Originally formed in 1968, this legendary Canadian horn-rock band spanned rock 'n' roll, jazz, progressive, and classical music. Released in December 1971, "Thoughts Of Movin' On" was their fifth album, and appeared on the legendary Vertigo imprint in the UK. It makes its long-overdue CD debut here.
Lighthouse put out three excellent albums on RCA between 1969 and 1970. They were in the same vein of B.S.&T., Chicago, Ides of March, Chase, and Tower of Power. What set them apart was that they even contained a mini string section within the band. There were eleven musicians that could jam, play awesome ballads, and jazz it up when needed. They perfected some excellent pop tunes that were very radio friendly but their peak moment was their American breakthrough hit, "One Fine Morning",(Billboard #24). It was quite progressive for the fall of 1971, but it climbed the charts in the U.S. and finally gave them due justice and their highest charting hit! (They were already pretty successful in their native Canada) Ironically the song was released on the Evolution label which was extremely small. This album reached #80 on Billboard's album charts and ended up being their most successful album.
With the appearance of Lighthouse, singer/songwriter David Crosby, age 75, continues a late career renaissance that began with 2014's Croz – his proper studio follow-up to 1971's classic If I Could Only Remember My Name. This set was produced by Snarky Puppy boss Michael League, who co-wrote five of these nine tunes with Crosby. The producer, a lifelong fan of the 1971 album, approached Crosby about recording something quick and dirty over a couple of weeks. He was met with incredulousness. The artist was used to working on albums for months, even years. After three days, they completed three new songs, and Crosby was all in…
Van Der Graaf Generator's third album, Pawn Hearts was also its second most popular; at one time this record was a major King Crimson cult item due to the presence of Robert Fripp on guitar, but Pawn Hearts has more to offer than that. The opening track, "Lemmings," calls to mind early Gentle Giant, with its eerie vocal passages (including harmonies) set up against extended sax, keyboard, and guitar-driven instrumental passages, and also with its weird keyboard and percussion interlude, though this band is also much more contemporary in its focus than Gentle Giant…
For the Funk of It is the second thematically focused volume in Blue Note's Original Jam Master Series that draws from guitarist Grant Green's late-period recordings for the label, from 1969 to 1972. Some of the players involved in these sessions include drummer Idris Muhammad, saxophonist Claude Bartee, Jr., Cornell Dupree (rhythm guitar), percussionists Hall Bobby Porter and Ray Armando, bassist Chuck Rainey, organist Emanuel Riggins, and many others. The material here is less bombastic than the soul and funk covers on Green's Ain't It Funky Now!, but they are still deep in the jukebox soul-jazz groove that was rapidly disappearing during the era.
Because the Jazz Crusaders in the early '70s dropped the "Jazz" from their name and later in the decade veered much closer to R&B and pop music than they had earlier, it is easy to forget just how strong a jazz group they were in the 1960s. This CD reissues one of their rarer sessions, augmenting the original seven-song LP program (highlighted by "Blues Up Tight," "Doin' That Thing," and "Milestones") with previously unissued versions of "'Round Midnight" and John Coltrane's "Some Other Blues." The Jazz Crusaders (comprised of tenor saxophonist Wilton Felder, trombonist Wayne Henderson, pianist Joe Sample, drummer Stix Hooper, and, during this period, bassist Leroy Vinnegar) are heard in prime form.
Some of Grant Green's hottest moments as a jazz-funk bandleader came on his live records of the era, which were filled with extended, smoking grooves and gritty ensemble interplay. Live at the Lighthouse makes a fine companion piece to the excellent Alive!, though there are some subtle differences which give the album its own distinct flavor. For starters, the average track length is even greater, with four of the six jams clocking in at over 12 minutes. That makes it easy to get lost in the grooves as the musicians ride and work them over.