BLACK SOCIAL HISTORY
Grover Washington, Jr.
| Grover Washington, Jr. | |
|---|---|
| Birth name | Grover Washington, Jr. |
| Born | December 12, 1943 Buffalo, New York |
| Died | December 17, 1999 (aged 56) New York City |
| Genres | Jazz, Soul, R&B, Jazz-funk,Soul-jazz, Smooth jazz |
| Occupation(s) | Musician, saxophonist, singer-songwriter, arranger, producer |
| Instruments | Vocals; Alto, tenor, and soprano saxophones |
| Years active | 1971–1999 |
| Labels | Kudu, Motown, Elektra,Columbia |
Grover Washington, Jr. (December 12, 1943 – December 17, 1999)[1] was an American jazz-funk / soul-jazz saxophonist. Along with Wes Montgomery, George Shearing, George Benson, John Klemmer, David Sanborn, Bob James, Chuck Mangione, Herb Alpert, and Spyro Gyra, he is considered by many to be one of the founders of the smooth jazz genre.[citation needed] He wrote some of his material and later became an arranger and producer.
Throughout the 1970s and 1980s, Washington made some of the genre's most memorable hits, including "Mister Magic," "Reed Seed," "Black Frost," "Winelight," "Inner City Blues" and "The Best is Yet to Come". In addition, he performed very frequently with other artists, including Bill Withers on "Just the Two of Us" (still in regular rotation on radio today), Patti LaBelle on "The Best Is Yet to Come" and Phyllis Hyman on "A Sacred Kind of Love". He is also remembered for his take on the Dave Brubeck classic "Take Five", and for his 1996 version of "Soulful Strut".
Washington had a preference for black nickel-plated saxophones made by Julius Keilwerth. These included a SX90R alto and SX90Rtenor. He also played Selmer Mark VI alto in the early years. His main soprano was a black nickel plated H.Couf Superba II (also built by Keilwerth for Herbert Couf) and a Keilwerth SX90 in the last years of his life. Biography
Early life
Washington was born in Buffalo, New York, on December 12, 1943. His mother was a church chorister, and his father was a collector of old Jazz gramophone records and a saxophonist as well, so music was everywhere in the home. He grew listening to the great jazzmen and big band leaders like Benny Goodman, Fletcher Henderson, and others like them. At the age of 8, Grover Sr. gave Jr. a saxophone. He practiced and would sneak into clubs to see famous Buffalo blues musicians.
Early career
Washington left Buffalo and played with a Midwest group called the Four Clefs and then the Mark III Trio from Mansfield, Ohio. He was drafted into the U.S. Army shortly thereafter, which was to be to his advantage, as he met drummer Billy Cobham. A music mainstay in New York City, Cobham introduced Washington to many New York musicians. After leaving the Army, Washington freelanced his talents around New York City, eventually landing in Philadelphia in 1967.[1] In 1970 and 1971, he appeared on Leon Spencer's first two albums on Prestige Records, together with Idris Muhammad and Melvin Sparks.
Washington's big break came at the expense of another artist. Alto sax man Hank Crawford was unable to make a recording date with Creed Taylor's Kudu Records,[2] and Washington took his place, even though he was a backup. This led to his first solo album, Inner City Blues. He was talented and displayed heart and soul with soprano, alto, tenor, and baritone saxophones. Refreshing for his time, he made headway into the jazz mainstream.
Fame
While his first three albums established him as a force in jazz and soul music, it was his fourth album in 1974, Mister Magic, that proved a major commercial success. The album climbed to number 10 in Billboard's Top 40 album chart and the title track reached No. 16 on the R&B singles chart (#54, pop). All these albums included guitarist Eric Gale as a near-permanent member in Washington's arsenal.[1] His follow-up on Kudu in 1975, Feels So Good also made No. 10 on the album chart.
A string of acclaimed records brought Washington through the 1970s, culminating in the signature piece for everything he would do from then on. Winelight (1980) was the album that defined everything Washington was then about, having signed for Elektra Records, part of the major Warner Music group. The album was smooth, fused with R&B and easy listening feel. Washington's love of basketball, especially the Philadelphia 76ers, led him to dedicate the second track, "Let It Flow", to Julius Erving (Dr. J). The highlight of the album was his collaboration with soul artist Bill Withers, "Just the Two of Us," a huge hit on radio during the spring and summer of 1981, peaking at No. 2 on the Hot 100. The album went platinum in 1981, and also won Grammy Awards in 1982 for Best R&B Song ("Just The Two of Us"), and Best Jazz Fusion Performance ("Winelight"). "Winelight" was also nominated for Record of the Year and Song of the Year.[1]
In the post-Winelight era, Washington is credited for giving rise to a new batch of talent that would make its mark in the late 1980's and early 1990's. He is known for bringingKenny G to the forefront, as well as artists such as Walter Beasley, Steve Cole, Pamela Williams, Najee, and George Howard. His song "Mr. Magic" is noted as being influential onGo-go music starting in the mid-1970s.[3]
Death
On December 17, 1999, 5 days after his 56th birthday, Washington collapsed while waiting in the green room after performing four songs for The Saturday Early Show, at CBSStudios in New York City. He was taken to St. Luke's-Roosevelt Hospital, where he was pronounced dead at about 7:30 pm. His doctors determined that he had suffered a massive heart attack.[1] His interment was in West Laurel Hill Cemetery.
