Charles Earland -

Charles Earland (1941–1999) was an American organist who made two Sixties soul-jazz albums heading the Charlie Earland Trio. Between 1970 and 1975, he made ten albums for Prestige Records, including Leaving This Planet (a jazz-funk double-album) and The Dynamite Brothers (a blaxploitation soundtrack).

In 1976, Earland reappeared on Mercury with Odyssey and formed a big band (named Odyssey) for two albums: The Great Pyramid and Revelation. His 1978 album Perceptions contains “Let the Music Play,” a rare groove classic.

Background

Earland was born on May 24, 1941, in Philadelphia, where he took up the saxophone in high school. One of his earliest credits is on the 1959 Elektra release Gold Coast Saturday Night by Saka Acquaye and His African Ensemble. At age 17, he played tenor sax behind soul-jazz organist Jimmy McGriff.

The Charlie Earland Trio

Earland took up organ in the mid-Sixties and formed the Charlie Earland Trio with guitarist Jimmy Ponder. In 1966, they made the album Boss Organ on Choice Records. He also produced a pair of singles for soul singer Jean Wells on Quaker Town, which issued his standalone single “Daily Double (Part I & II).”

In 1969, Earland played on the Blue Note titles Say It Loud! and Hot Dog by saxophonist Lou Donaldson. That same year, he reactivated the Charlie Earland Trio and issued Soul Crib on Choice. In 1970, he signed with the jazz label Prestige, where he played on the titles Right On Brother by guitarist Boogaloo Joe Jones and Soul Liberation by saxophonist Rusty Bryant.

Black Talk!

Charles Earland released his debut solo album, Black Talk!, in May 1970 on Prestige.

Black Talk! features Earland’s Hammond B3 alongside a sextet with trumpet, tenor saxophone, guitar, drums, and congas, blending hard bop, soul jazz, and proto-funk elements. The album presents three originals on side one and two covers on side two, maintaining a consistent rhythmic drive throughout.

Earland wrote three of the five tracks. “Aquarius” was written by James Rado, Gerome Ragni, and Galt MacDermot, and “More Today Than Yesterday” was written by Pat Upton. Guitarist Melvin Sparks solos throughout the set, with Buddy Caldwell contributing congas on two tracks and Idris Muhammad anchoring the drums across the album.

The opener, “Black Talk,” establishes a proto-funk tone with sharp turns and a steady organ foundation. “The Mighty Burner” is driven by congas and uptempo swing, while “Here Comes Charlie” emphasizes jazzy blues with extended solos. Side two’s “Aquarius” adapts the pop tune into an abstract Latin post-bop setting, and “More Today Than Yesterday” closes with a medium swing that showcases Sparks’s splintering solos against Earland’s steady rhythm.

A1. “Black Talk” (7:50) stretches a variation on “Eleanor Rigby” into organ-led proto-funk. Earland’s Hammond drives the rhythm while horns cut sharp accents across the steady pulse.
A2. “The Mighty Burner” (3:04) surges with uptempo swing where congas lock against Idris Muhammad’s drums. Earland keeps the organ line taut as the band pushes forward.
A3. “Here Comes Charlie” (8:15) opens into a bluesy framework colored by extended solos. Horns and guitar carve angular turns while the organ sustains a gritty undertone.

B1. “Aquarius” (8:00) drops its Broadway theatrics for an uptempo Latin-tinged pace. The ensemble bends the theme into abstract passages without losing rhythmic bite.
B2. “More Today Than Yesterday” (11:10) eases into medium swing, giving room for Melvin Sparks’ jagged, playful guitar solo. The organ anchors the tune while horns and drums keep the energy buoyant.

Sessions occurred at Van Gelder Studio in Englewood Cliffs, New Jersey, with producer Bob Porter and engineer Rudy Van Gelder.

Black Drops

Charlie Earland released his second album, Black Drops, in November 1970 on Prestige.

Black Drops continues Earland’s exploration of hard bop and soul jazz, featuring a sextet expanded with trombone and soprano/tenor saxophone. The set blends covers of contemporary pop and jazz standards with original compositions, maintaining a steady rhythmic intensity throughout.

Earland wrote three of the six tracks. “Sing a Simple Song” was written by Sly Stone, “Lazy Bird” by John Coltrane, and “Raindrops Keep Fallin’ on My Head” by Burt Bacharach and Hal David. Guitarist Maynard Parker and drummer Jimmy Turner support the ensemble with rhythmic accents, while Virgil Jones and Jimmy Heath provide brass and woodwind textures across the album.

The opening “Sing a Simple Song” delivers a funk-driven interpretation of Sly Stone. “Don’t Say Goodbye” introduces Latin-tinged rhythms, while “Lazy Bird” interprets Coltrane with angular phrasing and steady organ comping. “Letha” stands out as an intense, high-energy session with layered solos. “Raindrops Keep Fallin’ on My Head” slows the pace with a light, congenial approach, and “Buck Green” closes with hard bop energy reminiscent of Earland’s early influences.

