Harvey Mason -

Harvey Mason is an American drummer, producer, and composer who played on Seventies jazz-funk albums by Bobbi Humphrey, Charles Earland, Donald Byrd, Gene Harris, and Herbie Hancock. As a bandleader, Mason cut five albums between 1975 and 1981 on Arista.

Background

Harvey Mason was born on February 22, 1947, in Atlantic City. He played drums from age four, encouraged by his father, who drummed in the US Army band. In the late 1960s, Mason moved to Boston and attended the Berklee College of Music and the New England Conservatory, where he studied under Vic Firth, the principal timpanist of the Boston Symphony Orchestra.

Early Credits

Mason earned credits on 1972–73 albums by Carole King, Foster Sylvers, Genie Brown, Gloria Lynne, Jerry Peters, Jimmy Spheeris, King Errisson, Phillip Upchurch, Seals & Croft, and the Friends of Distinction. In 1973, he played on seminal jazz-funk titles by Donald Byrd (Street Lady, Black Byrd) and Herbie Hancock (Head Hunters).

He played on fourteen 1974 releases, including albums by Charles Earland (Leaving This Planet), Freddie Hubbard, John Klemmer, Johnny Hammond (Gambler’s Life), Moacir Santos, and Veronique Sanson. In 1975, he played on Blue Note albums by Bobbi Humphrey (Fancy Dancer), Bobby Hutcherson, Eddie Henderson, and Marlena Shaw, plus titles by Bill Withers, Coke Escovedo (Coke), Eddie Kendricks, Grover Washington Jr., Jon Lucien, the Brecker Brothers, and The Main Ingredient.

As a member of Hancock’s backing band The Headhunters, Mason played on the keyboardist’s 1975 Columbia release Man-Child. The Headhunters also featured bassist Paul Jackson, saxophonist Bennie Maupin, and percussionist Bill Summers. They cut their first sovereign album, Survival of the Fittest, for Arista, which also signed Mason as a solo artist.

Marching in the Streets

Harvey Mason released his debut album, Marching in the Streets, in 1975 on Arista.

Mason enlisted bassist Chuck Rainey, guitarists Lee Ritenour and Melvin “Wah Wah” Ragin, and electric pianists Herbie Hancock and Dave Grusin. The horn section features tenor/soprano saxophonist Benny Maupin and trumpeters Blue Mitchell and Bobby Bryant. Paul Jackson and Jerry Peters also contributed on bass and keyboards, respectively.

Mason composed four tracks and co-wrote “Fair Thee Well” with Herbie Hancock and Paul Jackson. Marching in the Streets also contains tracks by keyboardist Dave Grusin (“Modaji”) and guitarist Lee Ritenour (“Wild Rice”).

The album alternates between upbeat instrumentals and slower textured tracks. “Marching in the Street” opens with layered drums and bass. “Hop Scotch” and “Wild Rice” focus on interplay between electric piano, horns, and percussion. “Ballad for Heather” emphasizes acoustic piano and trombone, while “Fair Thee Well” combines keyboards with talkbox textures. “Modaji” and “Building Love (Hymn)” explore harmonic layering and polyrhythmic patterns.

A1. “Marching in the Street” (6:37)
A2. “Modaji” (6:51)
A3. “Hop Scotch” (7:03)

B1. “Wild Rice” (6:41)
B2. “Ballad for Heather” (7:02)
B3. “Fair Thee Well” (2:54)
B4. “Building Love (Hymn)” (3:45)

Sessions occurred at Kendun Recorders in Burbank, California, with Harvey Mason producing alongside co-producer Robert Wirtz, and mixing at Westlake Audio in Los Angeles.

Earth Mover

Harvey Mason released his second album, Earth Mover, in September 1976 on Arista.

Mason composed “The Mase” and co-wrote songs with Seawind arranger Bob Wilson (“First Summer”), bassist Louis Johnson (“Sho Nuff Groove”), and synthesist Jerry Peters (“K.Y. and the Curb,” “Sweet Mercy”). Earth Mover also contains songs by guest keyboardist Jan Hammer (“No Lands Man”), Harvey’s trumpeter brother Kenny Mason (“When I’m With You”), and ex-Chelsea Beige bassist Stafford James (“Bertha Baptist”).

