| Larry Young |
| Of Love And Peace (July 26, 1966) {2014 Japan SHM–CD Blue Note 24–192 Remaster} |
Larry Young — Of Love And Peace (July 26, 1966) {2014 Japan SHM–CD Blue Note 24–192 Remaster}
•≈ An acclaimed innovator of the '60s jazz organ approach, who utilized swirling chords, surging lines, and rock–influenced improvisations.
Also known as: Khalid Yasin
Born: October 7, 1940, Newark, New Jersey
Died: March 30, 1978, New York City
Genre/Style: Jazz / Post Bop / Soul Jazz / Avant–Garde Jazz / Organ
Album release: July 26, 1966 / October 5, 2004
Recorded: July 26, 1966, Van Gelder Studio, Englewod Cliffs, NJ
Record Label: Blue Note
Duration: 41:11
Tracks:
01 Pavanne (Morton Gould) 14:12
02 Of Love And Peace (Young) 6:34
03 Seven Steps To Heaven (Miles Davis/Victor Feldman) 10:17
04 Falaq (Young) 10:08
© 2014 Universal Japan / Blue Note
Personnel:
•≈ Larry Young: organ
•≈ Eddie Gale: trumpet
•≈ James Spaulding: alto saxophone, flute
•≈ Herbert Morgan: tenor saxophone
•≈ Wilson Moorman III: drums
•≈ Jerry Thomas: drums
•≈ Producer: Alfred Lion
CREDITS:
• Michael Cuscuna Reissue Producer
• Miles Davis Composer
• Victor Feldman Composer
• Eddie Gale Guest Artist, Main Personnel, Trumpet
• Morton Gould Composer
• Alfred Lion Audio Production, Producer
• Ron McMaster Mastering
• Reid Miles Cover Design, Photography
• Wilson Moorman III Drums, Main Personnel
• Herbert Morgan Main Personnel, Sax (Tenor)
• Jelly Roll Morton Composer
• Patrick Roques Reissue Art Director, Reissue Design
• James Spaulding Flute, Guest Artist, Main Personnel, Sax (Alto)
• A.B. Spellman Liner Notes
• Jerry Thomas Drums, Main Personnel
• Rudy Van Gelder Audio Engineer, Engineer
• Francis Wolff Photography
• Larry Young Composer, Organ
Description:
•≈ Reissue. Features the high–fidelity SHM–CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. The most free–thinking Larry Young album of the 60s — and that's saying a lot, considering the rest of his work! The session's quite an unusual one — with two drummers in the group, grounding a sextet that features Larry on organ, James Spaulding on alto and flute, Herbert Morgan on tenor sax, and the great Eddie Gale on trumpet! The tracks are all quite long, open, and flowing — richly organic, and kind of an extension of the groove first laid down by Young on Unity — pushed into more spiritual, late–Coltrane territory. The sound is amazing — incredibly majestic, and on a par with the most far–reaching jazz on Impulse Records of the late 60s — a real standout for Blue Note, and for Young, who wouldn't record this way again until the 70s! Titles include "Falaq", "Seven Steps To Heaven", "Of Love & Peace", and "Pavanne".
AllMusic Review by Scott Yanow; Score: ****½
•≈ By 1966, Larry Young was playing music that fell between advanced hard bop/soul–jazz and the avant–garde. For this stimulating Blue Note date, the organist meets up with trumpeter Eddie Gale (who was playing with Cecil Taylor during this era), altoist/flutist James Spaulding, and three obscure but fine sidemen: tenor saxophonist Herbert Morgan and both Wilson Moorman III and Jerry Thomas on drums. Two of the selections ("Of Love and Peace" and "Falaq") are essentially free improvisations that have a momentum and purpose of their own, moving forward coherently. In addition, Young and his group perform adventurous versions of "Pavanne" and "Seven Steps to Heaven." Very stimulating and intriguing music, this was one of Larry Young's best recordings. Previously only available on CD as part of Young's Mosaic box set retrospective, Blue Note issued the remastered title as a limited edition in its Connoisseur series in October of 2004. •≈ http://www.allmusic.com/
Larry Young biography
•≈ Although he is often overlooked and forgotten, Larry Young is one of the most talented and creative jazz fusion keyboardists of all time. His contributions to jazz-rock and progressive rock place him in an ultra elite group that includes Herbie Hancock, Chick Corea, Jon Lord, Joe Zawinul, Brian Auger and Keith Emerson.