A1. “Sing a Simple Song” (5:44) opens with a Family Stone vamp recast on organ. Earland drives the line forward while the horns punch accents into the funk-steeped rhythm.
A2. “Don’t Say Goodbye” (7:09) settles into a relaxed Latin-leaning pace. The organ phrases stretch across percussion patterns while the horns thread fluid lines above.
A3. “Lazy Bird” (7:18) sharpens into Coltrane’s angular theme, carried by Jimmy Heath’s saxophone. Earland pushes dense chords on organ, keeping the piece urgent and hard-edged.

B1. “Letha” (7:23) burns at high intensity, the band locked in tight propulsion. Earland cuts insistent runs while moans surface in the background, amplifying the session’s fire.
B2. “Raindrops Keep Fallin’ on My Head” (3:48) turns Bacharach’s ballad into a mellow interlude. Earland softens the edges with organ swells while the horns keep the tune light.
B3. “Buck Green” (7:17) closes with brisk hard bop in homage to the organist’s early influence. The rhythm section drives forcefully while Earland steers the ensemble through sharp exchanges.

Sessions occurred at Van Gelder Studio with producer Bob Porter and engineer Rudy Van Gelder.

Living Black! (live)

In March 1971, Charles Earland released Living Black!, a Prestige live album sourced from his September 17, 1970, show at the Key Club in New Jersey.

Living Black! captures Earland at his most animated in a live sextet setting, expanding his ensemble to include trumpet, tenor saxophone, guitar, drums, and congas. The album emphasizes extended improvisations over driving, varied rhythms and showcases sidemen who had joined the group only days before the performance.

Earland wrote two of the original tracks. “Westbound No. 9” was written by Daphne Dumas, Ronald Dunbar, and Edith Wayne, “Killer Joe” by Benny Golson, “Milestones” by Miles Davis, “More Today Than Yesterday” by Pat Upton, and “Message from a Black Man” by Barrett Strong and Norman Whitfield. Guitarist Maynard Parker and drummer Jesse Kilpatrick anchor the ensemble while Grover Washington Jr. and Gary Chandler provide brass and woodwind textures across the extended set.

The opening “Key Club Cookout” establishes the ensemble’s intensity with sharp rhythmic turns and fiery solos. “Westbound No. 9” blends blues and swing, highlighting Parker’s Chicago-influenced guitar breaks. “Killer Joe” stretches over fourteen minutes with slow blues sections that give space for horn lines and layered solos. “Milestones” closes the original set with a concise, contemplative reading, while the CD reissue adds the extended “More Today Than Yesterday” and “Message from a Black Man,” which maintain the live set’s dynamic pacing and interactive energy.

A1. “Key Club Cookout” (9:31) bursts open with a driving stomp where Earland’s organ cuts sharp lines over congas and drums. Grover Washington Jr. pushes the tenor into raw bursts before easing into the ensemble’s pulse.
A2. “Westbound No. 9” (8:19) carries a soul-driven pace with guitar breaks steeped in Chicago blues phrasing. The horns thread tight refrains while the rhythm section keeps the track surging.

B1. “Killer Joe” (14:28) stretches into a swaggering blues strut. Chandler and Washington pace the horn line in long arcs while Parker fills the spaces with biting guitar phrases.
B2. “Milestones” (4:34) condenses Miles Davis’ theme into a brisk, urgent read. The organ drives the melody while horns and rhythm frame it with lean precision.

CD bonus tracks:
5. “More Today Than Yesterday” (8:20) shifts into a buoyant swing where Earland keeps the organ lines luminous. Washington rises in bursts of tenor before settling back into the relaxed pace.
6. “Message from a Black Man” (9:59) closes with insistent call-and-response phrasing. The organ leads the charge while the horns echo and answer against pounding percussion.

Sessions occurred live at the Key Club in New Jersey with producer Bob Porter.

Soul Story

Charles Earland released his third solo studio album, Soul Story, in late 1971 on Prestige.

Soul Story pairs Earland’s organ with a shifting ensemble across two recording dates, incorporating trumpet, trombone, saxophones, guitar, drums, and congas. The set combines originals with interpretations of contemporary pop and film themes, blending hard bop and soul jazz textures.

Earland wrote four of the six tracks. “Love Story” was composed by Francis Lai, and “I Was Made to Love Her” by Stevie Wonder, Lula Mae Hardaway, Henry Cosby, and Sylvia Moy. Guitarist Maynard Parker and drummers Jesse Kilpatrick Jr. and Billy “Kentucky” Wilson provide rhythmic foundation, while trumpeters Gary Chandler and Virgil Jones, along with trombonist Clifford Adams Jr. and saxophonists Jimmy Vass, Arthur Grant, and Houston Person, add layered wind textures.

