Grover Washington Jr. -

Grover Washington Jr. (Dec. 12, 1943 — Dec. 17, 1999) was an American jazz-funk and soul-jazz saxophonist who released 10 albums on Kudo between 1971 and 1977, followed by multiple titles on Motown, Elektra, and Columbia during the next two decades.

Background

Washington was born on December 12, 1943, to a musical family in Buffalo, New York. His mother sang in church choir and his father, an avid collector of jazz records, played saxophone. Grover grew up listening to big band jazz and got his first saxophone at age eight. He had two younger brothers who also played instruments: Daryl (drums) and Michael (organ).

In the late 1950s, Washington and fellow Buffalo native Lonnie Smith (b. 1942) formed a vocal combo, The Teen Kings. Washington later moved to the Midwest, where he played in a sequence of acts (The Four Clefs, The Mark III Trio) and eventually got drafted into the US Army. While enlisted, he met Billy Cobham, a well-connected drummer who linked Washington up with musicians on the New York City scene.

In 1971, Washington played on seven releases on the Prestige label, including soul-jazz titles by Charles Earland (Living Black!), Melvin Sparks (Spark Plug), Johnny “Hammond” Smith (What’s Going On), and two apiece by Leon Spencer (Sneak Preview!, Louisiana Slim) and Boogaloo Joe Jones (What It Is, No Way!).

Also that year, he played backup on two Kudo releases: “Hammond” Smith’s debut as Johnny Hammond (Breakout) and the sixth album by old friend Lonnie Smith (Mama Wailer). In September 1971, Kudo boss Creed Taylor had time booked at Van Gelder Studios for saxophonist Hank Crawford. When he failed to show, Washington filled the allotted time with a session that generated his first album, Inner City Blues.

Inner City Blues

Grover Washington Jr. released his debut album, Inner City Blues, in 1972 on Kudu Records.

Bob James arranged and conducted six treatments drawn from contemporary soul material, standards, and stage repertory. Washington plays alto and tenor saxophones with keyboardists James and Richard Tee, guitarist Eric Gale, bassist Ron Carter, drummer Idris Muhammad, percussionist Airto Moreira, and a four-singer chorus.

“Inner City Blues” churns through hard syncopation as Washington extends forceful improvisations over a taut ensemble pattern. “Ain’t No Sunshine” smolders through a slow build, breath-softened ensemble passages, and long tenor arcs.

A1. “Inner City Blues (Make Me Wanna Holler)” (7:10) – Marvin Gaye, James Nyx Jr.
A2. “Georgia on My Mind” (4:38) – Hoagy Carmichael, Stuart Gorrell
A3. “Mercy Mercy Me (The Ecology)” (5:07) – Gaye

B1. “Ain’t No Sunshine” / “Theme from Man and Boy” (AKA “Better Days”) (8:32) – Bill Withers / J.J. Johnson
B2. “Until It’s Time for You to Go” (4:35) – Buffy Sainte-Marie
B3. “I Loves You Porgy” (5:05) – George Gershwin, Ira Gershwin, DuBose Heyward

Creed Taylor produced September 1971 sessions at Van Gelder Studio in Englewood Cliffs, where Rudy Van Gelder engineered the album. Taylor and Van Gelder also completed Kudu sessions for Lonnie Smith and Johnny Hammond across the same label cycle.

Designer Bob Ciano built the sleeve around a close Washington portrait by photographer Steve Salmieri. The photographer also supplied the jacket image for Smith’s contemporary Mama Wailer album.

Kudu issued “Inner City Blues” in 1972 (b/w “Ain’t No Sunshine”) and followed with “Mercy Mercy Me (The Ecology)” (b/w “Mercy Mercy Me, Part 2”). The first single reached No. 42 on the Billboard R&B chart. Inner City Blues reached No. 62 on the Billboard 200, No. 8 on the R&B albums chart, and No. 4 on the jazz albums chart. Verve and GRP restored the album with a 2008 compact-disc edition.

All the King’s Horses

Washington released his second album, All the King’s Horses, in July 1972 on Kudu Records.

James arranged a seven-song program that pairs recent soul compositions with standards from the American songbook and Henry Purcell. Washington leads a larger studio ensemble with guitarists Gene Bertoncini, Cornell Dupree, Gale, and David Spinozza; bassist Carter; drummers Bernard Purdie and Billy Cobham; and orchestral brass and strings.

“All the King’s Horses” saunters on deep, blues-drawn lines, hand percussion, taut snare accents, and ghosted electric-piano chords. “Body and Soul” drifts through impressionistic strings and woodwinds beneath a blues-drawn alto statement. “Lover Man” lingers through a newly inserted interlude before Washington loosens increasingly venturesome phrases. “Love Song 1700” glides through chamber-like orchestration as tenor lines trace Purcell-derived contours.

A1. “No Tears, in the End” (3:50) – Ralph MacDonald, William Salter
A2. “All the King’s Horses” (3:48) – Aretha Franklin
A3. “Where Is the Love” (5:07) – MacDonald, Salter
A4. “Body and Soul (Montage)” (3:04) – Edward Heyman, Frank Eyton, Johnny Green

B1. “Lean on Me” (4:25) – Withers
B2. “Lover Man” (7:02) – Jimmy Davis, James Sherman, Ram Ramirez
B3. “Love Song 1700” (4:49) – Henry Purcell

Taylor produced May–June 1972 sessions at Van Gelder Studio with Van Gelder as engineer. James continued his Kudu arranging role between work on Hank Crawford’s Help Me Make It Through the Night and a growing sequence of CTI productions.