Mason supplements his drums tracks with timpani, chimes, vibraphone, and orchestra bells. He recorded the album with multiple keyboardists (Hammer, Greg Phillinganes, Dave Grusin, Patrice Rushen), bassists (Keith Hatchel, Anthony Jackson, Paul Jackson, James Jamerson), plus guitarists Lee Ritenour, Melvin “Wah Wah” Ragin, and the Seawind Horns.

The album balances fusion, jazz-pop, and funk elements. “No Lands Man” features intricate drum patterns and interlocking bass and synthesizer lines. “Bertha Baptist” emphasizes funk-influenced rhythms, while “First Summer” presents layered harmonic textures. “When I’m With You (Live Version)” includes audience effects layered over rhythm section interplay, and tracks like “K.Y. and the Curb” and “Sho Nuff Groove” highlight Mason’s syncopated drumming and the horn section’s phrasing.

A1. “K.Y. and the Curb” (4:56)
A2. “Sho Nuff Groove” (3:56)
A3. “The Mase” (4:10)
A4. “Sweet Mercy” (5:49)

B1. “Earthmover Prelude” (0:57)
B2. “Bertha Baptist” (5:43)
B3. “First Summer” (6:10)
B4. “No Lands Man” (4:22)
B5. “When I’m With You (Live Version)” (4:25)

Sessions occurred at Kendun Recorders in Burbank, California, with Harvey Mason producing alongside co-producers Bob Wirtz, Kenny Mason, and Marvin Mason, and mixing at the Record Plant in Los Angeles.

In 1976, Harvey Mason was an in-demand session drummer, lending his talents to a wide range of albums, including albums by Quincy Jones (I Heard That!!), Earth, Wind & Fire (Spirit), Bob James (Three), and George Benson‘s Grammy-winning Breezin’. He contributed to jazz albums by Donald Byrd (Caricatures), Joe Henderson (Black Miracle), Stanley Turrentine (Everybody Come On Out), Grover Washington, Jr. (A Secret Place), Azar Lawrence (People Moving), Charles Earland (The Great Pyramid), and Gene Harris (In s Special Way).

Mason’s work also appeared on soul and funk albums, including those by the Brothers Johnson (Look Out for #1), Lee Garrett (Heat for the Feets), D.J. Rogers (On the Road Again), and Jaye P. Morgan (Jaye P. Morgan). He also played on Ramsey Lewis‘ Sălongo, Lee Ritenour’s First Course, Seawind’s self-titled album and Make Up Your Mind, and albums by Phoebe Snow, Carmen McRae, and Jackie Lomax (Livin’ For Lovin’).

Funk in a Mason Jar

Harvey Mason released his third album, Funk in a Mason Jar, in 1977 on Arista.

Mason wrote “Liquid” and the title track. He co-wrote one track each with his wife Sally Mason (“Freedom Either Way”) and Attitudes keyboardist David Foster (“Till You Take My Love”). “Space Cadets” and “Pack Up Your Bags” were group-composed with assorted backing players. The album also contains covers of Marvin Gaye (“What’s Going On?”), Kenny Loggins (“Set It Free”), and the Dave Grusin number “Phantazia.”

Mason plays drums, vibraphone, bells, congas, and percussive sundries, backed by multiple pianists (Dave Grusin, Jerry Peters, Bob James), guitarists (Lee Ritenour, George Benson, Ray Parker Jr.), and bassists (Louis Johnson, Verdine White). Horn sections from Tower of Power and Seawind appear throughout.

The album alternates between vocal tracks and instrumentals. “Pack Up Your Bags” and “Till You Take My Love” feature vocals over layered rhythm sections. The title track is a short, rhythmic instrumental. “Phantazia” delivers dense jazz-fusion lines with tight unison passages. “What’s Going On?” features George Benson on guitar and vocals. “Liquid” closes the album with smooth jazz textures, while “Space Cadets,” “Freedom Either Way,” and “Set It Free” mix complex arrangements with percussion-driven rhythms.

A1. “Pack Up Your Bags” (5:00)
A2. “Till You Take My Love” (3:30)
A3. “Space Cadets” (3:32)
A4. “Freedom Either Way” (3:30)
A5. “Funk In A Mason Jar” (1:50)

B1. “What’s Going On?” (8:23)
B2. “Set It Free” (5:49)
B3. “Phantazia” (4:25)
B4. “Liquid” (4:37)

Sessions occurred across Conway Studios, Crystal Sound, and The Burbank Studios, with Harvey Mason producing and Peter Chaikin handling mixing.