“Betty’s Dilemma” opens with angular organ lines over steady rhythm, while “One for Scotty” offers concise, sharp turns in phrasing. “Love Story” interprets the film theme with sustained, spiritualized organ tones. “My Scorpio Lady” and “Happy Medium” deliver shorter, tightly paced statements, and the Stevie Wonder cover “I Was Made to Love Her” closes the album with expressive ensemble interplay.

A1. “Betty’s Dilemma” (8:12)
A2. “Love Story” (10:10)
A3. “One for Scotty” (6:55)

B1. “My Scorpio Lady” (2:20)
B2. “I Was Made to Love Her” (2:50)
B3. “Happy Medium” (4:10)

Sessions occurred at Van Gelder Studio on April 3 and May 3, 1971, with Charles Earland producing.

Intensity

Charles Earland released his fourth studio album, Intensity, in mid-1972 on Prestige.

Intensity pairs Earland’s organ with an expanded ensemble including multiple trumpets, trombones, saxophones, guitar, drums, and congas. The album combines original compositions with reinterpretations of contemporary pop songs, highlighting Earland’s fusion of soul-jazz, hard bop, and emerging jazz-fusion elements. The sessions feature trumpeter Lee Morgan in his final recorded appearance.

Earland composed three of the six tracks. He covered the Shirelles classic “Will You Still Love Me Tomorrow” and two Chicago songs: “Happy ‘Cause I’m Goin’ Home” and “Lowdown.” Trumpeters Jon Faddis, Virgil Jones, Lee Morgan, and Victor Paz contribute with flugelhorn and trumpet lines, while Clifford Adams, Dick Griffin, and Jack Jeffers cover trombone. Hubert Laws and Billy Harper appear on select tracks, and guitarists Maynard Parker, John Fourie, and Greg Millar provide harmonic support. Billy Cobham drives the rhythm with Sonny Morgan on congas.

The Chicago cover “Happy ‘Cause I’m Goin’ Home” opens with sustained, contoured organ lines over lively brass textures. Earland’s “‘Cause I Love Her” delivers sharp, expressive phrasing alongside Morgan’s energetic trumpet statements. “Will You Still Love Me Tomorrow” reinterprets the Shirelles’ tune with layered horn arrangements and rhythmic subtlety. The CD reissue adds Morgan’s “Speedball,” emphasizing his final fiery solos, and a rendition of “Lowdown” with tense, driving pace.

A1. “Happy ‘Cause I’m Goin’ Home” (11:15) originated on Chicago III, written by Robert Lamm. Here, Earland layers organ against full brass voicings. The rhythm pushes forward while flute phrases cut through with sharp turns.
A2. “Will You Still Love Me Tomorrow” (6:55) moves in a slower, measured pace. Earland’s organ lines hold steady while the horns carry the theme in sustained arcs.
A3. “‘Cause I Love Her” (9:38) tightens around a funk-driven rhythm. Morgan’s trumpet punches against Earland’s organ figures, pushing the ensemble with pointed intensity.

B1. “Morgan” (10:25) balances weighty brass lines with Billy Harper’s tenor. Earland drives the rhythm section as trumpet solos expand across wide contours.
B2. “Lowdown” (8:20) also originates from Chicago III, written by Peter Cetera and Danny Seraphine. Earland’s rendition adds clipped guitar phrasing over a dense rhythmic frame. Brass interjections heighten the pace while Earland locks the rhythm from below.
B3. “Speedball” (5:19) closes with Morgan’s theme in fast motion. The rhythm section stays relentless as horns fire in compressed, urgent bursts.

Sessions occurred at Van Gelder Studio on February 16 and 17, 1972, with Charles Earland producing.

Live at the Lighthouse

In late 1972, Prestige issued Live at the Lighthouse, sourced from Earland’s October 9, 1972, show at the Lighthouse in Hermosa Beach, California.

The album presents Earland in a live setting, emphasizing sustained emotional intensity and deep rhythmic drive. The ensemble navigates extended improvisations over soul-jazz frameworks, blending angular horn lines, contoured organ solos, and layered percussion.

Earland composed four of the six tracks. Sylvester Stewart wrote “Smiling,” Roger Nichols and Paul Williams wrote “We’ve Only Just Begun,” and Eddie Harris and Woody Shaw contributed the remaining two covers. The lineup features Elmer Coles on trumpet, Clifford Adams on trombone, James Vass on alto and soprano saxophones, Maynard Parker on guitar, Darryl Washington on drums, and Kenneth Nash on congas.

The set opens with Stewart’s “Smiling,” a lively interpretation with angular horn responses over Earland’s organ textures. Nichols and Williams’ “We’ve Only Just Begun” unfolds with subtle shifts in tempo and layered tonal colors. Earland’s originals, including “Black Gun” and “Spinky,” alternate between driving passages and measured, expressive phrases. “Freedom Jazz Dance” and “Moontrane” highlight collective improvisation with sharp, dynamic turns from horns and rhythm section.