Ciano designed the gatefold around an equestrian image by photographer Pete Turner. The photographer supplied related color work across the CTI catalog, including Randy Weston’s Blue Moses and Hubert Laws’s Morning Star.

Kudu lifted “No Tears, in the End” in August 1972 (b/w “Body and Soul”) and issued “Where Is the Love” in December (b/w “Where Is the Love, Part 2”). “No Tears, in the End” reached No. 49 on the Billboard R&B chart. The album rose to No. 111 on the Billboard 200, No. 20 on the R&B albums chart, and No. 1 on the jazz albums chart. Verve and GRP issued a 2008 compact-disc edition.

Soul Box

Washington released his third album, Soul Box, as paired LPs in 1973 on Kudu Records.

An orchestral cast expands the Kudu core with bassist Richard Davis, drummer Cobham, and percussionists David Friedman and Phil Kraus. Four contemporary songs share the set with two standards and a Cobham original.

“Masterpiece” simmers through a cyclical bass figure and cinematic orchestral swells. “Trouble Man” stretches through successive choruses as understated charts admit brief orchestral surges around Washington’s lyrical lead. “Don’t Explain” lingers through fervent solos and restrained orchestral turns. “Easy Living/Ain’t Nobody’s Business If I Do” glides from an expansive opening lead over orchestra into tighter syncopation. “Taurian Matador” careens through swelling horns and angular strings before an electric-piano solo enters over restless accompaniment.

A1. “Aubrey” (3:44) – David Gates
A2. “Masterpiece” (13:20) – Norman Whitfield
B1. “Trouble Man” (15:56) – Gaye

C1. “You Are the Sunshine of My Life” (6:03) – Stevie Wonder
C2. “Don’t Explain” (11:11) – Arthur Herzog Jr., Billie Holiday
D1. “Easy Living” / “Ain’t Nobody’s Business If I Do” (9:56) – Leo Robin, Ralph Rainger / Porter Grainger, Everett Robbins
D2. “Taurian Matador” (8:08) – Cobham

Taylor produced March 1973 sessions at Van Gelder Studio, with Van Gelder engineering the double set. James completed the orchestral work between Don Sebesky’s Giant Box and Cobham’s Spectrum, two other large-format projects from the same CTI orbit.

Bob Ciano designed the paired LP package around a painting by American realist David A. Leffel. Ciano continued from Washington’s first two Kudu sleeves; Hollis King and Isabelle Wong later adapted the artwork for Motown’s compact-disc edition.

Kudu released an edited “Masterpiece” in July 1973 (b/w “Masterpiece, Part 2”). Soul Box reached No. 100 on the Billboard 200, No. 26 on the R&B albums chart, and No. 1 on the jazz albums chart. Verve and GRP combined the complete program on a corrected 2008 single-disc edition.

Side Work: 1972–74

Washington appeared on Crawford’s Help Me Make It Through the Night, Hammond’s Wild Horses Rock Steady, and Weston’s Blue Moses across the Kudu and CTI rosters. He joined Sebesky’s orchestral Giant Box in 1973, then played on Muhammad’s Power of Soul at Van Gelder Studio.

Mister Magic

Washington released his fourth album, Mister Magic, in February 1975 on Kudu Records.

Four long-form pieces combine Washington with James’s electric keyboards and orchestral arrangements. Gale, bassists Phil Upchurch and Gary King, drummer Harvey Mason, percussionist MacDonald, and selected brass and strings complete the ensemble.

“Earth Tones” unfurls from humid ambience, birdcalls, and electric-piano figures into shifting meters and high-reaching saxophone runs. “Passion Flower” drifts through somnolent orchestral sweeps. “Mister Magic” simmers on a laid-back ostinato before Washington and Gale trade gnarled improvisations. “Black Frost” coils through a slow burn, tight directional turns, and alternating tonal climbs and drops.

A1. “Earth Tones” (12:20) – James
A2. “Passion Flower” (5:30) – Billy Strayhorn, Milt Raskin

B1. “Mister Magic” (8:58) – MacDonald
B2. “Black Frost” (6:03) – James, Washington

Taylor produced November 1974 sessions at Van Gelder Studio with Van Gelder as engineer. James arranged the album near the close of his Kudu tenure, alongside work for Muhammad and Eric Gale.

Ciano designed the sleeve around a tightly cropped Washington portrait by Irish photographer Alen MacWeeney. The photographer also worked on contemporary CTI jackets for Deodato, Stanley Turrentine, and Muhammad.

Kudu issued “Mister Magic” in March 1975 (b/w “Black Frost”). The single reached No. 54 on the Billboard Hot 100 and No. 16 on the R&B chart. Mister Magic rose to No. 10 on the Billboard 200 and topped both the R&B and jazz albums charts.

Feels So Good

Washington released his fifth album, Feels So Good, in 1975 on Kudu Records.

James arranged five compositions, three by Washington, for a studio ensemble built around Gale, bassists Gary King and Louis Johnson, drummers Steve Gadd, Jimmy Madison, and Spider Webb, and percussionist MacDonald. Sid Weinberg adds oboe, with brass and strings reserved for selected passages.

