LARRY YOUNG

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.

— First review of this album —

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.

— First review of this album —

After producing two albums that were fairly unified in their musical vision; 1965's Unity with it's dry cerebral post bop, and 1966's Of Love and Peace with it's restrained and tasteful avant-garde approach, Larry Young goes totally eclectic with Contrasts and gives us a strong hint of what he will be doing when he joins the growing psychedelic jazz rock movement in the next couple of years. Most jazz critics prefer the two previous albums with their easy to identify musical styles and abstract intellectual jazz approach, but I think Contrasts is more the true Larry Young album, quirky, strange, unpredictable and totally original.

The album opener, Majestic Soul, is my favorite. This is a hot groove number with loud upfront congas driving the beat. The horns add avant rushes of sound as does Larry with his B3, which seems to be getting louder and more rock like. This is getting very close to the psychedelic African jazz rock that Larry will perform on Lawrence of Newark. This is followed by Evening, a bizarre off-kilter bossa flavored lounge jazz number that veers into Sun Ra territory.

Next up is Major Affair, a high intensity duet featuring Young and drummer Eddie Gladden. It's hard to describe this one, I guess you could call this jazz, but it is more like some kind of avant prog rock with it's bizarre semi-classical melody and modern structure. I've always thought that Young had a big impact on Keith Emerson, and you can really hear it on this one. Tender Feelings follows with some hard bop swing with heavy snare hits that border on rock. All the soloists dig in and produce the hard groove of a late night club and keep things fresh and unpredictable with some colorful avant flourishes.

Means Happiness is an expressive modal drone number ala John Coltrane's Om. The horns scurry and blend in the background while Larry's Hammond shimmers on top. This kind of music always sounds like an ode to the sunrise. The album closes with the ballad standard Wild is the Wind. Strangely wild is this version with Larry's wife Althea providing deep vibrato heavy vocals that seem to come from an older era when jazz singers still had some operatic influence. Larry's organ playing is weird and barely audible till it swells like an ancient ghost in the lower registers and fades again. It's not my favorite, but it's hard not to respect something this odd and peculiar.

This album is great at showing where Young will be heading in the 70s, which is pretty much everywhere: psychedelia, jazz rock, prog rock, African fusion, lounge exotica, and some styles of his own invention.

From the year 1964 till 1975 it was hard to predict what style Larry Young would play next. During that eleven year period he played almost every conceivable style of modern jazz and fusion, as well as psychedelic and progressive rock. After starting as a bluesy hard bop organist, Larry moved on to the dry cerebral post bop of 1965's Unity, and in 1966 decided to go avant-garde with this album, Of Love and Peace.

Although this album has many of the noisy moments you would expect from a mid 60s avant jazz record, overall I found the music on here to be a bit more relaxed and controlled than a lot of similar music from this time period. Young has a large ensemble (three horns, two drums, plus himself) assembled for this recording, but the musicians are often sensitive to each other and don't engage in competitive displays of sonic force. I especially enjoyed the two drummers (Wilson Moorman III and Jerry Thomas) who are careful to blend with each other while they create fascinating rhythmic combinations.

This album opens with Pavanne, which treads somewhat familiar ground as a Coltrane styled modal swing driven free-for-all. This is followed by Of Love and Peace, an improvisation that is abstract and somewhat quiet and relaxed compared to the opener. This tune almost sounds like a cross between 20th century concert hall music and some of Sun Ra's more unique approaches to group improvisation.

Miles' Seven Steps to Heaven opens side two and the band give it a fast chaotic and joyful reading that is somewhat reminiscent of Ornette Coleman. The album closes with Falaq, another freely improvised number that starts with a jazz pulse, but becomes more abstract as it goes. Larry turns in some trademark bizarre B3 solos on this one.

This is a great avant-garde jazz album, thoughtful and well executed, Larry and his crew avoid some of the more excessive clichés that were common in the mid 60s and create one more totally unique Larry Young album.

With the release of Unity in 1965, Larry Young finally leaves behind his blues/jazz roots and pushes his music into new territories only hinted at on previous albums, and he brings the Hammond B-3 organ into new and more progressive areas as well. The Hammond was originally invented for home and church use, Jimmie Smith shocked the jazz world in the early 50s when he began playing a blues-based hard bop jazz style with the B-3 as the lead instrument. This bluesy approach to the Hammond became a classic sound that continues to this day in metropolitan clubs around the world under the moniker acid jazz.

As a committed B-3 player, the young Larry had started out playing in the traditional Jimmie Smith style, but by the time he had signed with Blue Note he began to show a restless explorative side that was trying out new sounds and styles on the Hammond. Unity is Young's first fully realized and original album and it features a style of post-bop that has some similarities to the classic Miles Davis Quintet and some of Herbie Hancock's mid 60s solo work. This style uses the rough no-nonsense melodies of 60s RnB and then moves into improvisations that are abstract, esoteric and based somewhat on the harmonies of early 20th century composers. The difference in the case of Larry Young is that he is using a B-3 instead of a piano, which brings a whole new sound to the world of post bop jazz.

This is a very good jazz album and it gets rave reviews from most critics, but this isn't my favorite Larry Young album. I miss some of the off-kilter quirkiness that is so appealing on many of his other albums. In some ways, as a long time Larry Young fan, I almost think this album is a little too professional, but maybe that is just me.

Throughout this album Larry burns up the keys on his B-3 and shows once again that he may still be the best Hammond player ever. You can also hear the quartal voicings and scale runs that influenced British prog-rockers like Brian Auger and Keith Emerson. Larry's band mates on here are also impressive, especially drummer Elvin Jones. The Monk inspired Monk's Dream features Elvin and Larry in a duet setting, and what a crazy roller coaster of rhythm and angular scale runs this one turns out to be. Young and Jones seem to be having a blast as they practically deconstruct the song into scattered shards of what it started out to be and use sly humor to cleverly re-structure it's content.

If you like that style of dry intellectual post-bop favored by the likes of Miles Davis, Herbie Hancock and Wayne Shorter, or if you are interested in the roots of jazz fusion and the first stepping stones towards the use of the B-3 in early progressive rock, then you might enjoy this fine set by the great Larry Young.