A1. “Smiling” (6:36)
A2. “We’ve Only Just Begun” (5:50)
A3. “Black Gun” (8:17)

B1. “Spinky” (6:13)
B2. “Freedom Jazz Dance” (6:16)
B3. “Moontrane” (5:27)

Sessions occurred live at the Lighthouse in Hermosa Beach, California, with Charles Earland producing.

Charles III

Charles Earland released his fifth studio album, Charles III, in mid-1973 on Prestige.

The album combines live-feel intensity with layered studio arrangements, blending Earland’s organ, electric piano, and soprano saxophone with a large brass and reed section. It includes contributions from trumpeter Lee Morgan, whose final recorded performances appear on this album, alongside a wide ensemble of horn players, guitarists, percussionists, and drummer Billy Cobham.

Earland wrote two of the six tracks. Leonard Caston Jr. and Anita Poree composed “Girl, You Need a Change of Mind,” Oscar Hammerstein II and Richard Rodgers wrote “My Favorite Things,” and Lee Morgan composed “Speedball.” The album features a rotating ensemble including Jon Faddis, Virgil Jones, Victor Paz, Joe Shepley, and Richard Williams on trumpet/flugelhorn; Garnett Brown, Dick Griffin, and Jack Jeffers on trombone; Billy Harper on tenor saxophone and alto flute; Seldon Powell on baritone saxophone and alto flute; John Fourie, Greg Millar, Maynard Parker, and Stuart Scharf on guitar; Jack Turner on guitar and percussion; Darryl Washington on drums and percussion; Larry Killian on percussion; Sonny Morgan on congas; and Joe Lee Wilson on vocals.

The opener, Earland’s title track, drives with dense brass textures and contoured organ lines. Track two, “Girl, You Need a Change of Mind,” delivers a smooth, flowing vocal arrangement. “Auburn Delight” incorporates vocals over complex instrumental layers, while “Lowdown” and “Speedball” feature punchy horn lines and rhythmic propulsion. The Rodgers/Hammerstein cover, “My Favorite Things,” contrasts with sharp, angular turns from Earland’s keyboards and layered horn responses.

A1. “Charles III” (6:20) sets the tone with organ and brass moving in tight bursts. Earland drives the rhythm as trumpet and guitar expand outward.
A2. “Girl, You Need a Change of Mind” (5:00) presses forward with layered horns and rhythm guitar. The arrangement sharpens the pace while Earland threads organ figures underneath.
A3. “Auburn Delight” (8:35) stretches across eight minutes with shifting textures. Vocals ride over a dense ensemble, guitars and brass interjecting in wide arcs.

B1. “Lowdown” (8:20) pushes clipped guitar phrasing against a strong rhythmic drive. Brass punctuates the line as Earland anchors the bottom on organ.
B2. “My Favorite Things” (6:00) unfolds with soprano sax tracing long, circling lines. The rhythm section sustains a steady current while brass colors the edges.
B3. “Speedball” (5:19) closes at high velocity, trumpet and organ darting over Cobham’s driving drums. The horns fire in short, urgent phrases before locking back to the theme.

Sessions spanned February 1972 and February 1973 at Van Gelder Studio in Englewood Cliffs, New Jersey, with Charles Earland producing.

Leaving This Planet

Charles Earland released his sixth studio album, the two-record Leaving This Planet, in April 1974 on Prestige.

The album marks a departure from Earland’s signature soul-jazz, embracing a futuristic, electric setting with Hammond B-3 organ, clavinet, electric piano, and ARP and Moog synthesizers. The sessions feature prominent soloists including trumpeters Freddie Hubbard and Eddie Henderson, and tenor saxophonist Joe Henderson, creating a dense, jazz-funk and fusion-inflected landscape.

Earland composed seven of the ten tracks. Freddie Hubbard wrote “Red Clay,” Joe Henderson composed “No Me Esqueca (Don’t Forget Me),” and the remainder are Earland originals. The ensemble includes Eddie Henderson on trumpet, Freddie Hubbard on trumpet and flugelhorn, Dave Hubbard on soprano and tenor saxophone and alto flute, Joe Henderson on tenor saxophone, Patrick Gleeson on ARP and Moog synthesizers, guitarists Eddie Arkin, Greg Crockett, Mark Elf, Brian Brake, and Jack Turner, drummers Harvey Mason and Brian Brake, Larry Killian on percussion, and Rudy Copeland on vocals.

Tracks vary from space-themed compositions to reinterpretations of jazz classics. The title track opens with tight jazz-fusion beats and layered synthesizers. “Red Clay” features floating trumpet lines with a playful, almost weightless quality. “Warp Factor 8” evokes cinematic funk rhythms. “Brown Eyes,” “Asteroid,” and “Mason’s Galaxy” extend into atmospheric explorations with string-like textures and angular organ passages. Joe Henderson’s “No Me Esqueca” introduces contoured saxophone phrases over electronic textures, while “Tyner,” “Van Jay,” and “Never Ending Melody” continue the blend of futuristic keyboards with punchy rhythmic propulsion.

