js “Black Talk” is a good solid set of hard bop/funk/soul jazz from one of the masters of the funky B3, Charles Earland. There isn’t anything particularly surprising on here, but at the same time there are no weaknesses either, the band keeps a no-nonsense groove from beginning to end. Side one consists of three Earland originals; “Black Talk” is old school proto-funk, “The Mighty Burner” is uptempo conga driven swing and “Here Comes Charlie” brings back the jazzy bluesy proto-funk with good lengthy solos from everyone.

On side two their version of “Aquarius” avoids the song’s usual heavy-handed dramatic clichés and instead goes for an abstract uptempo Latin post-bop feel. The album closes with a medium swing version of the old classic “More than Yesterday”. Although this song is less modern than the others, the players have a lot of fun with it. Guitarist Melvin Sparks is particularly inspired on this one with an odd humorous solo that borders on the avant-garde. The presence of a small horn section always brings so much to music like this. This isn’t Earland’s best record, but its much better than a lot of the disco stuff he would do later.

js You could call ‘Live at the Lighthouse’ a soul jazz record, but it’s a lot more energetic than your typical laid back back-yard BBQ affair. Recoded live in the early 70s when so many jazz musicians were influenced by a certain African flavored psychedelic soul trip vibe, this album has a killer conga driven groove plus a lot of energetic solos that never allow for a dull moment. Earland’s B3 playing is solid throughout and would certainly appeal to fans of rockin jazzy Hammond players from Jack McDuff to Jon Lord.

Although Earland has released his share of commercial pop albums, the pop tunes on this album are merely launching pads for more hot groove based soloing. Sly Stone’s ‘Smiling’ in particular is transformed into a high energy rocker that amplifies the original version’s bright chord progressions. Another plus to the sound of this album is the three piece horn section which gives the band a mini-big band effect. This horn driven ensemble sound is used to great effect on their swingin version of ‘We’ve Only Just Begun’.

This album isn’t exactly high art, the formula is simple, great 70s styled grooves topped with loose high energy solos. Fans of similar conga-meets-B3 groove bands such as Santana, Jack McDuff, Brian Auger or Jimmy Smith’s ‘Root Down’ album will find a lot to like here.

js Intensity’ isn’t the best album I’ve heard by Earland, but despite the fact that half the album’s tunes are pop covers, this is much better than his sometimes overtly commercial output. Side one consists of a Latin jazz lounge groove cover of Chicago’s ‘Happy I’m Goin Home’ and a swing big band cover of Carole King’s ‘Will You Still Love Me Tomorrow‘. Neither of these covers are corny at all, the big band cover is more Don Ellis and Thad Jones than Glen Miller. On both tunes the soloists, including B3 maestro Earland, have room to go off and the rhythm section, led by the great Billy Cobham, provides variations and energy surges that keeps things interesting.

Side two contains two Earland originals. ‘Cause I love Her’ brings back the Latin groove for a cut that has that Latin soul jazz rare groove ambience that acid jazz DJs will kill to get their hands on. The album closes with something totally different. ‘Morgan’ opens with an abstract melody made of quartal leaps, somewhat similar to ‘Freedom Jazz Dance’, which leads to a driving post-bop swing that gives the soloists plenty of room to go off in an almost free jazz manner.

This is a nice record by Charles, Billy and the rest. Some tunes may start off as mellow pop covers, but this is a real full-blooded jazz record and all the musicians get a chance to morph and shape these tunes to their liking.