“The Sea Lion” darts through twitchy syncopation, spacious breaks, and sleek ensemble turns. “Moonstreams” drifts through suspended time beneath airy reed phrases and slowly shifting accompaniment. “Knucklehead” percolates on an elastic bass figure before earthy tenor phrases yield to a blues-bent guitar solo. “It Feels So Good” saunters through a steady vamp and broad ensemble breaks. “Hydra” coils around a springy ostinato, orchestral swells, and rangy soprano phrases.

A1. “The Sea Lion” (5:57) – James
A2. “Moonstreams” (5:55) – Washington
A3. “Knucklehead” (7:53) – Washington

B1. “It Feels So Good” (8:14) – MacDonald, Salter
B2. “Hydra” (9:08) – Washington

Taylor produced May and July 1975 sessions at Van Gelder Studio, where Van Gelder again engineered the recording. James completed the arrangements as he moved from Kudu session work toward his own Tappan Zee productions.

René Schumacher designed the package with another Washington portrait by MacWeeney. The photographer carried the visual continuity from Mister Magic while Schumacher replaced Ciano’s prior layout system.

Kudu released “Knucklehead” as a divided 1976 single. Feels So Good matched Mister Magic at No. 10 on the Billboard 200 and reached No. 1 on both the R&B and jazz albums charts.

A Secret Place

Washington released his sixth album, A Secret Place, in December 1976 on Kudu Records.

The compact studio group includes pianist Dave Grusin, guitarists Gale and Steve Khan, bassists Anthony Jackson and George Mraz, drummer Mason, percussionist MacDonald, and reed player Gerry Niewood. David Matthews arranged the horn parts.

“A Secret Place” simmers over a nocturnal vamp as soprano phrases rise above a firmer bass figure. “Dolphin Dance” floats through suspended counterlines before relaxed 4/4 swing admits understated reed exchanges. “Not Yet” lounges through lilting chords, blues-drawn tenor runs, and ensemble vamps led by a guitar figure. “Love Makes It Better” swells through sparse three-horn statements as tenor lines intensify over bright electric-piano fills.

A1. “A Secret Place” (8:14) – Washington
A2. “Dolphin Dance” (8:50) – Herbie Hancock

B1. “Not Yet” (8:36) – Washington
B2. “Love Makes It Better” (8:07) – Mason

Taylor produced October 1976 sessions at Van Gelder Studio with Van Gelder as engineer. Grusin entered the Kudu sequence after arranging and producing related CTI work for Earl Klugh and Patti Austin.

Schumacher designed the sleeve around a low-angle seated portrait by photographer Richard Alcorn. The image breaks from MacWeeney’s close head studies on Washington’s preceding two jackets.

Kudu issued “A Secret Place” as a two-part April 1977 single. The album reached No. 31 on the Billboard 200, No. 7 on the R&B albums chart, and No. 1 on the jazz albums chart.

Live at the Bijou

Washington released the double album Live at the Bijou in December 1977 on Kudu Records.

The recording presents his Philadelphia working group: pianist Sid Simmons, guitarist Richard Lee Steacker, bassist Tyrone Brown, percussionists Millard Vinson and Leonard “Doc” Gibbs, flutist Leslie Burrs, violinist John Blake, and singers Alan and Lita Blake. Eight pieces extend the ensemble repertory beyond the studio casts of Washington’s Kudu albums.

“On the Cusp” lopes through syncopated riffs and electronic flourishes under crowd-charged momentum. “You Make Me Dance” glides from a mellow flute opening into brisker alto lines and a brief dissonant turn. “Lock It in the Pocket” snaps onto a guitar figure as applause and sturdy bass movement clear space for agile phrases.

“Days in Our Lives/Mister Magic” unfurls from a bongo solo and airy ensemble passages into brisk accents and an extended vamp. “Juffure” uncoils through electronic effects and extended improvisations. “Sausalito” cruises on light percussion, relaxed keyboard comping, and a delayed soprano entrance.

A1. “On the Cusp” (6:15) – Steacker
A2. “You Make Me Dance” (5:41) – Brown
A3. “Lock It in the Pocket” (6:50) – Steacker
B1. “Days in Our Lives” (7:44) – Simmons
B2. “Mr. Magic” (12:24) – MacDonald, Salter

C1. “Summer Song” (7:30) – Blake
C2. “Juffure” (9:30) – Vinson
D1. “Sausalito” (9:51) – Simmons, Blake, Gibbs, Burrs, Steacker, Brown
D2. “Funkfoot” (8:31) – Blake

Taylor produced the May 1977 engagement at Philadelphia’s Bijou Café. Dale Ashby handled the remote recording, while engineer Dave Palmer and assistant Joel Cohn completed studio work at Electric Lady in New York. The setup replaced the Taylor–Van Gelder studio chain with a club-to-studio production split.

Sib Chalawick designed the gatefold with performance photography by Bernie Block and White Gate. Block’s stage image identifies the album as a live document without the posed portrait format used across Washington’s recent sleeves.

Kudu issued “Summer Song” in March 1978 (b/w “Juffure”), which reached No. 57 on the Billboard R&B chart. Live at the Bijou rose to No. 11 on the Billboard 200, No. 4 on the R&B albums chart, and No. 1 on the jazz albums chart.

