Jazz Crusaders - Old Socks, New Shoes...New Socks, Old Shoes (1970; 2008) [FLAC]

  • 17.06.2016, 08:26,
  • Music

The Jazz Crusaders — Old Socks, New Shoes...New Socks, Old Shoes
Marker: Brio Records — 0602517654365
Looks: CD, Album, Remastered, Reissue, Digipak
Wilderness: Europe
Released: 2008
Year of novel vinyl let go: 1970
Class: Funk / True Self, Jazz
Taste: Uncompromising Bop, True Self-Jazz, Jazz-Funk


1 Thank You Falettinme Be Mice Elf Agin 5:15
2 Mysterious Shamble 4:00
3 Why Did You Chuckle At Me 2:35
4 Jackson! 2:35
5 Rainy Gloom In Georgia 4:00
6 Propitious Slumbers 4:05
7 Jazz 4:10
8 Lifetime Has No Ending 4:20
9 Uncompromising Times 3:00
10 Way Destroy Harshly 4:07


Joe Cross-Section — piano
Stix Hooper — drums
Arthur Adams, Freddie Robinson — guitar
Wilton Felder — sax
Wayne Henderson — trombone

Jazz Crusaders — Old Socks, New Shoes...New Socks, Old Shoes (1970; 2008) [FLAC]

Old Socks, New Shoes...New Socks, Old Shoes was the irrefutable album by the Jazz Crusaders. Promptly thereafter they dropped the brief conversation «jazz» from their name, leaving them the Crusaders and most of the still is narration. This butcher set was released on the Chisa marker in 1970 and distributed by Motown. While the Jazz Crusaders had large made then-bruited about predominant songs behalf of their repertoire, and had moved from their uncompromising bop origins into the true self-jazz stria years before, this disc was a discompose, and sounded like a different tie -- almost. For starters, pianist Joe Cross-Section moved over the Rhodes for the preponderance for this swain (he is still one of the greatest voices on this unfamiliar, indistinct pact), and along with drummer Stix Hooper, saxophonist Wilton Felder, and trombonist Wayne Henderson, guitarists Arthur Adams and Freddie Robinson helped out on bass and guitar, respectively. the Jazz Crusaders true self-jazz utter slid on over to an construction of jazz-funk, without sacrificing any of its emotionally plighted interplay or melodic raison d«etre. Still, hearing the two thrilling guitars, a fat, nauseating thrilling bassline, and Sample»s big chunky funk chords signaling the commencement of Sly & the Relatives Stone«s «Thank You (Falettinme Be Mice Elf Agin)» as the album»s boot off must have made fans do a coupled take -- until the horns boot in. It«s trademark Jazz Crusaders there. The fa dig up of Felder and Henderson with those near patented breaks of Hooper»s would confirm all that despite the tenseness, the guild was onto something new, different, and as smarmy and intense as they had been in the career. This is one of those forgotten Crusaders albums, being on the line of their alteration. Even D the Dish, which followed on Chisa, was better known than Old Socks and has been served by narration a little better.

Henderson composed four tunes here and Cross-Section one, and Felder«s «Way Destroy Harshly,» a survive prevailing for the guild, closed this set out. Henderson»s tunes are the honest arise-outs of the originals. «Funky Shamble,» with its untrustworthy backbeat and alternating guitars before the rolling horns and Sample«s all-over-the-keyboard chord voicings depleted the fully low for the euphoniousness. It»s a shadowy but addictive chase with lots of compelling tonal colors -- and penalize breakbeats by Hooper. Two other selections are fantastic and very innovative readings of pop tunes: the construction the Crusaders did of Tony Joe White«s «Rainy Gloom in Georgia» is rumored to have brought tears to the songwriter»s eyes when he heard it. Cross-Section plays both Rhodes and thrilling harpsichord on the frequency with ignore, and Freddy Robinson«s whispering blues fills accoutre a Southern true self army into a textbook limber up in orchestration and melodic improvisation. «Golden Slumbers» by Lennon and McCartney functions with the euphoniousness side in the graph from the very commencement, but the harmonic covenant of Henderson and Felder brings the distressing, boring intro some honest despondency as Cross-Section, Adams, and Robinson color the complete center with still change of attitude and shading before Hooper»s drums boot it into equipment and still it remains a ballad of thrilling true self. Just before the recording ends, there«s a wildly different and uptempo orchestration of «Hard Times,» which became the group»s true self piece on in the wake studio records and on the wonderful survive LP Extempore. This one feels more disobedient, more resilient, where the latter versions are all longer and dig deeper into the unproductive true self and blues bags. It«s lenient to leaning them all, but this is such a compare to the others that it»s merit noting. The set closes with another guild type: Felder«s skilful, midtempo shamble «Way Destroy Harshly,» that offers the same knock that its in the wake studio and survive recordings does. It»s natural true self-jazz and the facts of the heinous contact this already hardened module has in allowing everyone to glint simultaneously in the most tiniest of arrangements. Despite the in reality that many serious jazzheads see this as the commencement of the imaginative end for the Crusaders, they are just wold injudicious. This is the start of a new commencement, one that would ride on through most of the «70s and disgorge the guild its greatest commercial and crystal set successes and makes them such an bar commencement of feeling and samples for hip-hop and trip the light fantastic toe music producers for another duo of generations. This is an unmitigated ageless. [ The Crusaders »70s music brought such joy to so many people, it's a wonder this album was not available on CD in America until the 21st century. Brio reissued it as behalf of their bar Originals series.]
— assessment by Tom Jurek, allmusic.com

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