A1. “Leaving This Planet” (7:29) launches with piled synths, organ swells, and Rudy Copeland’s vocal. Brass pushes sharp bursts while percussion drives an urgent, expansive pace.
A2. “Red Clay” (7:05) carries Freddie Hubbard’s theme with trumpet and organ trading phrases. The rhythm stays taut as solos stretch the line into soaring arcs.
A3. “Warp Factor 8” (6:18) threads a jagged, urban rhythm through synthesizer textures. The horns punch in bursts while the organ flashes short, cutting runs.

B1. “Brown Eyes” (11:45) lingers in extended flow, its long form unfolding with patient intensity. Earland shades the rhythm with synth washes while the horns spiral in wide arcs.
B2. “Asteroid” (6:40) turns dense percussion and synth lines into a pulsing frame. The organ locks in tightly, giving the track a dark, circling momentum.

C1. “Mason’s Galaxy” (7:17) moves with spaced phrasing where organ and horns drift between open passages. The rhythm flickers lightly under solos that stretch and recede.
C2. “No Me Esqueca” (7:41) carries Joe Henderson’s tenor in fluid, contoured lines. The organ sustains a soft current as the piece sways in measured motion.
C3. “Tyner” (6:03) drives with sharp piano-like organ figures and brass interjections. The rhythm stays forceful, letting the horns build angular solos across the foundation.

D1. “Van Jay” (8:36) blends steady percussion with layered horns, opening into a broad electric expanse. Earland’s organ keeps the center lit while the ensemble spins outward.
D2. “Never Ending Melody” (9:45) closes with electric piano phrases that circle slowly. The horns draw out long arcs as the rhythm fades into suspension.

Sessions occurred in late 1973 at Fantasy Studios in Berkeley, California, with Charles Earland producing.

The Dynamite Brothers (OST)

In 1974, Prestige issued The Dynamite Brothers, Charles Earland’s soundtrack to director Al Adamson’s blaxploitation martial arts film starring NFL running back Timothy Brown and Hong Kong actor/singer Alan Tang.

The album blends soul-jazz with emerging 1970s funk, fusion, and rock textures, with Earland alternating between organ, electric piano, synthesizers, and soprano saxophone. Patrick Gleeson’s synthesizers, Eddie Henderson’s trumpet, and Billy Hart’s drumming create a slightly spaced, atmospheric sound that balances structured soul-jazz with experimental electronic textures.

Earland composed all tracks. The ensemble includes Jon Faddis, Eddie Henderson, Danny Moore, and Victor Paz on trumpet, Wayne Andre on trombone, Dave Hubbard on soprano and tenor saxophone and alto flute, Patrick Gleeson on synthesizer, Cornell Dupree, Mark Elf, and Keith Loving on guitar, Melvin Bronson on electric bass, Billy Hart and Darryl Washington on drums and timpani, and Larry Killian on percussion.

The soundtrack mixes conventional soul-jazz pieces with more experimental tracks. “Betty’s Theme” exemplifies Earland’s trademark organ-led style, while “Shanty Blues” highlights the guitarist and Gleeson’s synth experimentation. “Weedhopper” closes side one with a fiery, psychedelic jam. On side two, “Razor J.” and “Kungfusion” spotlight improvisational interplay, and Earland switches to soprano sax on “Snake,” delivering dissonant, avant-garde lines over electronic effects. The album balances earthy bluesiness with the spatial, electronic textures typical of early-1970s jazz-fusion experimentation.

A1. “Betty’s Theme” (5:01) opens the score with Earland’s organ framed in soul-jazz lines. The brass enters in short bursts against steady percussion.
A2. “Never Ending Melody” (5:19) stretches into spacious electric passages. Earland shades the rhythm with sustained keyboard figures while the ensemble moves patiently.
A3. “Grasshopper” (2:47)
A4. “Shanty Blues” (4:11) leans on earthy organ phrases and guitar runs. Gleeson layers synthesizer effects that warp the blues frame into stranger terrain.

B1. “Weedhopper” (3:32) erupts into a psychedelic rave-up. Synth whistles and organ swells build intensity over a pulsing rhythm.
B2. “Razor J.” (2:25) races with terse brass jabs and clipped percussion. The track holds momentum in compressed form.
B3. “Snake” (8:37) finds Earland on soprano saxophone, tracing winding, dissonant lines. Overdubs thicken the texture as percussion and bass drive underneath.
B4. “Kungfusion” (3:41) gives the lead to Dave Hubbard’s flute, its high, sharp phrases darting against drums and percussion.
B5. “Incense of Essence” (4:39) closes with layered synthesizer textures and organ figures. The ensemble holds a drifting, atmospheric pace through its final measures.

Sessions occurred at C.I. Recording in New York City in November 1973, with Charles Earland producing.