Side Work: 1977

The saxophonist also appeared on trombonist Urbie Green’s Señor Blues. David Matthews arranged the CTI project, and Van Gelder Studio hosted the sessions.

Reed Seed

Washington released his seventh studio album, Reed Seed, in 1978 on Motown Records.

The Bijou group returns in a Philadelphia studio setting across two Washington pieces and four band-member originals, plus the group-written “Santa Cruzin” and the Billy Joel theme “Just the Way You Are.”

“Do Dat” struts through a group chant, fluid reed runs, and tightly sprung accompaniment. “Step ’N Thru” skips across multitracked horn parts as shakers and bells sweep between channels beneath a focused soprano solo. “Reed Seed” glides from a haunting blend of alto, electric violin, and synthesizer into a striking theme. “Maracas Beach” meanders softly through overdubbed flute counterlines and a brief electric-piano passage.

“Santa Cruzin’” pivots on an unusual violin-and-reed unison, horn figures in thirds, and bright timbales. “Just the Way You Are” settles into an understated tempo before soprano and baritone lines meet in a self-duet coda. “Loran’s Dance” cruises on nocturnal tenor phrases, a Spanish-tinged theme, and a concise guitar break.

A1. “Do Dat” (4:27) – Blake, Gibbs
A2. “Step’n’ Thru” (6:15) – Steacker
A3. “Reed Seed (Trio Tune)” (4:54) – Washington
A4. “Maracas Beach” (4:48) – Simmons

B1. “Santa Cruzin” (6:54) – Washington, Blake, Simmons, Steacker, Brown, Vinson, Gibbs
B2. “Just the Way You Are” (4:46) – Billy Joel
B3. “Loran’s Dance” (7:37) – Washington

Washington produced the album at Ridge Sound Studio in Philadelphia with engineer Nils Salminen and assistant Rodney Perry. Salminen also engineered Kool & the Gang’s contemporary Everybody’s Dancin’ sessions at Ridge Sound, while Rudy Van Gelder retained a final technical link through mastering.

Norm Ung designed the sleeve around photographer Beverly Parker’s Washington portrait. Ung later returned to Washington’s packaging team for Come Morning.

Motown issued “Do Dat” in November 1978 (b/w “Reed Seed”), which reached No. 79 on the Billboard R&B chart. Reed Seed reached No. 35 on the Billboard 200, No. 7 on the R&B albums chart, and No. 1 on the jazz albums chart.

Paradise

Washington released his eighth studio album, Paradise, in 1979 on Elektra Records.

The album contains seven performances by the Reed Seed sextet. Three Washington pieces accompany selections by Blake, Vinson, Simmons, and Steacker.

“Paradise” intertwines soprano and electric violin before John Blake takes an early solo. “Tell Me About It Now” settles into an unwavering pocket.

A1. “Paradise” (7:55) – Blake
A2. “Icey” (3:48) – Vinson
A3. “The Answer in Your Eyes” (8:24) – Washington, Steacker

B1. “Asia’s Theme” (5:03) – Simmons
B2. “Shana” (5:06) – Washington
B3. “Tell Me About It Now” (5:27) – Washington
B4. “Feel It Comin’” (5:15) – Steacker

Washington produced 1979 sessions at Alpha International Recording Studios in Philadelphia with engineer Fred Galletti, who led the facility’s engineering staff and also worked on the 1978 Goody Goody album.

Ron Coro and Johnny Lee directed the package, which combines John Collier’s tropical illustration with photography by Paul Wilson. Coro became the recurring Elektra art director across Washington’s next three albums.

Elektra issued “Tell Me About It Now” in June 1979 (b/w “Feel It Comin’”), which reached No. 57 on the Billboard R&B chart. Paradise reached No. 24 on the Billboard 200, No. 15 on the R&B albums chart, and No. 2 on the jazz albums chart.

Skylarkin’

Washington released his ninth studio album, Skylarkin’, in 1980 on Motown Records.

Six pieces feature a New York session group with keyboardists Richard Tee, Paul Griffin, and Jorge Dalto; guitarist Gale; bassist Marcus Miller; drummer Muhammad; and percussionist MacDonald. Jon Faddis adds trumpet, while William Eaton supplies arrangements.

“Easy Loving You” struts through buoyant ensemble accents. “Snake Eyes” rides a compact clavinet figure. “I Can’t Help It” glides along a supple bass figure.

A1. “Easy Loving You” (7:17) – Washington
A2. “Bright Moments” (6:25) – Roland Kirk
A3. “Snake Eyes” (4:25) – Washington

B1. “I Can’t Help It” (6:26) – Wonder, Susaye Greene
B2. “Love” (5:18) – MacDonald, Salter, David Stevens
B3. “Open Up Your Mind (Wide)” (6:06) – Ronnie Wilson, Charlie Wilson

Washington produced October 1979 sessions at Rosebud Recording Studios in New York with engineer Richard Alderson, who co-founded the facility with MacDonald. His earlier credits included recordings by Roberta Flack, Withers, and David Sanborn.

Ginny Livingston and John Cabalka directed and designed the package around illustrator Bill Imhoff’s painted cover image. The artwork replaces the photographic jackets that marked Washington’s Kudu and first post-Kudu releases.

