js Herbie Mann was one of the most prolific jazz artists ever and was never one to shy away from trying out the latest trends and styles so that he could record yet one more album. Sometime in the late 60s, in between recording with Middle Eastern musicians and Jamaican musicians, Mann took part of his touring band over to Memphis to record with some local studio RnB musicians. The resultant album, “Memphis Underground” is a decent late 60s RnB instrumental album, but like so much of Herbie Mann’s output, its catchy and hip, but nothing remarkable.

Its an interesting bunch of soloists from his touring band that Mann brought to the session. Vibraphonist Roy Ayers, jazz-rock shredder Larry Coryell and oddest of all, the ear-bleeding noise damage of guitarist Sonny Sharrock, always an odd fit with Herbie’s groovy good-times beatnik vibe, but also a welcome difference too. Sonny is kept in check for most of the album, until the end of “Hold on I’m Comin” where he breaks out his slide guitar fuselage for some noise that I’m sure had some unsuspecting listeners in shock. Most of the songs on here are pretty good except for the lengthy workout on the old anthem for the north during the American Civil War, “Battle Hymn of the Republic”. I’m sure there was some cultural significance to having a bunch of southerners play the northern anthem, but as a piece of music it’s a bore.

One of the best cuts on here is Herbie’s one original. “Memphis Underground”, an excellent groover that mixes laid back Memphis RnB with Jamaican reggae. Of the different soul covers, “Chain of Fools” hit’s the best groove and holds it. If you like Herbie Mann, or this sort of retro 60s proto-acid jazz, you’ll probably want to get this.

Sean Trane First Mann dab into the rock-pop world for the jazz flauter, and he was a bit of a precursor in that direction, since this pre-dates Miles’ Bitches Brew, even if you can’t really call Memphis Underground a jazz album: at max a jazzy pop rock thing. As its title implies, it’s definitely hinting at soul and RnB music.

Indeed, the 7-mis title track opens on a gentle but groovy RnB, where an organ, a great vibraphone and a good wha-wha guitar give a run at Herbie’s flute. Actually Mann is happy to almost take a second fiddle role in the song, but throughout the whole album as well. The short New Orleans stays in the line of the album’s RnB, much like the 8-mins+ Hold On.

On the flipside, the almost-11mins Chain-Up Fools is more of the same, but even better, presenting an irresistible groove and some wild enthralling soloing from the guitar, the vibes and that mad flauting stick of Herbie. Absolutely wonderful stuff that doesn’t seem to last long enough despite an impressive length and unfortunately ends in a fade-out. The closing Battle Hymn opens of Herbie’s calm flute underlined by a slow church-type organ chord, but soon opens up to a mid-tempo soulish groove (the slowest of the album) to give us a gentler blend of soloing, just as delightful as what came before.

A very even album that develop some superb RnB with much jazz colours, one that most trad jazzheads should still appreciate, even if the music is indeed electric. Much recommended to anyone, actually.