LARRY YOUNG

My favorite keyboard artist from the 1970s issues his second "Fuel" album. Most of the lineup are unknown to me but now have gained MAJOR respect!

1. "Moonwalk" (5:00) a funky jam that feels more PARLIAMENTary and SANTANA-like than RTF or Weather Report. Larry's sound palette feels similar to some of the work on Lenny White's Venusian Summer--with Ray Gomez and Larry Coryell dueling in the background and he and Julius Brockington layering the front with their multiple keyboards. This leads to the big question of Who is Julius Brockington and why haven't we ever heard of him (before and since)? I love Larry's exploration of the sound possibilities of the low-ends of his instruments' sounds but the intermittent choral vocals are a bit weird. (9.25/10)

2. "Startripper" (4:44) flowery music similar to something that would be backing Minnie Ripperton or even Steely Dan. I really like it--especially for the wonderfully playful work of the two keyboard players and rhythm and lead guitar work of Ray Gomez and Larry Coryell as well as the very engaging and melodic Latin-lite rhythm foundation. I love the presence and contribution of the flute. I love this song! It's like joy incarnate! (10/10)

3. "Sticky Wicket" (9:26) once again the listener finds itself in more of a funk/R&B range of bands like SLY & THE FAMILY STONE, PARLIAMENT, or even the AVERAGE WHITE BAND. Great performances from the drums, bass, Larry (Young), and Larry (Coryell). Not a big fan of the intermittent infusion of choral vocals to say "Sticky Wicket", but I do like the Stevie Wonder-like thickness and excellent interplay of all of the musicians. Who are these two: drummer Jim Allington and bassist David Eubanks? They're both really good! (17.875/20)

4. "Flytime" (4:50) a gentler but very much Parliamentarian funk infused with some AVERAGE WHITE BAND melodic sense. Again, I am so impressed with the cohesion of this lineup of musicians: they all seem so well-invested/attentive to Larry's charts (or intentions, if that was the case). (9/10)

5. "Spaceball" (5:07) with an introduction of male voices doing doggy "bow wow"s and Paula West performing her best quick orgasm vocal, and then the invitation to the "spaceball" party who could turn this one down?! Good funk. (8.66667/10)

6. "Message from Mars" (7:29) Solid, fully-formed, multi-level jazz rock fusion on the level of any of Chick Corea's RETURN TO FOREVER songs (and, I feel pretty sure, modeled after such). Great guitar work from both Ray Gomez and Larry Coryell as well as the organ, bass, drums and rhythm guitars. Really tightly performed. Who is Julius Brockington? Who is this David Eubanks? What ever happened to Jim Allington? (14.25/15)

7. "I'm Aware of You" (5:09) funky but not nearly as funk-oriented as much of the other stuff, this one has a more serious, true Jazz-Rock Fusion direction in its core--closer to Steely Dan than Parliament, Chicago than Stevie Wonder. Nice work from the horns and drums, though, once again, the entire band is so tight. How did they achieve this? Hours of practice or just good food and great comaraderie? (9/10)

Total Time 41:45

Throughout the entire listening to this album I kept wondering where Larry's band members came from and why I've never heard of any of these excellent musicians, but more, I kept thinking what a far superior album this is to any of Larry Coryell's Eleventh House efforts: the collaborative inputs and song compositions are way better across the board. Too bad Mr. Coryell couldn't have found more parties like the Fuel to participate in. That Larry Young was allowed to imbue each and every one of his collaborators with such energy and fuel to perform at their most creative selves while still working within the team scape is something that comes through quite remarkable from every one of these songs: everybody was feeling the freedom and confidence to fly--and amazing is the job they did!

A/five stars; a definite masterpiece of top notch jazz-funk-rock fusion that has somehow remained hidden in obscurity.

Larry's first album as a band leader in five years--since he went off to work with Tony Williams and John McLaughlin-- and it's good one: he obviously had a lot of ideas to get out of his system.

