Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well -- especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous -- and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk -- is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist
1 No Tears, In The End 3:50
Ralph MacDonald / William Salter
2 All The King's Horses 3:49
Aretha Franklin
3 Where Is The Love 5:07
Ralph MacDonald / William Salter
4 Body And Soul (Montage) 3:05
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
5 Lean On Me 4:25
Bill Withers
6 Lover Man 7:03
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
7 Love Song 1700 4:50
Adapted By, Arranged By – Bob James
Drums – Billy Cobham
Written-By [Adapted From A Song By] – Henry Purcell
Credits :
Alto Saxophone, Flute, English Horn, Oboe, Recorder – George Marge
Electric Piano, Harpsichord, Arranged By, Conductor – Bob James
Baritone Saxophone – Arthur Clarke, Pepper Adams
Bass – Ron Carter
Cello – Charles McCracken, George Ricci
Congas – Ralph MacDonald
Drums – Bernard Purdie
Engineer – Rudy Van Gelder
Flute – Arthur Clarke
French Horn – Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge
Guitar – Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini
Harp – Margaret Ross
Organ – Richard Tee
Percussion – Airto Moreira
Producer – Creed Taylor
Tenor Saxophone, Alto Saxophone – Grover Washington, Jr.
Trombone – Paul Faulise, Tony Studd, Wayne Andre
Trumpet, Flugelhorn – Alan Rubin, Ernie Royal, John Frosk, Marky Markowitz, Marvin Stamm, Snooky Young
Viola – Emanuel Vardi, Richard Dickler
Violin – Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle, Max Ellen, Paul Gershman
Grover Washington, Jr., has long been one of the leaders in what could be called rhythm & jazz, essentially R&B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit "Just the Two of Us." It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out. If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz. Scott Yanow
