Search - Johnny Hammond :: Breakout

Breakout the funk

Christian Justin Shearn | Vestal, NY USA | 06/26/2002

(5 out of 5 stars)

"By mid 1971, Creed Taylor's independent CTI Records had gained a lot of fame. From the label's small beginnings as a subsidiary of A&M, the label gave birth to some of Wes Montgomery's most popular later sides, and introduced the mainstream world to a young George Benson. The label had huge hits from artists such as the fiery trumpeter Freddie Hubbard, the soul dripping tenor saxophone of Stanley Turrentine, and Benson. CTI's offerings were lush and slick, utilizing the finest players, and wonderful gatefold LP covers. Soul jazz was a big market, and Taylor created the Kudu label to specialize in soul jazz, and also to reach out more to an African American audience. The first Kudu release, "Breakout" was cut by organist Johnny "Hammond" Smith, a player out of the Jimmy Smith school with a reputation for putting out solid soul jazz. For his first outing with the label, Hammond was joined by CTI veterans alto saxophonist Hank Crawford, session guitarist extraordinare Eric Gale (later a member of the R&B band Stuff) percussionist Airto Moreira and Billy Cobham on drums. Rounding out the cast are trumpeter Danny Moore, bassist Johnny Williams and a hot newcomer on tenor saxophone named Grover Washington, Jr. "It's Too Late", a Carole King hit, contains a great chart from Grover and some nice playing from all concerned at a slow boiling, greasy medium tempo funk groove. Hammond's chordal work is nice, and exquisitely funky, and he brings forth a nice heated solo, as does Washington. Billy Cobham works in some nice double time throughout for each soloist. Neil Sadaka's "Workin On a Groovy Thing" is treated as a straight ahead swinger, Hammond's lines quick, fleeting and bluesy, Grover Washington delivers another fine solo turn, his phrases earthy with a boppish tinge. His command of the tenor here is wonderful, proving that there was a time when he was blowing with fire and substance. Hank Crawford is well featured on the ballad "Never Can Say Goodbye", an R&B hit of the time. Arranger Leo Johnson provides a slick horn chart, and Crawford rises to the occasion with a sultry improvisation, displaying a huge, vocal, gospel inflected tone honed through his years with Ray Charles. Cobham keeps a nice steady beat and Hammond again lays down some funky chords. "Blues Selah" penned by Johnson, is a funky shuffle blues with everyone really loosening up. Hammond and Washington in particular vibrant form. Johnny's solo is bursting with cleverness and some nice funky right hand chords. "Breakout", the original album closer is a nasty, sweaty groove laden blues, with the spotlight on Hammond. Behind Gale's relentless stream of funk riffs and Cobham's strong push, Hammond's ideas of very reminiscent of Jimmy Smith, right hand trills and a drone pattern mark a strong final spot for Johnny. Grover Washington plays with strength and power, leaving the door wide open for Crawford as the tune fades. A bonus unreleased live version of "It's Too Late" recorded at the Hollywood Palladium in July, 1971 with the CTI All Stars closes the disc. Weighing in at 16:18, it is superior to the studio version in feeling and energy. An added plus is due to the presence of George Benson taking Gale's spot. Benson's much greater technical facility brings a greater fluidness and funkiness to his lines that is a real treat. Benson's solo slowly gains heat as Hammond pulls all stops out* and riffs feverishly behind George. Hammond's solo is remarkable in it's intensity and pacing. He begins with sly bluesy lines, slowly working up to a roaring crescendo with all stops out, using incessently funky riffs and drone patterns. The sound of his organ is much dirtier with his Leslie speaker in overdrive. The tension doesn't end, it is picked up by Cobham with a flashy drum solo. Hammond restates the melody closing the tune, barely letting the raucous crowd catch it's breath. The first time on CD and remastered in excellent 24 bit sound, "Breakout" is recommended to fans who love funk, R&B and soul jazz. Purists should steer clear, this is simple soul satisfying stuff, no tricky stuff here. *all stops out- an effect achieved by pulling all the organ's drawbars out, creating a pipe organ like sound. personnel tracks 1-5: Johnny "Hammond" Smith (hammond b-3 organ), Hank Crawford (alto sax) Grover Washington, Jr (tenor sax) Danny Moore (trumpet) Johnny Williams (fender electric bass) Airto Moreira (percussion) Eric Gale (guitar) Billy Cobham (drums) personnel track 6: Johnny "Hammond" Smith (hammond b-3 organ) George Benson (guitar) Freddie Hubbard (trumpet) Stanley Turrentine (tenor sax), Hank Crawford (alto sax) Airto Moreira (percussion) Billy Cobham (drums)"

Absolutely great Hammond!

Dr.D.Treharne | Exeter, Devon, United Kingdom | 03/05/2002

(5 out of 5 stars)

"Together with "Red Clay" the Freddie Hubbard album,this is absolutely my favourite of the CTI albums, and it just got better. Firstly it has been remastered really well, and secondly the bonus track is almost worth the price of admission on its own. I was afraid that the two "pop" tunes included in the listing might not have worn well, but they have, with the first version of Carole King's "It's too late" illustrating everthing that's great about the playing. Of particular note is the interplay between Hank Crawford and (a very young!) Grover Washington.Special mentions for their contributions throughout to Billy Cobham who is propulsive when needs be, but laid back when he should be. It's also a great showcase for Eric Gale, whose guitar work, especially on "Blues Selah" is completely empathetic to what's going on around him. The selection of tunes is great, the version of Neil Sedaka's "Workin' on a groovy thing" gives the tune something new. Then, as if the original album wasn't enough, they've attached a second version of "It's too late" that clocks in at 16.18, and adds George Benson in place of Gale, and has Stanley Turrentine on Tenor in place of Washington. The result is a cooking version of Track One that shows the different improvisational skills of all the participants from a session that was recorded a month later. It's "worn" incredibly well. Go buy!"

A soul-jazz classic

songlife | Dayton, OH | 05/16/2002

(4 out of 5 stars)

"Johnny Hammond Smith was well known for his sublime ballad playing; no one played organ ballads more dramatically and soulfully then he, but on 'Breakout' he's in 100% funk mode, and it's definitely his best Kudu album by far. Not only was it Johnny's first for CTI's sub-label Kudu, it was the first Kudu release by anyone. This album is consistently good; every song has a funky and unique groove, with superb soloing. When you've got sidemen like Eric Gale and Billy Cobham, that's no surprise. The highlight of the disc, perhaps, is a previously unreleased, smoking hot live version of Carole King's 'It's Too Late', with George Benson taking a couple long, very creative guitar solos and Johnny going absolutely nuts on the organ, manipulating the drawbars and Leslie like a demon. And, Cobham takes a long, intense drum solo. The whole CD is great, but it's worth any price you pay just for that one live track alone, hidden in the vaults until now. Although Johnny did other albums after this one, he never was able to recapture the greatness of Breakout, which isn't too far in style from his classic Prestige dates (all of which are highly recommended for soul-jazz fans, particularly "That Good Feeling", which is one of the best soul-jazz recordings ever released.) Johnny did not get as much press as some of the other organ players, but he was a virtuoso, and he never made a bad album including and prior to "Breakout". Although he passed a few years ago, I feel that someday Johnny's gonna get his due as the musical genius that he was. Get "Breakout" right away, you won't regret it."