1. "Saudia" (4:30) a song that opens up with shadows of the music Larry heard and participated in while working with Tony Williams and John McLaughlin for the 1969 album, Emergency! There's some real regal beauty in this rather simple, laid-back arrangement (even though Larry's initial Hammond work sounds a bit like the Sunday church organist). Still, there are at least two drummers operating (rather quietly) as well as any number of percussionists. It's the saxophones that are missing. (James Blood Ulmer's guitar work is very odd: mixed high but fairly inactive). The bass line is rather simple. (9/10)

2. "Alive" (2:00) two (or three) drummers and multiple percussionists lay down some vicious rhythm over which Larry issues forth some fairly-sedate, nearly-church organ. (4.5/5)

3. "Hello Your Quietness (Islands)" (10:17) is this where Freddie Hubbard got "Little Sunflower"? There's definitely a lot of the SANTANA effect going on on this album. The craziness of the multiple woodwinds, cello, and, of course, Hammond organ, are matched and balanced out by the calm serenity offered from the expansive rhythm section. Amazing balance! And there's even tons of melody! (18.75/20)

4. "Sunshine Fly Away" (8:50) a very solid and well-balanced opening groove immediately established from the drums, percussionists, and bass. The woodwinds and cello here are surprisingly supportive, laying back in the background, so Larry can have the spotlight all to himself. Starting around 2:00 a tenor sax starts to wiggle his way to the front. The melodies are fairly consistent--even when Larry is expressing a new one beneath Dennis Mourouse's lead. The two leads get a little crazy with their play while everybody beneath just remains calm and in control. This seems as if it would be quite a feat! The crazy sounds Larry is getting out of his Hammond are at times quite abrasive and spacey. All the while the sax settles down, occasionally going off on some tangent, until the rhythmists back off and leave the bass and cello player quite on their own. The song fades out while Diedre is finishing her solo. (18/20)

5. "Khalid of Space, Part Two (Welcome)" (12:41) a complicated multi-themed rhythm track tries to establish itself straight out of the blocks, but the cacophony of 30 infantile monkeys all screaming for attention at once rather distracts (detracts?) from the rhythm fusing into something whole and "finished." The ensuing solos are all great--even over the rather annoying downbeat honks in eighth minute; it just feels as if all of these guys--especially those working out of or above the rhythm section--are having a great time. Too bad that rhythm track never got tweaked into perfection: it's as if they were trying to be funky but were side-tracked by their bass player(s) obsession with two note bursts. Man, Dierdre Johnson can play a mean cello! (22.5/25)

Total Time 38:18

Obviously, Larry hung around with a different crowd of musicians than his NewYork City compatriots with whom he worked in the late 60s. Other than James Blood Ulmer and Pharoah Sanders, I'd never heard of any of these collaborators, but I appreciate how easily and willingly they seem to work together. A great album that would be very fun to have watched live. Also, has anyone played a more dynamic Hammond than Larry? If so, I'd love to have the reference.

A-/five stars; a minor masterpiece of Jazz-Rock Fusion--one that mixes the rhythmic flow of Santana with the crazed experimentation of Sun Ra and Ornette Coleman.

The album's title along with the cover art makes me smile. Larry Young's real name is Khalid Yasin Abdul Aziz and he had played on Miles Davis' "Bitches Brew" album and I mention that because this record does remind me of that classic recording. Yes we get Larry's electric organ sounding distorted leading the way instead of trumpet plus this one has more of an African sound with those rhythms but both have so much going on as they trip along. Tons of beats here with drums, percussion, bongos and congas. We get sax and trumpet along with cello, guitar, bass and electric piano. Oh and some crazy vocal expressions at times. This album is nuts, it really is and I love it! Pharoah Sanders was a mystery guest on sax and vocals.

"Saudia" opens with organ and intricate sounds. This is one of the more normal songs I guess you could say. An organ driven track with percussion sounds and bass helping to lead the way. "Alive" is the shortest at 2 minutes and it hits the ground running with all kinds of sounds. So much going on. A real depth to that sound as well. The organ fires off some rounds over and over. Lots of percussion sounds too.

"Hello Your Quietness(Islands)" opens with some experimental sounds including spacey ones. Percussion and horns soon arrive shaking things up. Organ at 1 1/2 minutes arrives with bass in tow. I like the way the organ and trumpet pulse before 3 minutes. What an array of sounds, I'm so impressed as it has this laid back groove to it as well. It starts to pick up some and get more intensity before 7 minutes before settling back very late.

This album really does get better a it plays out. Next up is "Sunshine Fly Away" and it opens with percussion and clashing cymbals but soon bass, drums and fuller sound arrives. Organ after a minute and it will come and go. Horns around 2 1/2 minutes along with lots of percussion sounds. Just tripping along. The organ pulses after 3 1/2 minutes then we get some organ runs. The horns blasting after 5 minutes. Nice. What a track!