Motown issued “Snake Eyes” in April 1980 (b/w “Love”), which reached No. 88 on the Billboard R&B chart. Skylarkin’ reached No. 24 on the Billboard 200, No. 8 on the R&B albums chart, and No. 1 on the jazz albums chart.

Winelight

Washington released his tenth studio album, Winelight, in October 1980 on Elektra Records.

Six pieces retain Tee, Gale, and MacDonald from Skylarkin’ with keyboardists Ray Chew and Griffin, bassist Miller, drummer Gadd, and percussionist Robert Greenidge. Bill Withers sings “Just the Two of Us,” one of two MacDonald and Salter compositions in the program.

“Winelight” saunters over timed percussion and a supple bass figure before saxophone phrases open into ensemble breaks. “Let It Flow” slinks through a springing ostinato. “Take Me There” gathers from a measured opening into double-time runs before settling into its initial pattern. “Just the Two of Us” glides from Richard Tee’s electric-piano entrance to Bill Withers’s measured lead and Robert Greenidge’s steelpan solo. “Make Me a Memory” drifts through a soft guitar figure and gently sustained reed lines.

A1. “Winelight” (7:32) – Eaton
A2. “Let It Flow (For ‘Dr. J’)” (5:52) – Washington
A3. “In the Name of Love” (5:26) – Salter, MacDonald

B1. “Take Me There” (6:16) – Washington
B2. “Just the Two of Us” (7:23) – Withers, Salter, MacDonald
B3. “Make Me a Memory (Sad Samba)” (6:32) – Washington

Washington and MacDonald produced June–July 1980 sessions at Rosebud with Alderson as engineer and Ed Heath as assistant. MacDonald assumed a formal production role after contributing percussion and compositions to Skylarkin’.

Coro directed and designed the package with a cover portrait by Jim Shea and inner-sleeve photography by Don Hunstein. Shea continued with Washington through the next two Elektra albums, while Hunstein brought three decades of Columbia portrait work to the insert.

Elektra issued “Let It Flow” in November 1980 (b/w “Winelight”). “Just the Two of Us” followed in January 1981 (b/w “Make Me a Memory”) and reached No. 2 on the Billboard Hot 100, No. 3 on the R&B chart, and No. 2 on the adult contemporary chart. The label returned “Winelight” to the A-side in May (b/w “Let It Flow”). Winelight reached No. 5 on the Billboard 200, No. 2 on the R&B albums chart, and No. 1 on the jazz albums chart; it also reached No. 34 in Britain. The Recording Industry Association of America certified the album double platinum, and the recording won the Grammy for Best Jazz Fusion Performance at the 1982 ceremony.

Come Morning

Washington released his eleventh studio album, Come Morning, in 1981 on Elektra Records.

The eight-track program retains the Winelight rhythm section. Grady Tate sings “Be Mine (Tonight)” and “Little Black Samba,” while a chorus supports selected tracks.

“East River Drive” glides through mellow soprano phrases and tight accompaniment. “Come Morning” drifts across restrained reed lines and a soft synthesizer bed. “Jamming” lopes through a repetitive chord figure before its bass line adopts a walking stride. “Reaching Out” swells from gentle verse movement into an emphatic bridge. “Be Mine (Tonight)” curls around Grady Tate’s silky lead and Washington’s concise phrases. “Little Black Samba” quickens from tenor to alto across an energetic instrumental passage.

A1. “East River Drive” (4:44) – Washington
A2. “Come Morning” (4:57) – Washington
A3. “Be Mine (Tonight)” (6:38) – MacDonald, Eaton, Salter
A4. “Reaching Out” (4:08) – Washington

B1. “Jamming” (5:05) – Bob Marley
B2. “Little Black Samba” (5:42) – MacDonald, Eaton, Salter
B3. “Making Love to You” (4:43) – Washington
B4. “I’m All Yours” (4:43) – Tee, Gadd

Washington and MacDonald produced June–September 1981 sessions at Rosebud with Alderson as engineer. Alderson continued the Rosebud partnership established on Winelight.

Coro directed a package designed with Ung and Denise Minobe around Shea’s Washington portrait. Ung rejoined the visual team after designing Reed Seed, while Shea continued from Winelight.

Elektra issued “Be Mine (Tonight)” in November 1981 (b/w “Reaching Out”), which reached No. 92 on the Billboard Hot 100 and No. 13 on the R&B chart. “Jamming” followed in March 1982 (b/w “East River Drive”) and reached No. 65 on the R&B chart. Come Morning reached No. 28 on the Billboard 200 and No. 1 on the jazz albums chart.

The Best Is Yet to Come

Washington released his twelfth studio album, The Best Is Yet to Come, in 1982 on Elektra Records.

The album divides eight pieces among three production groups with guest vocals by Patti LaBelle (“The Best…”), Bobby McFerrin (“Things Are Getting Better”), and Cedric Napoleon (“I’ll Be with You”).

“Can You Dig It” struts through a buoyant pocket and nimble ensemble accents. “The Best Is Yet to Come” swells around LaBelle’s lead as Washington threads tenor replies between sustained phrases. “Things Are Getting Better” skips through McFerrin’s scat solo over a medium-tempo pattern. “Mixty Motions” careens through a frenetic electric-piano figure.