•≈ Many feel that the creation of jazz–rock was the result of hard bop combining with psychedelic rock, if that is the case, Young is one of the very few musicians who worked in all three fields. His reputation in hard bop is legendary, as he is considered a top innovator and leader who worked with many of the greats in the field including Grant Green, Joe Henderson, Woody Shaw and Sam Rivers. In the world of psychedelic rock, Young worked with two of the greatest, Carlos Santana and Jimi Hendrix. When jazz rock morphed into existence, Larry was on the front lines again playing with greats like Miles Davis, Tony Williams and Jon McLaughlin.
•≈ Larry Young's recording career started in 1960 when he was just 19. His first bluesy hard bop recordings show a huge Jimmie Smith influence, but over the years Young's restless creativity pushed him more towards an abstract modal style influenced by John Coltrane. In the late 60s his career as a B3 jazzist for the Blue Note label finally came to an end and Larry became interested in the new sounds of progressive psychedelic jazz fusion.
•≈ During the late 60s and early 70s Young was everywhere, recording for all the top musicians in the new jazz–rock genre, yet strangely enough you hardly ever hear his name mentioned at all. Part of the reason for this could be his strange unorthodox approach to the B3 in which he purposefully places himself in the background shifting the sound of the Hammond by pulling out and pushing in the drawbars to create rich tone colors and psychedelic effects. For a good example of this style listen to McLaughlin's Devotion or Santana–McLaughlin's Love Devotion and Surrender. Although Larry does not appear on Santana's Caravanserai, his influence can be heard in Greg Rolie and Richard Kermode's attempts to imitate him.
•≈ In the mid–70s Larry returned to making his own albums, but what strange albums they are. 'Lawrence of Newark' is excellent abstract African jazz with a big Coltrane influence, but the recording seems to be rough and crude on purpose. His last two albums sound more like naïve experimental music from the late 60s than anything that was happening during the mid–70s when the albums were released. I really enjoy these two albums with their quirky mix of dated funk, early prog–rock, lounge exotica, very raw synth tones and low–fi production, but they do not get very high ratings amongst the jazz and fusion critics.
•≈ Larry died in 1978 at the age of 38 when he checked into a hospital with stomach pains and did not get treatment for a bad case of pneumonia. I will never forget when I heard the news of Larry's death. I was visiting Bill's Twilight Lounge in Memphis and enjoying Hammond B3 great Groove Holmes. When Holmes took a break I stepped outside to have a smoke and talk with him about jazz. It was during this break that Holmes told me rather mournfully, yet matter of factly, about what happened to Larry. I expressed my surprise and disappointment, but then didn't know what else to say as Holmes and myself stood quietly outside that club.
•≈ There is a certain pathos that seems to go with Larry's life. After such a brilliant start as a star B3 player for Blue Note, his career seemed to slide into obscurity, even though he was working with some of the biggest names in jazz–rock. He was a member of Hendrix's last band, and stood to benefit from the massive exposure and money that would give him when Jimi suddenly passed away. In the 70s he seemed determined to stay obscure by releasing strange albums that seemed puposefully out of step with the times and then finally his tragic death due to neglect.
•≈ Larry has always struck me as a wise and gentle old soul, someone who had a deep mistrust for materialism and insincerity, as well as someone who's own since of integrity would never let him compromise or sell out. Reast in Peace Larry Young, hopefully history will record and remember your incredible accomplishments in music.