The closer is insane and brilliant. "Khalid Of Space Part Two-Welcome" is the title and it's 12 1/2 minutes of joy really. Sounds pulse and beat along with some experimental outbursts. Exotic sounds too as the organ pulses wildly. Some crazy vocal expressions before 3 minutes and there's so much going on here. Love the outbursts of distorted organ. Insanity after 7 minutes and I'm head banging. Go figure? Cello after 8 1/2 minutes. Brilliant! More vocal expressions before 11 minutes. What a closer!

I just have to give 5 stars for Larry's best work, he was really inspired here.

First Larry's not-Blue Note album. Fantastic work!

Mixing electric organ passages with African rhythmic and (what is possibly even more important) with African psychedelic mysticism, this album sounds raw and almost religious. In sense of voodoo, not your regular church. Sun Ra spirit and under-the-skin funk both are ingredients of this mix as well. Just five compositions - but what the energy is radiating!

Minimalistic and complex cacophony of sounds build great compositions, full of craziness and their own inside beauty. James Blood Ulmer on guitars and (possibly) Pharoah Sanders on sax add their ritual energy to that mix. Very strange and beautiful in its craziness music. You will like it or will hate it - I am in a former group.

The album was obscure till the beginning of new Millennium , when he was re-released on CD (by Castle and Sanctuary).

Not less than 4+!

I am not very familiar with Larry Young's works, but from his earlier albums I heard, this one caught me (possibly because there is not post-bop, but more avant-jazz recorded).

Brass section is often in the front of all sound, and I like their chaotic and free interplays. Larry's electric piano is often on the second plan, but always you can recognize it, and its sound gave some modernity for that music ( don't forget, it's 1966!).

Drummers are very classically jazzy, but competent. In whole, Album's sound is surprisingly fresh for mid 60-s, not just your usual post-bop. Piano passages are possibly very first signs of Hancock fusion era coming. Transitional album from last days of pre-fusion time, and there is some feeling under the music's skin that fusion is coming.

He only made it to 37 ( Untreated Pneumonia)but he left his mark and will always be remembered as one of the greatest if not the greatest Jazz organ player ever. Larry did not ride a groove although he sure knew how to as shown by his earlier albums prior to becoming a Blue Note man. He took the organ to new heights and showed just what the instrument could do but always there was something there and in this album the feeling throughout is urgency and this motors along pretty much the whole time with that vibe.

Do not fear the time is 1969 and Alfred Lion is no longer doing his thing but hey, Francis Wolff is producing proceedings and can't you tell by the cover with another great photo of his..Larry Young shows what a master he has become and with Lee Morgan on Trumpet, Herbert Morgan ( No Relation) on Tenor Saxophone and Eddie Gladden on Drums things are looking promising. I could go on about Lee but Eddie Gladden was a great drummer and he hit the kit hard at times and you sure heard his beat. Later in his career he backed Dexter Gordon and other lumanaries in Jazz..No slouch! The interesting one for me is Herbert Morgan, all I know is he comes from Newark as Larry and Eddie do as well but one thing for sure is he has a wonderful tone on the sax, bold and clear and his solos are just as good as any other top Jazz musician around the traps as evidenced with this recording.He also appears on three other of Larry's recordings with Blue Note

We get under way with the title track Mother Ship and both horn players do the intro and Herbert Morgan takes the first solo with Lee to follow and a quick one from Larry but what is driving this album along is Eddie Gladden on drums at times he is still holding rythmn and yet frenzied at times could be best with his approach. He even give us a solo towards the end of the tune and shows what a master drummer he must be when he had the sense to keep it short. As there is no Bass player Larry is doing rythmn work as in the next composition to follow, Track 2 Street Scene where lee and Herbert swap with the solo order and Eddie is behind it all as well. The absolute standout on this album is track 4 Trip Merchant running at just under thirteen minutes is a little Jazz masterpiece and one groover Larry Young style and he goes all out with one delight of a solo and Eddie Gladden just seems to be pushing the other three musicians along. Lee Morgans turn is what you expect from someone of his class on trumpet and is another great solo. Herbert Morgan holds his own following along. The album finishes off with a straight Jazz composition and is called Love Drops and after the urgency throughout the album is quite a nice finisher and some where in there I get a slight kind of Sunny Samba feel to the composition. I have not mentioned the third track Visions but you will not be disappointed.

Mother Ship I consider to be up there with Larry Young's other great Blue Note recording Unity. One thing it is not Rock but then again it is driving and frenzied at times Jazz but no more out there than any of the famous Miles Davis Quintet albums but with Larry's twist on things and three great musicians with two of them still trying to make a name for themselves in Jazz .This album has to be played for the 2nd time in a row today.