A1. “Can You Dig It” (5:17) – MacDonald, Salter
A2. “The Best Is Yet to Come” (5:58) – Cynthia Biggs, Dexter Wansel
A3. “More Than Meets the Eye” (4:28) – Washington
A4. “Things Are Getting Better” (4:16) – Gerald Price

B1. “Mixty Motions” (5:17) – Eaton
B2. “Brazilian Memories” (6:08) – Eaton
B3. “I’ll Be With You” (4:37) – Washington
B4. “Cassie’s Theme” (3:58) – Washington

MacDonald produced “Can You Dig It,” “Mixty Motions,” and “Brazilian Memories” with Alderson and Kendall Brown at Group IV and Rosebud. Wansel produced four selections at Sigma Sound and Starship One with engineer Peter Humphreys, while Nathan Sassover produced “Cassie’s Theme” with Dennis Sands. Washington served as executive producer and supervised the final mixes.

Coro and Minobe directed and designed the sleeve around another Shea portrait. The assignment completed Shea’s three-album sequence for Washington after Winelight and Come Morning.

Elektra issued “The Best Is Yet to Come” in November 1982 (b/w “More Than Meets the Eye”), which reached No. 14 on the Billboard R&B chart. “Brazilian Memories” followed in March 1983 (b/w “I’ll Be with You”). The album reached No. 50 on the Billboard 200, No. 8 on the R&B albums chart, and No. 1 on the jazz albums chart.

Side Work: 1981–83

Washington produced the first three Elektra albums by Philadelphia group Pieces of a Dream: Pieces of a Dream, We Are One, and Imagine This. He also played on Dexter Gordon’s American Classic and Japanese pianist Masaru Imada’s Blue Marine, then added saxophone to two tracks on Roberta Flack’s I’m the One, where Brown assisted Alderson at Rosebud.

Inside Moves

Washington released his thirteenth studio album, Inside Moves, in 1984 on Elektra Records.

Seven compositions reconnect Washington with the core Elektra players from Winelight and Come Morning. Jon Lucien sings “When I Look at You,” with a chorus and strings added to selected pieces.

“Inside Moves” simmers through handclaps, subtle rhythmic turns, and broken-chord runs. “Watching You, Watching Me” glides through Jon Lucien’s deep baritone, hushed harmonies, and softly sustained strings. “When I Look at You” drifts on Lucien’s warm baritone and restrained reed replies. “Sassy Stew” saunters through light-footed accents and a livelier closing vamp.

A1. “Inside Moves” (5:50) – MacDonald, Gadd, Salter
A2. “Dawn Song” (4:43) – Miller
A3. “Watching You, Watching Me” (5:21) – Eaton
A4. “Secret Sounds” (5:29) – Washington

B1. “Jet Stream” (5:59) – Washington, Art Sorenson, Steacker
B2. “When I Look at You” (6:00) – Walter Jurmann, Paul Francis Webster
B3. “Sassy Stew” (5:30) – Washington

Washington and MacDonald produced March–June 1984 sessions at Rosebud with co-producers Eaton and Salter and engineer Brown. Humphreys mixed the album at Sigma Sound, extending the Philadelphia technical connection from The Best Is Yet to Come.

Photographer and art director Carol Friedman shaped the sleeve with designer JoDee Stringham. Friedman’s Washington portrait replaced Shea’s recurring Elektra imagery and introduced a new visual team for the final album on the label.

Elektra issued “Inside Moves” in July 1984 (b/w “Sassy Stew”), which reached No. 79 on the Billboard R&B chart. “When I Look at You” followed in October (b/w “Secret Sounds”). Inside Moves reached No. 79 on the Billboard 200, No. 21 on the R&B albums chart, and No. 3 on the jazz albums chart.

Togethering

Guitarist Kenny Burrell and Washington released the collaborative album Togethering in 1985 on Blue Note Records.

The quartet format joins Burrell and Washington with bassist Carter and drummer Jack DeJohnette. MacDonald adds percussion to “Sails of Your Soul” and “Romance Dance,” while the program divides originals by both leaders among four standards.

“Soulero” glides from an airy tandem phrase into earthier solos. “Day Dream” drifts through spacious intervals beneath Washington’s wistful soprano. “A Beautiful Friendship” saunters through languid tenor lines and relaxed ensemble replies.

“Togethering” diverges from paired phrases into sharply angled intervals. “Asphalt Canyon Blues” lopes over Ron Carter’s deep bass figure as Kenny Burrell shadows its blues-drawn turns. “What Am I Here For?” swings through Burrell’s popping guitar accents and taut ensemble responses.

A1. “Soulero” (4:36) – Richard Evans
A2. “Sails of Your Soul” (5:23) – Washington
A3. “Day Dream” (5:01) – Duke Ellington, Billy Strayhorn, John La Touche
A4. “A Beautiful Friendship” (5:04) – Donald Kahn, Stanley Styne
B1. “Togethering” (4:36) – Burrell
B2. “Romance Dance” (3:28) – Burrell
B3. “Asphalt Canyon Blues” (6:19) – Burrell
B4. “What Am I Here For?” (4:46) – Ellington, Frankie Laine

Helen Keane, Burrell, and Washington produced April 1984 sessions at Mastermind Studios in New York. Engineer Mike Moran recorded and mixed the sessions; Frank Laico later handled remix work. Keane also produced the contemporary Burrell album Groovin’ High.

