Grover Washington, Jr. Albums (20)
What The Critics Say
This legend of urban jazz-funk left way too soon at age 56, but listeners can at least take heart in the fact that before he departed, he lived out a career-long dream by recording an album pairing his inimitable saxophone style with classic opera pieces. While the album may hit many of his fans as an unexpected departure, it actually completes a circle that began when Washington first studied music -- classical music -- at Buffalo's Wurlitzer School of Music. Even as he inspired a generation of saxmen with his amazing blend of jazz and soul, his first love remained classical music. Performing here on soprano, alto, tenor, and baritone saxes, he draws upon his artistry as a melodist to capture the emotional spirit of a dozen of opera's most beautiful arias, from Puccini's "O Mio Babbino Caro" to Delibes's "Flower Duet," all with a sensibility that is very much of our day. The Orchestra of St. Lukes is most effective wrapping its lushness around the tenor on a dramatic rendering of Puccini's "Donna Non Vidi Mai." Bassist Ron Carter and pianist Billy Childs complete a beautiful trio. This isn't Grover at his most inventive or exciting, but like everything he did, it's full of pure heart. ~ Jonathan Widran, All Music Guide
What The Critics Say
Soulful Strut is a typically smooth and swinging date from Grover Washington, Jr. Occasionally, the production by Walter Afanasieff is too slick and commercial, diluting the impact of Washington's subtle, relaxed groove. Fortunately, Washington's instrumental skills cut through the gloss, making Soulful Strut another worthy record for mainstream soul-jazz fans. ~ Leo Stanley, All Music Guide
What The Critics Say
The man who wrote the book on R&B/fusion returns with yet another set of what he does best. Washington's sax shares time with vocal tracks featuring the likes of Nancy Wilson, Lalah Hathaway, and the Four Tops. A solid, if predictible outing. ~ Steve Aldrich, All Music Guide
What The Critics Say
One of the most electrified of Grover Washington, Jr.'s albums, this Columbia set features the popular saxophonist (who plays soprano, alto and tenor) joined by oversized rhythm sections and plenty of keyboards on a variety of funky and danceable material. The pacesetter among R&B-ish saxmen is actually in fine form.~ Scott Yanow, All Music Guide
What The Critics Say
This is one of Grover Washington, Jr.'s occasional strays away from R&B-oriented jazz to play in a more straightahead setting. Switching between soprano, alto and tenor, Grover is accompanied by either Tommy Flanagan or Herbie Hancock on piano during five of the eight selections and he performs such numbers as Ron Carter's "Blues for D.P.," "Stolen Moments" and "Stella by Starlight" with swing and taste. Tenor-saxophonist Igor Butman also helps out on three songs. Worth acquiring. ~ Scott Yanow, All Music Guide
What The Critics Say
Grover Washington, Jr.'s first album in three years (and debut for Columbia) did not yield any major hits but found him playing in prime form. Switching between his distinctive soprano, alto and tenor, Washington is joined by bassist-producer Marcus Miller, a large rhythm section and guest vocalists B.B. King ("Caught A Touch Of Your Love") and Jean Carne (on two songs). Highlights include "Strawberry Moon," "The Look Of Love," "Maddie's Blues" and "Summer Nights." ~ Scott Yanow, All Music Guide
What The Critics Say
Grover Washington, Jr. always put on exciting shows, and this performance from the Bijou Cafe in Philadelphia is a good example of his repertoire in 1977. It does not reach the heights of his best studio recordings or concerts, but there are some fine moments. Utilizing his octet of the time (with violinist John Blake, keyboardist James Simmons, and flutist Leslie Burrs), this CD (a straight reissue of the original LP) mostly features Washington playing lesser-known tunes that would not stay in his repertoire for long (other than a medley that includes "Mr. Magic"), but Washington (heard on tenor, alto, and soprano) consistently uplifts the material. ~ Scott Yanow, All Music Guide
What The Critics Say
Reed Seed was Grover Washington, Jr.'s final album for Kudu/Motown. It was also one of two recordings his issued in 1978 -- the other is the stone-killer live set Live at the Bijou. While the saxophonist had been experimenting with funk since 1971's Inner City Blues, by 1975's breakthrough recordings Mister Magic and Feels So Good, he'd perfected his groove. His appeal to fans of more radio-friendly material was ready: he had stellar grooves, very polished production, and accessible arrangements -- not too mention his stellar emotive attack on any saxophone he chose to play. Many straight-ahead jazz fans dug Washington's sound as well because of his technical facility on his instruments. Reed Seed, like its immediate studio predecessor Secret Place is a transition album from jazz-funk to what would become contemporary or, if you will, smooth jazz. That said, it is no less compelling than Mister Magic or Feels So Good. It follows those recordings in formula, beginning with the solidly funky "Do Dat," written by sidemen John Blake (keyboards and violin) and Leonard "Doc" Gibbs (percussion, vocals). Kicking it with a popping, repetitive bassline, Washington's tenor enters on the melody amid handclaps and the sounds of a backing chorus (provided by Rita & Lita Boggs). Containing a killer bass solo and bridge, it's a perfect length at 4:27 to be a single, and it was. This is followed by the uptown groover "Step "n" Thru," introduced by Blake's violin and synths, as well as nice guitar work from Richard Lee Steacker (the track's author). But the real prize is a smoking soprano solo from Washington as the tempo begins to move. The title track is a feature for Blake's violin to shine along with killer bass and percussion work, with Grover's soprano being intentionally restrained to providing its own sense of lyrical groove. There's a very fine cover of Billy Joel's "Just the Way You Are," and "Santa Cruzin'" sets the template for the direction he would follow in the future. It's a midtempo stepper with lithe funk and lots of acoustic piano and a very simple, direct melody that focuses on atmosphere as much as lyricism. The album's final number, "Loran's Dance," is a nocturnal one with Washington overdubbing his saxophone lines (alto and tenor); it develops on a Spanish-tinged theme, and the Rhodes work by Blake is exceptional. When Washington begins to solo, the atmosphere and textures are abundant yet full of space and dimension. It's sexy as hell. Reed Seed was a fitting way for Washington to leave the Kudu/Motown stable; it's a high-quality, wonderfully memorable set of mid- and uptempo funky jazz from a master. In addition, while the charts may not support this assertion, it is, along with his other records for these imprints and CTI before them, arguably the best and most consistent string of albums he ever recorded, as well as the platform that launched him into superstardom first with Elektra and then with Columbia. [Verve reissued this on CD in 2009 as part of their excellent "Originals" series.] ~ Thom Jurek, All Music Guide