The Dynamite Brothers film follows Chinese martial arts expert Larry Chin as he arrives in the United States searching for his missing brother Wei. Larry navigates threats from a crooked police officer and a drug-running gang in Los Angeles while forming alliances with Stud Brown and the Smiling Man. The pursuit culminates in confrontations with the mastermind, revealed to be Larry’s brother Wei, resulting in a violent resolution. The film was shot on location in Watts, Los Angeles, and San Francisco, starring Timothy Brown, Alan Tang, Aldo Ray, and James Hong.

Kharma (live)

In 1975, Prestige issued the live album Kharma, sourced from Charles Earland’s July 6, 1974, set at the eighth annual Montreux Jazz Festival.

The live set blends Earland’s signature Hammond B-3 organ with electric piano and synthesizer, expanding his tonal palette. The performance ranges from frenzied solos to near-fusion passages, offering both energetic flights and controlled restraint.

All compositions come from Charles Earland. The lineup features Earland on organ, electric piano, and synthesizer, Jon Faddis on trumpet, Clifford Adams on trombone, Dave Hubbard on soprano and tenor saxophones and flute, Aurell Ray on guitar, Ron Carter on electric bass, and George Johnson on drums.

Musically, the set divides into high-intensity and contemplative passages. “Joe Brown” and “Morgan” feature frenzied organ and combative solos, leaving space for the horn section’s interplay. The two-part “Suite for Martin Luther King” opens with outer-space electronics and near-free jazz soprano sax before settling into electric piano textures. The closing “Kharma” emphasizes pop-R&B-inflected phrasing over measured rhythms, contrasting the earlier intensity.

A1. “Joe Brown” (8:38)
A2. “Morgan” (13:05)

B1. “Suite for Martin Luther King Part 1: Offering” (8:40)
B2. “Suite for Martin Luther King Part 2: Mode for Martin” (7:59)
B3. “Kharma” (5:04)

Sessions occurred live at the Montreux Jazz Festival, with Prestige producing and engineering handled on-site.

Kharma was later paired with Earland’s 1972 Live at the Lighthouse for the 2002 CD reissue Charles Earland in Concert.

Odyssey

Charles Earland released his eighth studio album, Odyssey, on March 15, 1976, on Mercury.

The album explores fusion and jazz-funk with occasional forays into straight funk and experimental textures, highlighting Earland’s organ and synthesizer work alongside electric piano and layered effects. Strings and electric violin punctuate several tracks, giving the set a spacious, orchestral feel while retaining rhythmically assertive energy.

Earland wrote most tracks, with guitarist Jack Turner contributing the composition “Phire.” The ensemble features Ron Carter and Billy Colburn on bass, Abe Speller and Howard King on drums, Lawrence Killiam on congas and percussion, John Abercrombie and Robert Lowe on guitar, Jack Turner on guitar and vocals, Charles Earland on organ, electric piano, ARP Pro-Soloist, ARP String Ensemble, Axe ARP, and Echo-Plex effects, Randy Brecker on electric trumpet, Michał Urbaniak and John Blair on violin, and Arthur Grant on tenor saxophone and vocals. Backing vocals on select tracks include Gene Skinner, Robert Brooks, and Vernon Brown Jr.

Musically, Odyssey alternates between expansive space-funk with layered electronics (“Intergalactic Love Song,” “Cosmic Fever,” “Journey of the Soul”) and shorter, rhythm-driven funk numbers (“From My Heart to Yours,” “We All Live in the Jungle”). “Phire” foregrounds Turner’s composition and vocals, blending tenor saxophone lines with Earland’s synthesizer textures, while violin contributions on “Cosmic Fever” and “Journey of the Soul” add an unexpected, contoured brightness to the fusion arrangements.

A1. “Intergalactic Love Song” (6:16) layers shimmering synthesizers against shifting percussion. Earland’s organ and effects stretch the line into wide, echoing space.
A2. “Sons of the Gods” (5:44) drives with vocals set over organ and clavinet. The rhythm moves steadily while percussion sharpens its edges.
A3. “Cosmic Fever” (8:01) surges with dual drummers and Ron Carter’s bass anchoring. Violin and electric trumpet cut angular figures through dense synthesizer textures.

B1. “From My Heart to Yours” (3:46) softens into a brief, vocal-led passage. Electric piano and strings hold a gentle, suspended rhythm underneath.
B2. “We All Live in the Jungle” (3:44) unfolds with chanted vocals over clavinet lines. The percussion tightens the pace as guitars weave through the frame.
B3. “Phire” (4:07) pushes guitar and tenor sax into the lead. Backing voices press against a clipped rhythm, giving the track a sharp, percussive drive.
B4. “Journey of the Soul” (8:53) closes with expansive violin and electric trumpet solos. Synthesizer and organ spiral outward across a patient, atmospheric rhythm.

Sessions occurred at Electric Lady Studios in New York City, with Charles Earland producing, Betty Earland and Van Jay serving as associate producers, and Jerry Solomon engineering. Lee Hulko mastered the album at Sterling Sound.