Richard Mantel designed the jacket around Australian photographer Gary Heery’s paired portrait of Burrell and Washington. Heery returned to Washington’s next project for Columbia.

Blue Note’s compact-disc reissue added “Summertime” and “I’m Glad There Is You,” recorded with bassist Reggie Workman and drummer Grady Tate.

A House Full of Love: Music from The Cosby Show

Columbia released A House Full of Love: Music from The Cosby Show in 1986 under the credit Stu Gardner Presents Grover Washington Jr.

Washington interprets ten themes composed principally by Bill Cosby and Gardner for the television series. Cosby appears on the third track and “Look at This,” while Lori Fulton sings the title piece. The supporting cast includes Michael and Randy Brecker, Faddis, Tee, Griffin, guitarist Jeff Mironov, bassist Miller, and drummer Gadd.

“Resthatherian” grinds through a layered bass-and-keyboard figure with compact offbeat accents. “Love in Its Proper Place” chatters through Bill Cosby’s comic recitation over brisk ensemble figures. “Poppin’” struts on handclaps and buoyant horn accents. “Kitchen Jazz” swings through broad brass charts and Richard Tee’s reverberant electric piano. “Look at This” shuffles beneath Cosby’s late-night dance dialogue and a slower stepper pattern. “A House Full of Love” unfurls around Lori Fulton’s lead and a buoyant closing jam.

A1. “Resthatherian” (2:40) – Cosby, Gardner
A2. “Camille” (4:58) – Cosby
A3. “Love in Its Proper Place” (3:36) – Cosby, Gardner
A4. “Poppin’” (3:52) – Gardner, Griffin, Gary King, Jeff Mironov, Scott Schreer, Tee, W. W. Watson
A5. “Kitchen Jazz” (3:12) – Cosby, Gardner

B1. “Clair (Phylicia)” (4:00) – Cosby, Gardner
B2. “The Huxtable Kids” (3:11) – Cosby, Gardner
B3. “Outstretched Hands” (4:58) – Gardner
B4. “Look at This” (3:13) – Cosby, Gardner
B5. “A House Full of Love” (4:13) – Fulton, Gardner, Arthur Lisi

Gardner and Washington produced September 1985 sessions at Mayfair Studios in New York under executive producer George Butler. Lenny Manchess recorded the ensemble, and Brian Drago completed the mixes. Butler brought the project into Columbia’s jazz division after producing contemporary albums by Wynton Marsalis and Dexter Gordon.

Allen Weinberg directed and designed the package from Keith Wingfield’s concept, with a staged ensemble photograph by Heery. The photographer continued his Washington association from Togethering, while Michele Ali coordinated the additional images.

A House Full of Love reached No. 125 on the Billboard 200, No. 52 on the R&B albums chart, and No. 25 on the jazz albums chart.

Strawberry Moon

Washington released his fourteenth studio album, Strawberry Moon, in 1987 on Columbia Records.

Nine pieces combine Washington with a rotating studio cast and four featured singers. B.B. King sings and plays guitar on “Caught a Touch of Your Love,” Jean Carne sings “The Look of Love” and “Keep in Touch,” and Spencer Harrison leads “Monte Carlo Nights.” Joey DeFrancesco appears on “Keep in Touch,” while Miller performs every instrumental part on “Summer Nights.”

“The Look of Love” glides around Jean Carne’s enigmatic phrasing. “Caught a Touch of Your Love” leans into B.B. King’s soulful lead. “I Will Be Here for You” cruises on a midtempo figure and Michael J. Powell’s guitar. “Keep in Touch” drives beneath Jean Carne’s firm lines. “Monte Carlo Nights” swells around Spencer Harrison’s emotional reading. “Summer Nights” churns through dense percussion and synthesizer layers.

A1. “Strawberry Moon” (4:26) – Washington
A2. “The Look of Love” (4:40) – Burt Bacharach, Hal David
A3. “Shivaree Ride” (4:45) – Washington
A4. “Caught a Touch of Your Love” (5:11) – James Best, Craig Bickhardt, Jack Keller
A5. “Maddie’s Blues” (2:47) – Alf Clausen

B1. “I Will Be Here for You” (5:33) – Steve George, John Lang, Richard Page
B2. “Monte Carlo Nights” (5:53) – Todd Cochran, Stix Hooper
B3. “Keep in Touch” (4:27) – Gary Taylor
B4. “Summer Nights” (6:29) – Miller

Washington produced seven tracks, with Michael J. Powell co-producing “I Will Be Here for You” and Miller co-producing “Summer Nights.” Humphreys engineered the principal sessions at Sigma Sound, Counterpoint, House of Music, and Dallas Sound Lab; Eric Calvi and Michael O’Reilly recorded Miller’s self-contained track. Humphreys returned from the Philadelphia work on The Best Is Yet to Come and Inside Moves.

Christopher Austopchuk directed and designed the package around photographer Jennifer Baumann’s Washington portrait. The pair established Columbia’s visual format for his return to a regular solo-album sequence.

Columbia issued “Summer Nights” in 1987 (b/w “Strawberry Moon”), which reached No. 35 on the Billboard R&B chart. “The Look of Love” followed (b/w “Shivaree Ride”). Strawberry Moon reached No. 66 on the Billboard 200 and No. 29 on the R&B albums chart.

