egroj world: Charles Earland • Live At The Lighthouse

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Como muchos habrán notado aparte del problema de Ulozto la cuenta principal Mega ha sido suspendida, por consiguiente el blog se verá disminuido temporalmente hasta poder reestructurar y normalizar el blog. Agradezco todas las muestras de apoyo que me han brindado. Gracias por comprender.



Tuesday, September 13, 2022

Charles Earland • Live At The Lighthouse



Review by Thom Jurek
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.
https://www.allmusic.com/album/live-at-the-lighthouse-mw0000338879

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Reseña de Thom Jurek
La personalidad musical de Charles Earland tenía varias facetas, todas ellas capaces de representarlo plenamente en cualquier momento. Esta fecha de 1971 en el legendario club Lighthouse ofrece una visión impresionante de Earland el organista de soul, no el jazzman. Ciertamente hay mucha improvisación aquí y muchos giros inesperados en los arreglos, con decisiones tomadas y a las que se reaccionó en el acto. Pero eso no es lo que hace que esta fecha sea tan especial. Esto es Earland cavando tan profundamente en un surco emocionalmente que no le importa nada más que el sentimiento. No, maldición, eso no significa que la interpretación sea descuidada. Crudo, sí. ¿Descuidado? Si has oído la música del gato, deberías haberlo sabido mejor. Si no lo has hecho, esta vez estás perdonado. En cualquier caso, comenzando con "Smiling" de Sly Stone, Earland está enganchado a algo. Tiene la esencia de la melodía en sus manos, pero hay algo en ella que no cede; está escarbando en lo profundo de estos enormes acordes, tratando de que se quiebre, pero no lo hará, hasta que el solo de guitarra de Maynard Parker venga de fuera de cordófagos con enormes y arenosas voces y corridas de una sola nota que le dan a Earland una lectura armónica de la sensación. En cuanto a las trompas, interpretadas por el trombonista Clifford Adams y el saxofonista Jimmy Vass, es un soul jam y tocan al estilo clásico de J.B. Y justo cuando la banda comienza a dar cuerda y a moverse en la oscuridad, Earland encuentra lo que está buscando y cambia el contexto emocional a una luz brillante y negra. Esto se evidencia aún más con la versión más conmovedora de "We've Just Just Begun". ¿Quién iba a pensar que un pedazo de soplo de una melodía pop podría ser genial? Obviamente Earland, porque lleva a la banda a través de una versión funky y animada donde los armónicos de soul-jazz se encuentran con la dulzura funky en un retozo melódico que garantiza poner una sonrisa en la cara del pesimista más comprometido. Pero Earland no se contenta con quedarse mucho tiempo bajo el sol, sino que tiene que volver a la clandestinidad, donde todos los sonidos reales suceden primero, y lo consigue con esta versión de "Black Gun". La trompeta de Elmer Cole aquí es asombrosa, ya que mantiene unidas las diferentes sonoridades de Vass y Adams; sale y empuja la primera línea hacia la estratósfera armónicamente. Aunque no hay un segundo débil aquí, el final de "Freedom jazz Dance", que se mueve directamente en "Moonframe", merece ser mencionado por su puro estruendo que roza el caos y que nunca, nunca deja el corazón de la rutina. Este es un trabajo exigente - exige que te mantengas de pie por completo. Asegúrese de que nadie en su próxima pelea tenga una enfermedad cardíaca antes de girarla.
https://www.allmusic.com/album/live-at-the-lighthouse-mw0000338879


Tracks
1. Smilin' [Stewart] 6:31
2. We've Only Just Begun [Nichols/Williams] 5:51
3. Black Gun [Earland] 8:19
4. Spinky [Earland/Kambon ] 6:12
5. Freedom Jazz Dance [Harris] 6:13
6. Moontrane [Shaw] 5:26

Personnel:
Charles Earland (org)
Elmer Coles (tp)
Clifford Adams (tb)
James Vass (as, ss)
Maynard Parker (g)
Darryl Washington (d)
Kenneth Nash (cga)

Label:Prestige PR 10050
Released:1972
Genre:Funk / Soul, Jazz
Style:Soul-Jazz, Swing

Lighthouse Club, Hermosa Beach, CA, October 9, 1972




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2 comments:

  1. Thank you! can't wait to listen to it!
    Would there be any chance of the 3 album box set,
    'CHARLES EARLAND - Scorched, Seared & Smokin´'
    https://www.discogs.com/release/17232199-Charles-Earland-Scorched-Seared-Smokin-The-Best-of-The-Mighty-Burner
    Thanking you again!

    ReplyDelete