Odyssey features photography by Benno Friedman and design by Roberto.

The Great Pyramid

Charles Earland (with Odyssey) released his ninth studio album, The Great Pyramid, in late 1976 on Mercury.

The album blends jazz-funk, space-tinged fusion, and orchestrated arrangements, emphasizing Earland’s Fender Rhodes, Mini-Moog, and ARP string synthesizer work. Guitarist Jackie Turner and tenor saxophonist Arthur Grant provide lead and backing vocals across several tracks, while strings and brass color the compositions with layered textures.

Earland wrote most of the material, with Jackie Turner contributing “Ahead of Your Time” and co-writing “Drifting,” and J. Livingston and R. Evans writing “Mona Lisa.” The ensemble includes David Clarke and Marshall Jones on bass, Abe Speller and Harvey Mason on drums, Lawrence Killian on congas and percussion, Butch Campbell and Jackie Turner on guitars, Charles Earland on electric piano, synthesizers, and grand piano, Randy Brecker and Jon Faddis on trumpet, Chris Brubeck on trombone, Arthur Grant on tenor saxophone and vocals, José Cheo Santos on percussion, Gabor Szabo on acoustic guitar, and The Spice Strings and The Jernigan Singers providing strings and backing vocals.

Musically, The Great Pyramid alternates between contemplative fusion with extended solos and rhythmically assertive funk tracks. The title track features reflective textures and Szabo’s emotive guitar. “Ahead of Your Time” foregrounds Turner’s composition and vocals with supple Rhodes lines from Earland. Other tracks such as “Mona Lisa,” “In the Land of Mu,” and “Upper Atlantis” layer vocals, brass, and strings over expansive keyboard and synth frameworks, while “Drifting” blends Earland’s synthesizer with Turner’s guitar and Grant’s tenor saxophone.

A1. “The Great Pyramid” (7:11) opens with layered strings and Szabo’s acoustic guitar. Earland’s vocals and Rhodes push the piece into swelling, expansive textures.
A2. “Ahead of Your Time” (3:18) moves briskly on Fender Rhodes lines. Jackie Turner’s vocals sit over a supple rhythm and bright brass accents.
A3. “Mona Lisa” (9:15) stretches into extended interplay, blending Rhodes and timbales. Brass and dual drummers press forward under Arthur Grant’s vocals.

B1. “In the Land of Mu” (7:57) shifts between airy flute passages and bass clarinet weight. Earland adds soprano sax to widen the ensemble’s tonal palette.
B2. “Upper Atlantis” (5:55) leans on clavinet and Mini-Moog drive. The horns move in clipped bursts while the rhythm section stays insistent.
B3. “Drifting” (6:23) layers strings against Fender Rhodes and twin drums. Turner’s guitar joins Grant’s vocals as the brass pushes sharp phrases into the mix.

Sessions occurred at Sound Ideas Studios in New York City, with Charles Earland and Robin McBride producing. George Klaybin and Jerrold Solomon engineered the recording, Steve Kusiciel handled remixing, and Dave Crawford mastered the album at Masterdisk.

The Great Pyramid features cover illustration by Wayne McLoughlin, photography by Hauser & D’Orio, and art direction by Jim Schubert with design by Joe Kotleba.

Revelation

Charles Earland (with Odyssey) released his tenth studio album, Revelation, in 1977 on Mercury.

The album continues Earland’s exploration of jazz-funk fusion with expanded orchestration and layered keyboards. He balances Fender Rhodes, Mini-Moog, and ARP string synthesizers with electric piano, clavinet, and acoustic piano, supported by a lineup including Michael Brecker on tenor saxophone, Randy Brecker on trumpet, and Jackie Turner on guitar and vocals.

Earland wrote most of the material (A1–A3, B1–B3), with Stevie Wonder credited for “I Wish.” Musicians include Charles Earland on organ, electric piano, clavinet, synthesizers, and piano; Paul Jackson on bass (A1–B2, B4); Harvey Mason on drums; Jackie Turner on lead guitar and vocals; Eric Gale on guitar (A1–B2, B4); Arthur Grant on tenor saxophone and bass clarinet; Randy Brecker on trumpet; Patrick Ankrom on percussion (A1–B2, B4); Jose Cheo Santos on percussion (B3); Butch Campbell on rhythm guitar (B3); and Zachary Sanders providing vocals on “Revelation.”

Musically, the album alternates between upbeat jazz-funk workouts and more reflective, texturally rich compositions. “Betty Boop” and “Ode to Chicken George” layer electric piano and synths over assertive bass and percussion patterns. The title track emphasizes vocals with airy Rhodes textures and flowing synth lines. Ballad-like tracks such as “Shining Bright” and “Singing a Song for You” feature restrained dynamics and nuanced keyboard phrasing. “Elizabeth” foregrounds layered guitars, percussion, and bass interplay, while “I Wish” closes the album with a reinterpreted Stevie Wonder composition in Earland’s signature keyboard-driven style.