Tributes
A large mural of Washington, part of the Philadelphia Mural Arts Program, is just south of the intersection of Broad and Diamond streets.[4]
Discography
As leader
| Year | Album | US 200 | US R&B | US Jazz |
|---|---|---|---|---|
| 1972 | Inner City Blues | 62 | 8 | 4 |
| All the King's Horses | 111 | 20 | 1 | |
| 1973 | Soul Box | 100 | 26 | 1 |
| 1975 | Mister Magic | 10 | 1 | 1 |
| Feels So Good | 10 | 1 | 1 | |
| 1976 | A Secret Place | 31 | 7 | 1 |
| 1977 | Live at The Bijou | 11 | 4 | 1 |
| 1978 | Reed Seed | 35 | 7 | 1 |
| 1979 | Paradise | 24 | 15 | 2 |
| 1980 | Skylarkin' | 24 | 8 | 1 |
| Winelight | 5 | 2 | 1 | |
| 1981 | Come Morning | 28 | — | 1 |
| Baddest | 96 | 40 | 5 | |
| Anthology | 149 | 44 | 11 | |
| 1982 | The Best Is Yet to Come | 50 | 8 | 1 |
| 1984 | Inside Moves | 80 | 21 | 3 |
| 1986 | House Full of Love | 125 | 52 | 25 |
| 1987 | Strawberry Moon | — | — | — |
| 1988 | Then and Now | — | — | 2 |
| 1989 | Time Out of Mind | — | 60 | 1 |
| 1992 | Next Exit | 149 | 26 | 1 |
| 1994 | All My Tomorrows | — | — | 2 |
| 1996 | Soulful Strut | 187 | 45 | 2 |
| 1997 | Breath of Heaven: A Holiday Collection | — | — | 7 |
| 2000 | Aria | — | — | — |
As sideman
With Kathleen Battle
- So Many Stars (Sony, 1995)
With Kenny Burrell
- Togethering (Blue Note, 1985)
With Charles Earland
- Living Black! (Prestige, 1970)
With Dexter Gordon
- American Classic (Elektra, 1982)
With Urbie Green
- Señor Blues (CTI, 1977)
With Eddie Henderson
- Inspiration (Milestone, 1994)
With Masaru Imada
- Seaside (1982)
With Boogaloo Joe Jones
- No Way! (Prestige, 1970)
- What It Is (Prestige, 1971)
With The Mark III Trio
- Let's Ska at the Ski Lodge (Downhill, 1964)
With Idris Muhammad
- "Power of Soul" (Kudu Records, 1974)
With Gerry Mulligan
- Dragonfly (Telarc, 1995)
With Don Sebesky
- Giant Box (CTI, 1973)
- What's Going On (Prestige, 1971)
- Breakout (Kudu Records, 1971)
- Wild Horses Rock Steady (Kudu, 1971)
With Melvin Sparks
- Spark Plug (Prestige, 1971)
With Leon Spencer
- Sneak Preview! (Prestige, 1970)
- Louisiana Slim (Prestige, 1971)
With Mal Waldron
- My Dear Family (Evidence, 1990)
With Randy Weston
- Blue Moses (CTI, 1972)
With Bill Withers
- Just the Two of Us (Columbia Records, 1981)
Singles
| Year | Singles | US Pop | US R&B |
|---|---|---|---|
| 1971 | "Inner City Blues" | — | 42 |
| 1972 | "Mercy Mercy Me" | — | — |
| "No Tears in the End" | — | 49 | |
| 1973 | "Masterpiece" | — | — |
| 1975 | "Mister Magic" | 54 | 16 |
| 1976 | "Knucklehead" | — | — |
| 1977 | "Summer Song" | — | 57 |
| 1978 | "Do Dat" | — | 75 |
| 1979 | "Tell Me About It Now" | — | — |
| 1980 | "Snake Eyes" | — | — |
| "Winelight" | — | — | |
| 1981 | "Just the Two of Us" | 2 | 3 |
| 1982 | "Be Mine (Tonight)" | 92 | 13 |
| "Jamming" | — | 65 | |
| 1983 | "The Best Is Yet to Come" | — | 14 |
| 1984 | "Inside Moves" | — | — |
| 1987 | "Summer Nights" | — | 35 |
| 1989 | "Jamaica" | — | — |
| 1990 | "Sacred Kind of Love" | — | 21 |
| 1992 | "Love Like This" | — | 31 |
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