js After the brilliant 'Contrasts' album on which Larry Young sounded like he was just about to either step into his destiny as a leader in the new jazz fusion style, or possibly continue further experiments in the world of post bop, Larry throws us a curve ball with the inconsistent and sometimes backward looking 'Heaven on Earth'. This isn't a terrible album, but I wouldn't recommend it to people seeking a first look at Larry's incredible B3 playing. Fortunately though, there is enough good on here to make it worthwhile to hardcore Young fans. Larry is known for putting out albums that are stylistically all over the map, in that respect this album takes the cake. The album opens with 'Infant', a 'fun' soul-jazz number that isn't bad, but Larry had moved past this style years ago. Is this a blatant attempt to score a commercial hit? I love B3 based soul-jazz, but at this point in his career Young is capable of so much more. His playing on this one sounds dumbed down and uninspired.

The next two numbers are much better, in fact 'Hereafter' belongs in the Larry Young hall of fame. This cut is a great mix of avant-garde African subtle polyrhythmic grooves with laid back spacey psychedelic Hammond sounds and a great guitar solo from George Benson. Although George is best know for his commercial work, when put to the test, he can play modern jazz as well as any jazz guitarist out there.

Side two opens with 'Heaven on Earth', another soul-jazz number, only this time Larry and his crew sound a lot more inspired and aggressive. This cut shows Young playing in that forceful semi- minimalist style that he will explore further on 'Lawrence of Newark'.

Next up Young switches styles again with a slightly off-kilter version of the lounge-jazz classic 'Call Me'. This one may sound like easy listening to many, but Benson and Young throw in enough offbeat twists to keep it interesting. The album closer is the classic jazz ballad 'My Funny Valentine', sung by Larry's wife Althea. Once again Young and Benson's accompaniments are unique and inventive, but overall the band plays this one pretty straight. Was this one more shot at a commercial hit?

This is a good album, but I would not recommend it to anyone but already committed fans of Larry Young's totally unique musical vision and playing.

Abraxas One of Larry Young's last full-fledged jazz albums, Heaven on Earth from 1968, shows Khalid going back in time to his early soul jazz albums. It can be very disappointing to hear someone who is exploring new grounds with each new album and then suddenly returns five slots back.

Yes, Heaven on Earth is a disappointing Young album. With the huge progress from Into Somethin' to Unity and then to the avant-garde of Of Love & Peace and then even to a more accomplished album, Contrasts, you get this.

Undoubtedly, Larry's playing on this soul jazz release is by far more exquisite and unique than most of his B3 pals, but that doesn't save the album. The compositions are mostly forgettable, with the exception of 'The Herafter' which retains the more adventurous style of previous releases, with guitarist George Benson doing some non-standard jazz stuff, as well as with the more free-ish saxophonist, Herbert Morgan, showing at least a glimpse of the great Larry Young.

This is you average organ-led soul jazz album of the 60s, which the only thing worthwhile is Larry's unique playing on some of the tunes, plus the addition of the underappreciated guitarist, George Benson.

Only Larry Young and Soul Jazz collectors should get this.