Website: http://www.larryyoungmusic.com/
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| Larry Young |
| Of Love And Peace (July 26, 1966) {2014 Japan SHM–CD Blue Note 24–192 Remaster} |
•≈ An acclaimed innovator of the '60s jazz organ approach, who utilized swirling chords, surging lines, and rock–influenced improvisations.
Also known as: Khalid Yasin
Born: October 7, 1940, Newark, New Jersey
Died: March 30, 1978, New York City
Genre/Style: Jazz / Post Bop / Soul Jazz / Avant–Garde Jazz / Organ
Album release: July 26, 1966 / October 5, 2004
Recorded: July 26, 1966, Van Gelder Studio, Englewod Cliffs, NJ
Record Label: Blue Note
Duration: 41:11
Tracks:
01 Pavanne (Morton Gould) 14:12
02 Of Love And Peace (Young) 6:34
03 Seven Steps To Heaven (Miles Davis/Victor Feldman) 10:17
04 Falaq (Young) 10:08
© 2014 Universal Japan / Blue Note
Personnel:
•≈ Larry Young: organ
•≈ Eddie Gale: trumpet
•≈ James Spaulding: alto saxophone, flute
•≈ Herbert Morgan: tenor saxophone
•≈ Wilson Moorman III: drums
•≈ Jerry Thomas: drums
•≈ Producer: Alfred Lion
CREDITS:
• Michael Cuscuna Reissue Producer
• Miles Davis Composer
• Victor Feldman Composer
• Eddie Gale Guest Artist, Main Personnel, Trumpet
• Morton Gould Composer
• Alfred Lion Audio Production, Producer
• Ron McMaster Mastering
• Reid Miles Cover Design, Photography
• Wilson Moorman III Drums, Main Personnel
• Herbert Morgan Main Personnel, Sax (Tenor)
• Jelly Roll Morton Composer
• Patrick Roques Reissue Art Director, Reissue Design
• James Spaulding Flute, Guest Artist, Main Personnel, Sax (Alto)
• A.B. Spellman Liner Notes
• Jerry Thomas Drums, Main Personnel
• Rudy Van Gelder Audio Engineer, Engineer
• Francis Wolff Photography
• Larry Young Composer, Organ
Description:
•≈ Reissue. Features the high–fidelity SHM–CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. The most free–thinking Larry Young album of the 60s — and that's saying a lot, considering the rest of his work! The session's quite an unusual one — with two drummers in the group, grounding a sextet that features Larry on organ, James Spaulding on alto and flute, Herbert Morgan on tenor sax, and the great Eddie Gale on trumpet! The tracks are all quite long, open, and flowing — richly organic, and kind of an extension of the groove first laid down by Young on Unity — pushed into more spiritual, late–Coltrane territory. The sound is amazing — incredibly majestic, and on a par with the most far–reaching jazz on Impulse Records of the late 60s — a real standout for Blue Note, and for Young, who wouldn't record this way again until the 70s! Titles include "Falaq", "Seven Steps To Heaven", "Of Love & Peace", and "Pavanne".
AllMusic Review by Scott Yanow; Score: ****½
•≈ By 1966, Larry Young was playing music that fell between advanced hard bop/soul–jazz and the avant–garde. For this stimulating Blue Note date, the organist meets up with trumpeter Eddie Gale (who was playing with Cecil Taylor during this era), altoist/flutist James Spaulding, and three obscure but fine sidemen: tenor saxophonist Herbert Morgan and both Wilson Moorman III and Jerry Thomas on drums. Two of the selections ("Of Love and Peace" and "Falaq") are essentially free improvisations that have a momentum and purpose of their own, moving forward coherently. In addition, Young and his group perform adventurous versions of "Pavanne" and "Seven Steps to Heaven." Very stimulating and intriguing music, this was one of Larry Young's best recordings. Previously only available on CD as part of Young's Mosaic box set retrospective, Blue Note issued the remastered title as a limited edition in its Connoisseur series in October of 2004. •≈ http://www.allmusic.com/
Larry Young biography
•≈ Although he is often overlooked and forgotten, Larry Young is one of the most talented and creative jazz fusion keyboardists of all time. His contributions to jazz-rock and progressive rock place him in an ultra elite group that includes Herbie Hancock, Chick Corea, Jon Lord, Joe Zawinul, Brian Auger and Keith Emerson.
