The Original Jam Master, Vol. 2: For the Funk of It

Performer: Grant Green
Producer: Francis Wolff; George Butler; Francis Wolff; George Butler; Richard Seidel (Compilation)
Distributor: EMI Music Distribution

Notes: Personnel: Grant Green (guitar); Grant Green; Cornell Dupree (guitar); Claude Bartee, Jr., Claude Bartee (tenor saxophone); James Sedlar, Joe Newman Quartet , Joe Newman , Jimmy Sedlar (trumpet); James Buffington, Jim Buffington (French horn); Emanuel Riggins (electric piano, Clavinet, organ); Gary Coleman (vibraphone); Chuck Rainey, Gordon Edwards, Jimmy Lewis , Wilton Felder (electric bass, bass guitar); Greg Williams , Greg Williams (drums); Hall Bobby Porter, Bobbye Porter (congas, percussion); Ralph MacDonald, Ralph McDonald (percussion); George Marge, John Leone, Phil Bodner, Romeo Penque (woodwinds); Joe Wilder, Victor Paz, Blue Mitchell (trumpet); Harry DiVito (trombone); Dick Hickson (bass trombone); Clarence Palmer (electric piano); Richard Tee, Shelton Laster (organ); Billy Wooten, William Bivens (vibraphone); Grady Tate, Idris Muhammad, Stix Hooper (drums); Candido Camero (congas); Richard Landrum (bongos); George Devens, King Errisson, Ray Armando (percussion). Liner Note Author: Bob Porter. Recording information: A&R Studios, New York, NY (10/03/1969-12/17/1971); The Lighthouse, Hermosa Beach, CA (10/03/1969-12/17/1971); United Artists Recording Studio, Los Angeles, CA (10/03/1969-12/17/1971); Van Gelder Studios, Englewood Cliffs, NJ (10/03/1969-12/17/1971). Photographer: Chuck Stewart. Arranger: Wade Marcus. Blue Note's compilation series of guitarist Grant Green's output during his last years at the label provides a valuable service in collecting the best of this material on economical, well-sequenced sets. FOR THE FUNK OF IT, the second installment of the three-volume series, is less loud and nasty than AIN'T IT FUNKY NOW, and not quite as laid-back as MELLOW MADNESS. Instead, FOR THE FUNK OF IT falls somewhere between these extremes, offering up a set of delectable, cool-toned soul-jazz jams that feature Green's classy, fluid fretwork amid a sea of percolating grooves. The personnel on these sessions--including drummer Idris Muhammad, vibraphonist Willie Bivens, saxophonist Claude Bartee, and organist Emmanuel Riggen, among others--keeps everything simmering and in-the-cut. Green's "Upshot" kicks off the set in an uptempo boogaloo, with the loose-limbed funk of "The Final Comedown" and the sprightly groove-pop of "Cantaloupe Woman" augmenting the vibe. Green offers another composition with the blues-based sway of "California Green" (featuring a large ensemble that includes French horn, bass trombone, and woodwinds), before boogaloo surfaces again with "Flood in Franklin Park." A strong, thoroughly enjoyable set, VOLUME TWO helps cement Green's reputation as one of the finest soul-jazz players of the era.

JazzTimes (p.117) - "[F]or dancing, boogaloos like 'Upshot' and 'California Green' do just fine."

St. Louis-born guitarist Grant Green was a giant of what came to be known as soul-jazz. His singular style incorporated the influences of Gospel, blues, and R&B, and defined a unique post-bop language for electric guitar. His classic early-1960s Blue Note recordings are high-water marks of both the soul-jazz sound and of jazz guitar in general. Drug abuse sadly hampered his later career; he died in 1979, but his son, the jazz guitarist Grant Green, Jr., continues his legacy.

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