta Flack is on board for his first ever vocal track, her easy honey voice all but melting upon his subtle string harmonies on "Now and Again." ~ Jonathan Widran, All Music Guide
What The Critics Say
As is usual with Earl Klugh's recordings, this CD features the guitarist's pretty tone on melodic and lightly funky material. His backup band sounds very anonymous and none of his sidemen display an original personality. However Klugh's musicians do their job well, providing a safe background for the guitarist as he interprets ten of his original melodies. Earl Klugh collectors will most likely enjoy this effort due to his sound and the peaceful vibes but those who prefer more adventurous music will not be converted. ~ Scott Yanow, All Music Guide
'Sudden Burst of Energy'
Release Date 3/19/1996
Tracks 11
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
Ever since he gained attention playing with George Benson as a teenager in the early '70s, guitarist Earl Klugh has been quite popular and famed for his pretty sound. Klugh, who has several times stated that he does not consider himself a jazz soloist, generally records melodic and lightly funky material that fits into the easy listening music he enjoys playing. On this particular CD, the main departure from his usual recordings is that Klugh wrote all 11 songs. Joined by a large and sympathetic rhythm section plus an occasional saxophonist, Klugh does not take any chances or depart from his usual formula, creating superior background music that will please his fans. ~ Scott Yanow, All Music Guide
What The Critics Say
If there's any mystery about how to sustain an instrumental career over nearly two decades, just ask Earl Klugh for the solution. Judging from the well-traveled acoustic guitarist's body of work, it seems to lie in staying true to a certain sweet sound but continually changing the rhythmic and production trappings. After a few ambitious jaunts into the orchestral realm, Klugh on Move shakes up the formula with a mixed bag of logical twists: exotic percussion, African chant vocals, odd vocal effects, swinging rock-blues, and urban-flavored grooves. The result is an inspired new freshness. While sticking to his slick, melodic string style, Klugh infuses more aggressive energy into the pot. A few times, he even lets a harmonica and sax take the lead voice. Klugh's warm flavors have never gone out of style, but it's nice to get a visit from an old friend bearing new and unique gifts. ~ Jonathan Widran, All Music Guide
'Sounds and Visions, Vol. 2'
Release Date 1/1/1993
Tracks 18
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
Although this CD gives the Earl Klugh Trio first billing, the guitarist's group is joined by the Royal Philharmonic Orchestra, a large string orchestra arranged by Don Sebesky. Except for the brief intros and interludes, the music is comprised of themes from movies. With Sebesky contributing arrangements that are sometimes saccharine, the program does sound like film music. Klugh has always had a pretty sound and that is very much in evidence, but he rarely ventures away from the melodies. Fans of the guitarist's usual recordings will consider this set a nice change of pace. Listeners who wish that Earl Klugh would sometimes stretch himself and take some chances will be disappointed with this pleasant middle-of-the-road effort. ~ Scott Yanow, All Music Guide
'Midnight in San Juan'
Release Date 3/12/1991
Tracks 8
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
The majority of Earl Klugh's albums have been throwaways not because he's choosing pop-flavored jazz and jazzy instrumental pop over straight-ahead jazz, but because of their total lack of substance and musical integrity. One of his more listenable commercial efforts, Midnight in San Juan finds the guitarist placing an unusually heavy emphasis on Latin and Caribbean elements. The CD is decent more often than not, and listeners are reminded of the fact that commercial pop-jazz can be tasteful or not so tasteful. Some of the more worthwhile tunes include the Brazilian-flavored "Kissin' on the Beach," and the salsa-influenced "Mobimientos del Alma," the haunting "She Never Said Why" and the Joe Sample-ish title tune. Harmonica player Toots Thielemans has a melodic cameo on the pensive "Theme for a Rainy Day," and pianist Eliane Elias is in good form on the vibrant "Take You There." Meanwhile, Klugh tosses good taste to the wind on "Every Moment with You," a glaring example of the type of insipid, toothless schlock he so often stoops to playing. This is far from an essential purchase, but overall, it was certainly superior to most of his other commercial albums. ~ Alex Henderson, All Music Guide
'The Earl Klugh Trio, Vol. 1'
Release Date 1/1/1991
Tracks 11
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
A departure from the type of boring, innocuous elevator Muzak Earl Klugh is best known for, Earl Klugh Trio, Vol. 1 gives listeners a rare chance to hear the guitarist playing straight-ahead jazz. Some bebop musicians contend that playing dull background music year after year means you can kiss your bebop chops goodbye, but there's no evidence of that on this rewarding CD. With Klugh sticking to acoustic guitar and employing Ralph Armstrong on upright bass and Gene Dunlap on drums, someone who is best known for recording schlock offers tasteful and lyrical interpretations of such well known standards as "I'll Remember April," "Night and Day" and "One Note Samba." Klugh also excels on "Lonely Girl" (a beautiful but underexposed Neal Hefti piece) and pleasantly surprises by demonstrating that the theme from the '60s sitcom Bewitched and the Aretha Franklin hit "I Say a Little Prayer" (written by Burt Bacharach and Hal David) can work in an acoustic bebop setting. Undeniably, this is the best album Klugh ever recorded -- it's too bad it was a departure from his norm instead of a primary direction. ~ Alex Henderson, All Music Guide