•≈ Many feel that the creation of jazz–rock was the result of hard bop combining with psychedelic rock, if that is the case, Young is one of the very few musicians who worked in all three fields. His reputation in hard bop is legendary, as he is considered a top innovator and leader who worked with many of the greats in the field including Grant Green, Joe Henderson, Woody Shaw and Sam Rivers. In the world of psychedelic rock, Young worked with two of the greatest, Carlos Santana and Jimi Hendrix. When jazz rock morphed into existence, Larry was on the front lines again playing with greats like Miles Davis, Tony Williams and Jon McLaughlin.
•≈ Larry Young's recording career started in 1960 when he was just 19. His first bluesy hard bop recordings show a huge Jimmie Smith influence, but over the years Young's restless creativity pushed him more towards an abstract modal style influenced by John Coltrane. In the late 60s his career as a B3 jazzist for the Blue Note label finally came to an end and Larry became interested in the new sounds of progressive psychedelic jazz fusion.
•≈ During the late 60s and early 70s Young was everywhere, recording for all the top musicians in the new jazz–rock genre, yet strangely enough you hardly ever hear his name mentioned at all. Part of the reason for this could be his strange unorthodox approach to the B3 in which he purposefully places himself in the background shifting the sound of the Hammond by pulling out and pushing in the drawbars to create rich tone colors and psychedelic effects. For a good example of this style listen to McLaughlin's Devotion or Santana–McLaughlin's Love Devotion and Surrender. Although Larry does not appear on Santana's Caravanserai, his influence can be heard in Greg Rolie and Richard Kermode's attempts to imitate him.
•≈ In the mid–70s Larry returned to making his own albums, but what strange albums they are. 'Lawrence of Newark' is excellent abstract African jazz with a big Coltrane influence, but the recording seems to be rough and crude on purpose. His last two albums sound more like naïve experimental music from the late 60s than anything that was happening during the mid–70s when the albums were released. I really enjoy these two albums with their quirky mix of dated funk, early prog–rock, lounge exotica, very raw synth tones and low–fi production, but they do not get very high ratings amongst the jazz and fusion critics.
•≈ Larry died in 1978 at the age of 38 when he checked into a hospital with stomach pains and did not get treatment for a bad case of pneumonia. I will never forget when I heard the news of Larry's death. I was visiting Bill's Twilight Lounge in Memphis and enjoying Hammond B3 great Groove Holmes. When Holmes took a break I stepped outside to have a smoke and talk with him about jazz. It was during this break that Holmes told me rather mournfully, yet matter of factly, about what happened to Larry. I expressed my surprise and disappointment, but then didn't know what else to say as Holmes and myself stood quietly outside that club.
•≈ There is a certain pathos that seems to go with Larry's life. After such a brilliant start as a star B3 player for Blue Note, his career seemed to slide into obscurity, even though he was working with some of the biggest names in jazz–rock. He was a member of Hendrix's last band, and stood to benefit from the massive exposure and money that would give him when Jimi suddenly passed away. In the 70s he seemed determined to stay obscure by releasing strange albums that seemed puposefully out of step with the times and then finally his tragic death due to neglect.
•≈ Larry has always struck me as a wise and gentle old soul, someone who had a deep mistrust for materialism and insincerity, as well as someone who's own since of integrity would never let him compromise or sell out. Reast in Peace Larry Young, hopefully history will record and remember your incredible accomplishments in music.
Website: http://www.larryyoungmusic.com/
•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈•≈