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Sound Ideas #3 - Running the Circuit
Welcome to another musical journey. This hour runs the circuit: swing, sing, big band, hard bop, cool, fusion, and of course hard drivin' organ combos.
Artist Track Album
Charles Earland Heart Attack Unforgettable
Duke Robillard and Herb Ellis End of Session Jump More Conversations in Swing Guitar
Al Jarreau I'm Beginning to See the Light Accentuate the Positive
Little Charlie and the Nightcats Money Must Think I'm Dead That's Big
Ray Charles Bluesette My Kind of Jazz
Sphere Barbados Bird Songs
Stevie Ray Vaughn Chitlins Con Carne The Sky is Falling
Dexter Gordon Very Saxily Yours Gettin' Around
Freddie Hubbard Super Blue Super Blue
Charles Earland Don't be so Mean Arlene Third Degree Burn

The organ lead combo while perhaps not as popular as the trumpet-sax lead quintet remains a driving force in the Hard Bop idiom as well as the Soul-Jazz and later Funk styles. Jimmy Smith was probably the best known master of the Hammond B-3, but there were others equally as qualified. Charles Earland had one of the most soulful sounds, whether he was swinging hard, playing a ballad, or just making some bread playing smooth jazz. He was also a master communicator. Just try listening to an album side, and then read the liner notes. It's amazing how much of the liner notes you will have learned just by listening to him speak through the B-3.

Guitars figure prominently in organ combos, but in the second set we hear some swinging guitar across several styles.

Ray Charles is well known to many across many genres, but one style in which he excelled and is often overlooked is the big band. We hear a swinging waltz from Ray with incredibly tight ensemble work. The man was a musical genius; there's just no two ways about it.

Sphere was an 1980s ensemble dedicated to the music of Thelonious Monk, but this particular outing paid homage to another be-bop great, Charlie Parker.

Stevie Ray Vaughn's jazz recordings were few, but there was almost always one cut on each album that showed his jazz sensibilities. His homage to Kenny Burrell is apparent in this recording.

Dexter Gordon never strayed far from Bebop and Hard Bop, and we hear his classic sound, which is just as fresh and innovative today as it was 50 years ago.

In 1978, Freddie Hubbard recorded what had become a rarity for him, a mostly jazz album. The title song was an attempt to bring jazz to a broader audience during an electro funk disco era. If you can overlook the very dated electronic keyboard, SuperBlue in its soul was the music of Freddie's more straight ahead years. It would have been great to hear Super Blue recorded in a more acoustic setting, but to my knowledge, it never was.

And to close out the session, we hear one more drivin' tune from the mighty burner, Charles Earland, a master at kickin' that B-3.

Jazz in all of its colors... what a palette from which to paint.