Athough recorded in 1969 Larrys last album with Blue Note was not released till 1980. Sat in the can a long time.

This was Larry's 2nd album with Blue Note records and his first under his name. Released in 1964 and produced by Alfred Lion and engineered by Rudy Van Gelder. Sidemen are Sam Rivers on tenor sax,Grant Green on guitar and Elvin Jones on drums.

Larry Young was definately not a Jimmy Smith and that is immediately apparent when listening to his technique on the organ.Where as Jimmy Smith, John Patton,Freddie Roach and Baby Face Willette on the Blue Note Label were players more inclined to play groove Larry Young was more introspective and used the organ more as a vehcile for solos as inclined to be used by a pianist but still could maintain rythmn as there is no bass used.

The first track Tyrone is a Larry composition as all the other tracks are also composed by Larry except track 2 Plaza De Toros which was a Grant Green number. The tune rolls along in a relaxed groove and Larry is first up with the solo followed by Grant on guitar and Sam Rivers on Sax .

Plaza de Toros,Grant Green comes in first,followed by Sam on sax and then Larry.Grant Green has written the piece in a spanish style and of course I love the track. Sam rivers solo is great,how he gets that spanish feel is beautiful on his tenor.

On Ritha the last track there is no Sam he was ommitted as Larry was more after a trio for this tune. A quiet relaxed piece as is the whole album. This is not out there but more inclined to be a straight up Jazz album but one can here that things were changing and Hard Bop was starting to tire with the fans and muscians at this time and Jazz was changing again and heading towards the Avante Garde and a more free approach which ia apparent in Larry's later albums to come.

Progressive no, Great Jazz Yes.

4 Stars great album with a typical great Blue Note production

｢It has left as a musician and I want to have grown. And, it was influenced from John Coltrane and Cecil Taylor in various musicians. ｣Music might not only be absorbed but also he is included in the real intention of his remark and the succession of a concept of the music and a mental part is included. The part of "Mode" and "Free" might be reflected enough for this album. And, posture that understood the music character that he had to succeed to for playing the organ enough and expressed it positively will have been one position that he had built for modern Jazz.

He departed this world young 37-year-old on March 30, 1978. It is said that the bizarre behavior stands out or it was not able to perform satisfactorily in the fall of life. However, the work left especially on business with Blue Note in the history of his music was a very high-quality work. The shape of the music that he had pursued in the flow of the mode jazz might have made a clear distinction. After Jimmy Smith reflects the shape of the organ in Jazz, it is said that there was time when the difficulty was felt in the approach of a variety of keyboard players to the position. It is not an exaggeration to say that the element that always caught the age from the mode and the idea that bases Free by Larry Young and built a new concept might have built the revolution and the style with an original methodology however.

Time when this album had been recorded was time when he had belonged to the religion. And, he was using time believer's name well when entering the 70's. It is learnt to say that he understands things at this time and it has the broad outlook through music. There is an opinion made that the part of Soul is insufficient for his performance for his music character, too. However, it is likely to have worked on music with the element with the artistry refined from the taste of Soul further for his music.

｢I tried to become a genuine musician. And, it was able to be discovered that a lot of other matters that had to be done existed. I thought that I talked about people through music. ｣The great achievement that a wonderful performance with LifeTime with Tony Williams and a reformative idea and oneself showed the talent as the the establishment of Jazz in various fields might be a point that should make a special mention. And, it will be sure to be one of the albums that this album is always loved by the fan. This album was recorded in New York on November 10, 1965.

"Zoltan" The march of the suite that Zoltan of the composer in Hungary composed to the introduction part is used. Sax of Joe Henderson that brings element of Free in to rhythm of Latin fast as theme centering on form of AABA. And, it performs and Ad-Rib of Woody Shaw that plays a perfect unison. All of musicians' performances might be powerful. The performance of Larry Young that has succeeded to the spirit of Coltrane might be also indeed splendid.

"Monk's Dream" is a tune of Thelonious Monk with the form of AABA. The tune progresses around the theme of a very glossy organ. The performance of Duo by Elvin Jones that plays Larry Young to make good use of the foot pedal with a bold rhythm might exactly have power. Solo of Elvin Jones to answer the part at the same time as reflecting the flow of the mode that Larry Young thinks about in the melody and Ad-Rib of the tune also continues the quality of the tune.

"If" is a tune written by Joe Henderson. Flow of nature that shifts from Solo to Solo of trumpet to which Sax in addition to theme with complex melody explodes. And, it knows the mode jazz and the melody of the organ carried out with which fast and slow overflows. Ensemble is splendidly done.

