King Curtis Albums (19)
'Sweet Soul/Everybody's Talkin''
Release Date 10/4/2005
Tracks 21
Label Spy
See Album Tracklist and Review
What The Critics Say
King Curtis and his bubbling, stutter-style tenor sax playing brought a touch of jazz and a whole ton of R&B to countless rock & roll tracks in the early '60s, and his funky edge is one of the reasons records by the Coasters, for instance, continue to sound good 40 years later. This historic live set, which was recorded by drummer Belton Evans as a reference tape at Small's Paradise in Harlem in mid-1961 and sat unheard until JSP released it on disc in 1985, catches Curtis fresh off of working with Jerry Leiber, Mike Stoller, and the Coasters and sessions with the Isley Brothers and still some months away from tracking "Soul Twist," which came out on Enjoy Records in 1962. The sound quality here is not the best, but Curtis and the band (Al Casey on guitar, Paul Griffin on piano, Jimmy Lewis on bass, and Evans on drums) sounds lively and engaged, particularly on the infectious "Jay Walk" and the upbeat "African Waltz." It's a little bit jazzier than the typical Curtis outing, but then he was a much more versatile musician than many people realize (he did sessions with artists as varied as Lonnie Donegan and Andy Williams, and he was also a pretty solid electric guitar player and he could sing capably when he needed to), and if it doesn't quite add up to being an essential Curtis disc, it will still be of great interest to his many admirers. ~ Steve Leggett, All Music Guide
What The Critics Say
King Curtis employed a powerhouse lineup on Everybody's Talkin', including soul-jazz luminaries Bernard Purdie, Cornell Dupree, Billy Butler, Billy Preston, and the Memphis Horns. As can be expected, the tunes here are relatively indicative of the times and range from greasy Southern ballads to more funky material. Among the highlights are the slow, loping funk of "If I Were a Carpenter" (which sounds like any number of Pete Rock's mid-song interludes), the title track, and the near identical cover of King Floyd's "Groove Me." Best of all, though, is "Ridin' Thumb" which appears both in vocal and instrumental form. The vocal version begins the second side of the LP and is clearly the most worthy single on the album. The instrumental, on the other hand, bookends the set (as well as the side) and is very clearly the rest of the vocal take after Curtis switched from vocals to tenor sax. Seeing as the musicians were already well into the groove by the time the instrumental half of the tune kicks in, the argument can be made that "Ridin' Thumb-Jam" is the is the funkier of the two and a fine example of soul-jazz at its best. Recommended for fans of the genre. ~ Brandon Burke, All Music Guide
What The Critics Say
This live set from the 1971 Montreux Jazz Festival was co-led by tenor saxophonist King Curtis (who tragically would be killed three months later) and veteran blues pianist/vocalist Champion Jack Dupree. With guitarist Cornell Dupree (in excellent form), bassist Jerry Jemmott and drummer Oliver Jackson laying down the foundation, Curtis and Dupree find a great deal of common musical ground. Dupree has quite a few witty vocals (particularly the near-classic "Junker's Blues") while taking choruses of irregular length that keep his sidemen continually guessing. Curtis' distinctive tenor is also heard from, making one truly regret that this was his final recording. ~ Scott Yanow, All Music Guide
What The Critics Say
Recorded in front of an enthusiastic audience and released just one week before Curtis' murder in 1971, Live at Fillmore West is a brilliant confirmation of the saxophonist's place in popular music. Backed up by Atlantic's top session men, as well as Billy Preston and the Memphis Horns, Curtis rips through some of the biggest hits of the day, transforming them into showcases for his soulful playing and the group's outstanding rhythmic interplay. Beautiful renditions of "A Whiter Shade of Pale" and "I Stand Accused" are highlights, but it's full-throttle rockers like "Changes" and "Memphis Soul Stew" that comprise the heart of the album. Curtis occasionally gets lost in the mix, but it doesn't matter; with so much great music going on, you probably won't notice. ~ Jim Smith, All Music Guide
'Plays Great Memphis Hits'
Release Date 1/1/1967
Tracks 12
Label Atco
See Album Tracklist and Review
'Live at Small's Paradise'
Release Date 1/1/1966
Tracks 11
Label Atco
See Album Tracklist and Review
What The Critics Say
There's very little in the way of audience ambience or other interaction on this recording, done at a club in Harlem, but it does have all of the other expected virtues of a concert recording. The tension of a live performance runs throughout its ten songs, which include the most soulful rendition of "Blowin' in the Wind" this side of Sam Cooke's version, and a King Curtis vocal on "Road Runner." Not as important a document as Live at Fillmore West, which came considerably later in Curtis' career, but not to be ignored, either. ~ Bruce Eder, All Music Guide