A1. “Betty Boop” (5:25)
A2. “Ode to Chicken George” (6:40)
A3. “Revelation” (6:12)

B1. “Shining Bright” (4:20)
B2. “Singing a Song for You” (4:45)
B3. “Elizabeth” (7:35)
B4. “I Wish” (3:00)

Sessions occurred at Sound Ideas Studios in New York City with Charles Earland producing and arranging, assisted by Betty Earland and Jerold Solomon. Jerold Solomon engineered with Joel Cohn assisting, and Greg Calbi mastered the album at Sterling Sound.

Revelation features photo-illustration by Hugh Syme and Yosh Inouye, art direction by Jim Schubert, and design by Hugh Syme and Joe Kotleba.

Smokin’

In 1977, Muse Records issued Smokin’, an unearthed Charlie Earland soul-jazz set, recorded in 1969 with Jimmy Ponder.

The album presents a straightforward organ-driven soul-jazz set, emphasizing ensemble interplay over experimentation. Earland’s Hammond B-3 work leads, supported by subtle guitar, saxophone, and rhythm section textures.

Charlie Earland wrote three tracks, while contributions from David Paul, Miles Davis, Hubert Schmidt, T. Jones, and Bert Kaempfert provide secondary material. The lineup features Earland on organ, Jimmy Ponder on guitar, Bobby Durham and Walter Perkins on drums, Herb Fisher on percussion, and tenor saxophonists Dave Schnitter and George Coleman.

Musically, the set alternates between lively, rhythmically steady tracks like “Penn Relays” and more contemplative pieces such as “Strangers in the Night” and “Soon It’s Gonna Rain.” “Danny Boy’s Soul” showcases Earland navigating a familiar tune with warm, contoured phrasing over a supple rhythm section, maintaining the album’s classic soul-jazz feel.

A1. “Penn Relays” (6:00)
A2. “Danny Boy’s Soul” (3:50)
A3. “Milestones #2” (8:50)

B1. “Soon It’s Gonna Rain” (9:30)
B2. “Strangers in the Night” (5:30)

Sessions occurred at Van Gelder Studio in Englewood Cliffs, New Jersey, produced by Ozzie Cadena with Herb Fisher assisting on percussion. Joe handled lacquer cutting.

Smokin’ features cover photography and design by Hal Wilson.

Perceptions

Charles Earland released his eleventh studio album, Perceptions, in 1978 on Mercury.

The album pairs Earland’s signature organ work with Randy Muller’s brass-driven arrangements, merging jazz-funk with jazz-disco and early quiet storm elements. Side one leans toward danceable, disco-inflected rhythms, while side two emphasizes reflective textures punctuated by extended instrumental passages.

Randy Muller wrote all tracks except “Broken Heart” and “Charley,” which Earland co-wrote or wrote alone. Musicians include Charles Earland on organ, keyboards, percussion, and lead vocals; Randy Muller on keyboards and arrangements; Clifford Richmond on guitar and backing vocals; Butch Sierra on lead guitar; Sol Roberts on rhythm guitar; Gregory Spotswood on bass and backing vocals; Daryle Moss on drums and backing vocals; Larry Payton on drums (A2); Alfredo Rios Jr. on congas; Lenny A. Gibbs on percussion; Keith Larence on saxophone (B2); and The Irv Spice Strings providing strings. Backing vocals come from Skyy.

Musically, the album contrasts jazz-disco tracks with quieter, more reflective numbers. “Let the Music Play” and “I Like It” emphasize angular brass lines and strong organ solos, projecting a disco-oriented pulse. “Dance America” and “Changes” continue the brassy, rhythmically driven approach. Side two opens with “Over and Over,” a nine-minute rhythm-intensive track, while “Smile” features contoured saxophone lines over restrained keyboard textures. “Broken Heart” and “Charley” offer brief, emotive interludes, giving the set moments of introspection amid more dynamic pieces.

A1. “Let the Music Play” (6:48)
A2. “I Like It” (5:04)
A3. “Changes” (3:41)
A4. “Dance America” (5:10)

B1. “Over and Over” (9:31)
B2. “Smile” (6:35)
B3. “Broken Heart” (3:50)
B4. “Charley” (0:22)

Sessions occurred at O.D.O. Studios and Music Farm Studios in New York, with Charles Earland and Randy Muller producing. Eddie Youngblood and Jerry Solomon engineered and mixed the album, assisted by Akili Walker, Jerry Gabinelli, Jerry Garszva, and Peter Robbins. Dominick Romeo mastered the set at Frankford/Wayne Mastering Labs.

Perceptions features cover photography and concept by Ken Ambrose, with design by Bob Heimall.

“Let The Music Play” plays in the closing scene of the 1991 British film Young Soul Rebels, a period drama about London soul boys and their interactions with racist skinheads, gay cruising culture, and the emerging punk scene (set in 1977, one year prior to Perceptions).

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