"The Moontrane" is a tune written by Woody Shaw. It indeed has the theme to feel the element of new the establishment of the mode jazz to be enough. It shifts from the trumpet to Sax and it ties to the organ Solo. Cymbals legato of smart Elvin Jones continues the atmosphere of the tune. And, it flows. move from Solo of the organ to drum SoloShift to theme. This flow indeed draws the flow of the mode jazz.

"Softly As A Morning Sunrise" is one of the tunes that represent the tune of standard jazz. The flow of the theme and Solo caught from a music character at that time at the time of drew the flow of the mode jazz might be suitable as the flow of the album. Trumpet from Sax. And, the listener will feel the tasty flavor if it listens to the shift of Solo of the organ. The composition of the tune that continues the dash feeling to the last minute is a masterpiece.

It is said that "Beyond All Limits" that decorates the end of the album is a tune that Woody Shaw wrote at 18-year-old time. Solo of Sax to continue theme that progresses rapidly and the element. And, Solo that the trumpet that sweetens the pie to own tune is fast. And, rhythmically of the drum that often takes the element of Latin perfect. The performance with an exactly powerful performance of Larry Young is developed.

An always popular in work that Larry Young left Blue Note album is this "Unity". The fact from which this album was caught as new the establishment by the listener in the work of jazz at that time might be a part that becomes one shape as a music character at that time at the time of advocated it by Larry Young, exists, and is proportional to the flow.

I do not know a musician reformative like this so much in the organist of limited Jazz. The fact that always calls the reformation in music without being captured to the item of Jazz by him is guessed that there are people who evaluate it high also in the world. The nickname that is called, Larry is "John Coltrane that plays the organ" for Japan where I live has infiltrated. However, I do not know whether the nickname passes in the world. It might be difficult to find the fact to which he performs by the style of his music like Coltrane according to the album. He might not neglect [**ne] [wo] and the posture that keeps always being reformed be common with Coltrane. Therefore, puzzled is also true to his reformation and creation in the fan the admission of possession Larry of the fact. However, it might have been his belief that he always continued a reformative performance for the performance. The music that he had performed in the 1960's always had the groove. It might have been natural for him to perform it with "Lifetime" and other musicians.

This album is an album announced before two years his deaths and the last album of fact [kare]. His music character is consistently unfolded as for this album including very funky "Moonwalk" in the age. He arrived at this music character by his posture. There might be some reformative parts if it sees the flow of his music.

After the brilliant Contrasts album on which Larry Young sounded like he was just about to step into his destiny as a leader in the new jazz fusion style, Larry throws us a curve ball with the inconsistent and sometimes backward looking Heaven on Earth. This isn't a terrible album, but I wouldn't recommend it to people seeking a first look at Larry's incredible B3 playing. Fortunately though, there is enough good on here to be worthwhile to hardcore Young fans like myself.

Larry is known for putting out albums that are stylistically all over the map, in that respect this album takes the cake. The album opener is Infant, a 'fun' soul-jazz number that isn't bad, but Larry had moved past this style years ago. Is this a blatant attempt to score a commercial hit? I love B3 based soul-jazz, but at this point in his career Young is capable of so much more. His playing on this one sounds dumbed down and uninspired.

The next two numbers are much better, in fact Hereafter belongs in the Larry Young hall of fame. This cut is a great mix of avant-African subtle polyrhythmic grooves with laid back spacey psychedelic Hammond sounds and a great guitar solo from George Benson. Although George is best know for his commercial work, when put to the test he can play modern jazz as well as, if not better than any jazz guitarist out there.

Side two opens with Heaven on Earth, another soul-jazz number, only this time Larry and his crew sound a lot more modern, inspired and aggressive. This cut shows Young playing in that forceful semi- minimalist style that he will explore further on Lawrence of Newark, plus there is a series of majestic chord build ups in the middle section that would make any caped prog-rock keyboard player jealous.

Next up Young switches styles again with a slightly off-kilter version of the lounge-jazz classic Call Me. This one may sound like easy listening to many, but Benson and Young throw in enough slightly avant twists to keep it interesting. The album closer is the classic jazz ballad My Funny Valentine, sung by Larry's wife Althea. Once again Young and Benson's accompaniments are unique and inventive, but overall the band plays this one pretty straight. Was this one more shot at a commercial hit?

I like this album, but I would not recommend it to anyone but already committed fans of Larry Young's totally unique musical vision and playing.