Brown Sugar | ||||
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Studio album by Freddie Roach | ||||
Released | 1964 | |||
Recorded | March 19, 1964 | |||
Studio | Van Gelder Studio, Englewood Cliffs, NJ | |||
Genre | Jazz | |||
Length | 37:05 | |||
Label | Blue Note BST 84168 | |||
Producer | Alfred Lion | |||
Freddie Roach chronology | ||||
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Brown Sugar is the fourth album by American organist Freddie Roach recorded in 1964 and released on the Blue Note label. [1]
Freddie Roach was a soul jazz Hammond B3 organist born in the Bronx, New York. He was one of a handful of legendary jazz organists that made history in the 1960s, the golden era of the Hammond organ. Roach made his record debut in 1960 with saxophonist Ike Quebec on the albums Heavy Soul and It Might as Well Be Spring and played with Willis Jackson. From 1962-64 he recorded 5 albums as a leader for the Blue Note Records label and also recorded with Donald Byrd on the album I'm Tryin' to Get Home. Roach's original writing, steady basslines, and highly musical fleet-fingered right hand set him apart. From 1966-67 he recorded three more albums as a leader for Prestige Records, which are in a more commercial vein than his Blue Note dates. He left the music business in 1970 and became involved in theater, playwriting and film. Reportedly, he moved to California to the film industry, where he suffered a heart attack and died in 1980.
Blue Note Records is an American jazz record label that is owned by Universal Music Group and operated with Decca Records. Established in 1939 by Alfred Lion and Max Margulis, it derives its name from the blue notes of jazz and the blues. Originally dedicated to recording traditional jazz and small group swing, from 1947 the label began to switch its attention to modern jazz. Although the original company did not record many of the pioneers of bebop, significant exceptions are Thelonious Monk, Fats Navarro and Bud Powell.
Professional ratings | |
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Review scores | |
Source | Rating |
Allmusic |
The Allmusic review by Stephen Thomas Erlewine awarded the album 4½ stars and stated "Brown Sugar marks a turning point for Freddie Roach: It's the moment he decided to get dirty, funky, and soulful. Previously, he had plenty of funk in his playing, but he was tasteful, at times a little bit too tasteful. On Brown Sugar, he simply burns". [2]
All compositions by Freddie Roach except as noted
Joe Henderson was an American jazz tenor saxophonist. In a career spanning more than four decades, Henderson played with many of the leading American players of his day and recorded for several prominent labels, including Blue Note.
The tenor saxophone is a medium-sized member of the saxophone family, a group of instruments invented by Adolphe Sax in the 1840s. The tenor and the alto are the two most commonly used saxophones. The tenor is pitched in the key of B♭ (while the Alto is pitched in the key of E♭), and written as a transposing instrument in the treble clef, sounding an octave and a major second lower than the written pitch. Modern tenor saxophones which have a high F♯ key have a range from A♭2 to E5 (concert) and are therefore pitched one octave below the soprano saxophone. People who play the tenor saxophone are known as "tenor saxophonists", "tenor sax players", or "saxophonists".
A drum kit — also called a drum set, trap set, or simply drums — is a collection of drums and other percussion instruments, typically cymbals, which are set up on stands to be played by a single player, with drumsticks held in both hands, and the feet operating pedals that control the hi-hat cymbal and the beater for the bass drum. A drum kit consists of a mix of drums and idiophones – most significantly cymbals, but can also include the woodblock and cowbell. In the 2000s, some kits also include electronic instruments. Also, both hybrid and entirely electronic kits are used.
Poppin' is an album by jazz saxophonist Hank Mobley first released on Blue Note Japan in 1980 as GXF 3066. It was recorded on October 20, 1957 and features Mobley, Art Farmer, Pepper Adams, Sonny Clark, Paul Chambers and Philly Joe Jones.
Lush Life is an album by jazz saxophonist Lou Donaldson recorded for the Blue Note label in 1967 and featuring Donaldson with Freddie Hubbard, Garnett Brown, Jerry Dodgion, Wayne Shorter, Pepper Adams, McCoy Tyner, Ron Carter, and Al Harewood performing arrangements by Duke Pearson. Due to the success of Donaldson's Alligator Bogaloo (1967) the album was not released until 1980 in Japan under the title Sweet Slumber and then finally released decades later internationally.
Straight Ahead is an album by jazz saxophonist Stanley Turrentine, his first recording for the Blue Note label since Another Story in 1969, featuring four performances by Turrentine with Jimmy Smith, George Benson, Ron Carter and Jimmy Madison, and two tracks with Les McCann, Jimmy Ponder, Peter Brown, and Gerrick King.
Sugar is an album by jazz saxophonist Stanley Turrentine, his first recorded for the CTI Records label following his long association with Blue Note, featuring performances by Turrentine with Freddie Hubbard, George Benson, Ron Carter, and Billy Kaye with Lonnie Liston Smith added on the title track and Butch Cornell and Richard "Pablo" Landrum on the other two tracks on the original release. The CD rerelease added a live version of the title track recorded at the Hollywood Palladium in 1971.
On the Spur of the Moment is an album by American jazz pianist Horace Parlan featuring performances recorded and released on the Blue Note label in 1961.
Walkin' & Talkin' is an album by American trombonist Bennie Green recorded in 1959 and released on the Blue Note label. It was issued on CD only in Japan, in 2004.
Heavy Soul is the debut album by American saxophonist Ike Quebec, recorded in 1961 and released on the Blue Note label.
It Might as Well Be Spring is an album by American saxophonist Ike Quebec recorded in 1961 and released on the Blue Note label.
Down to Earth is the debut album by American organist Freddie Roach recorded in 1962 and released on the Blue Note label.
Mo' Greens Please is the second album by American organist Freddie Roach recorded in 1963 and released on the Blue Note label. It was reissued on CD only in Japan, as a limited edition.
Good Move! is the third album by American organist Freddie Roach recorded in 1963 and released on the Blue Note label.
All That's Good is the fifth album by American organist Freddie Roach recorded in 1964 and released on the Blue Note label. It was reissued on CD only in Japan, as a limited edition.
Doin' Allright is an album by American jazz saxophonist Dexter Gordon recorded in 1961 and released on the Blue Note label.
Oh Baby! is an album by American organist Big John Patton recorded in 1965 and released on the Blue Note label.
Understanding is an album by American organist John Patton recorded in 1968 and released on the Blue Note label.
Contours is the second album by American saxophonist Sam Rivers recorded in 1965 and released on the Blue Note label. The CD reissue contains an alternate take as a bonus track.
Easterly Winds is an album by American jazz pianist Jack Wilson featuring performances recorded and released on the Blue Note label in 1967.
Open House is an album by American jazz organist Jimmy Smith featuring performances recorded in 1960, but not released on the Blue Note label until 1968. The album didn't appear on CD until being reissued in 1992, as a twofer which also included Plain Talk, compiling all the recordings from the session.
Plain Talk is a studio album by American jazz organist Jimmy Smith featuring performances recorded in 1960 but not released on the Blue Note label until 1968. The album was rereleased on CD combined with Open House (1960) in 1992 compiling all the recordings from the session.