Then and Now

Washington released his fifteenth studio album, Then and Now, in 1988 on Columbia Records.

Four compact ensembles support Washington with pianists Hancock, Simmons, and Tommy Flanagan. Carter and Gerald Veasley divide the bass parts, while Grady Tate, Marvin “Smitty” Smith, and Darryl Washington handle drums and percussion. Russian saxophonist Igor Butman joins Washington on three selections.

“Just Enough” swings on Ron Carter’s prominent bass figure beneath Herbie Hancock’s piano turns. “Lullaby for Shana Bly” drifts through three interlaced lines before a rollicking passage and closing return to opening trio. “Stolen Moments” pivots into playful exchanges near closing bars. “In a Sentimental Mood” lingers through Tommy Flanagan’s measured accompaniment and Washington’s lyrical alto before an extended coda. “Stella by Starlight” shuffles through a wistful duet.

A1. “Blues for D.P.” (8:30) – Carter
A2. “Just Enough” (5:44) – Hancock
A3. “French Connections” (7:00) – Butman
A4. “Something Borrowed, Something Blue” (8:00) – Flanagan

B1. “Lullaby for Shana Bly” (6:12) – Washington
B2. “Stolen Moments” (7:25) – Oliver Nelson
B3. “In a Sentimental Mood” (7:03) – Ellington, Manny Kurtz, Irving Mills
B4. “Stella by Starlight” (6:40) – Victor Young, Ned Washington

Washington produced and mixed the album at Sigma Sound in Philadelphia. Fernando Kral and studio founder Joe Tarsia recorded the sessions, with Tony Maserati and Adam Silverman as assistants. Tarsia’s Sigma work linked the album to the same Philadelphia facility used on Washington’s preceding Elektra and Columbia projects.

Brazilian designer Rico Lins directed the sleeve around photography by David Katzenstein. Lins built the package around Katzenstein’s Washington portrait after Austopchuk and Baumann established the preceding Columbia sleeve.

Then and Now reached No. 2 on the Billboard jazz albums chart.

Time Out of Mind

Washington released his sixteenth studio album, Time Out of Mind, in 1989 on Columbia Records.

Eleven pieces combine Washington’s Philadelphia rhythm section with keyboardists Ronnie Foster, Bill Jolly, Philip Woo, Jim Salamone, and Donald Robinson. Veasley supplies bass, while Phyllis Hyman sings “Sacred Kind of Love.”

“Jamaica” surges through crisp programmed accents and a heated Washington solo. “Gramercy Park” glides through warm accompaniment and softly shaped phrases. “Sacred Kind of Love” sways beneath Phyllis Hyman’s lead over a midtempo pattern. “Brand New Age” quickens through layered keyboards beneath a bright upper-register line.

“Fly Away” skips on a light slap-bass figure and compact studio layers. “Don’t Take Your Love From Me” coils through dense electronics and synchronized lead lines. “Nice-N-Easy” drifts through a shimmering, relaxed pattern. “Unspoken Love” settles into sparse accompaniment.

A1. “Jamaica” (4:43) – Foster
A2. “Gramercy Park” (3:57) – Damon Duewhite, Washington, James McBride
A3. “Sacred Kind of Love” (5:41) – Sami McKinney, K.C. Porter, Karin Rybar
A4. “Brand New Age” (5:22) – Dave Appell
A5. “Fly Away” (5:32) – Stefan Benz, Gijs de Lange, Louie Lasky, Paul Strand

B1. “Don’t Take Your Love from Me” (4:29) – Joyce Stovall
B2. “Time Out of Mind” (5:05) – Walter Becker, Donald Fagen
B3. “Split Second (Act II, the Bar Scene)” (4:30) – Washington
B4. “Nice ’N’ Easy” (6:04) – Robinson
B5. “Unspoken Love” (5:10) – Veasley
B6. “Protect the Dream” (5:57) – Washington

Washington produced the album at Sigma Sound and Sound Spa in Pennsylvania. Foster co-produced “Jamaica,” while Robinson produced “Sacred Kind of Love” and “Nice ’N’ Easy.” Humphreys returned from The Best Is Yet to Come, Inside Moves, and Strawberry Moon as principal engineer; Al Alberts and Scott MacMinn handled the exceptions.

Austopchuk returned as art director and designer with portrait photography by Chip Simons. The package reconnects Washington’s final 1980s album with the Columbia team introduced on Strawberry Moon.

Columbia issued “Jamaica” in 1989 (b/w “Split Second”). Time Out of Mind reached No. 60 on the Billboard R&B albums chart and No. 1 on the jazz albums chart.

Discography:

Inner City Blues (1971)
All the King’s Horses (1972)
Soul Box (1973)
Mister Magic (1975)
Feels So Good (1975)
A Secret Place (1976)
Live at the Bijou (1977)
Reed Seed (1978)
Paradise (1979)
Skylarkin’ (1980)
Winelight (1980)
Come Morning (1981)
The Best Is Yet to Come (1982)
Inside Moves (1984)
Togethering (1984 • Kenny Burrell & Grover Washington, Jr.)
A House Full of Love: Music From The Cosby Show (TV, 1986 • Stu Gardner Featuring Grover Washington, Jr.)
Strawberry Moon (1987)
Then and Now (1988)
Time Out of Mind (1989)