In 1977, Harvey Mason maintained his status as a highly sought-after session drummer. He played on The Brothers Johnson’s Right On Time and Phyllis Hyman‘s self-titled album. He also contributed to jazz albums by Gene Harris (Tone Tantrum), Ron Carter (Pastels), Hubert Laws (The San Francisco Concert), John Klemmer (Lifestyle (Living and Loving)), Earl Klugh (Finger Paintings), and George Benson (In Flight).

Mason’s work appeared on albums by Lee Ritenour (Captain Fingers), Kenny Loggins (Celebrate Me Home), and Barbra Streisand (Streisand Superman). He also played on albums by Sérgio Mendes & Brasil ’77 (Home Cooking), Maynard Ferguson (Conquistador), and Jimmy Webb (El Mirage). Additionally, he appeared on multiple albums by Seawind (One Sweet Night and Window of a Child) and Sadao Watanabe (My Dear Life and Autumn Blow).

Groovin’ You

Harvey Mason released his fourth album, Groovin’ You, in 1979 on Arista.

Mason wrote or co-wrote six of the eight tracks. He co-wrote “I’d Still Be There” with Onaje Allan Gumbs, “Groovin’ You” and “Never Give You Up” with Kenny Mason, “The Race” with Jay Graydon and Ray Parker Jr., “We Can” with Bunny Hull and Charles Veal Jr., and “Say It Again” with David Foster. The album also features compositions by other artists: “Wave” by Antonio Carlos Jobim and “Kauai” by Bob James.

Mason plays drums, tambourine, timpani, bells, cowbell, shakers, xylophone, vibraphone, triangle, congas, glockenspiel, marimba, temple blocks, castanets, crotales, wind chimes, whistling, go go bells, slapstick, and vibraslap. Pianists include David Foster and Jerry Peters. Guitarists include Jay Graydon and Steve Lukather. Bassists include Mike Porcaro, Verdine White, and Stanley Clarke. George Benson and trumpeter Kenny Mason appear as guests.

The album alternates between instrumental and vocal tracks. “Groovin’ You” and “The Race” emphasize driving percussion and layered horn arrangements. “Wave” interprets Brazilian jazz rhythms with vibraphone textures, while “Kauai” delivers smooth jazz passages. Other tracks blend R&B-influenced rhythms with polished jazz-funk arrangements.

A1. “I’d Still Be There” (3:48)
A2. “Groovin’ You” (5:53)
A3. “The Race” (3:18)
A4. “We Can” (5:11)
A5. “Never Give You Up” (3:48)

B1. “Say It Again” (5:05)
B2. “Here Today, Gone Tomorrow” (4:23)
B3. “Wave” (6:23)
B4. “Kauai” (5:06)

Sessions occurred across Conway Studios in Los Angeles, Power Station in New York, and Group IV Recording Studios, with Mason producing and Peter Chaikin engineering.

In 1978, Harvey Mason continued his prolific session work, appearing on numerous albums spanning various genres. He played on George Benson’s live album Weekend In L.A. and The Brothers Johnson’s Blam!!. He also contributed to jazz albums by Herbie Hancock (Sunlight), Joe Farrell (Night Dancing), Ronnie Foster (Love Satellite), and Chick Corea (The Mad Hatter). Mason’s drumming also appeared on albums by Cheryl Lynn (self-titled), Dee Dee Bridgewater (Just Family), and Esther Phillips (All About Esther Phillips). He also played on Sadao Watanabe’s California Shower, Earl Klugh’s Stereo Laboratory Vol. 39, and Bill Withers’ ‘Bout Love.

M.V.P.

Harvey Mason released his sixth album, M.V.P., in 1981 on Arista.

Mason wrote or co-wrote seven of the eight tracks. He co-wrote “How Does It Feel,” “We Can Start Tonight,” “On And On,” and “You And Me” with Kenny Mason, “Spell” with Deon Estus, and “Don’t Doubt My Lovin'” with Marti Sharron. “Universal Rhyme” was written by Craig Short and Richard Baisden, and “Going Through The Motions” by Gerald Lee and Marti Sharron.

Mason plays drums, electronic drums, percussion, acoustic piano, handclaps, and provides lead and backing vocals. Guitarists include Lee Ritenour, Mike Levin, and Spencer Bean. Bassists include Deon Estus and Welton Gite. Keyboardists include William Bryant and Kenny Mason. Horns and strings were arranged by Kenny Mason, with additional contracted musicians.

The album emphasizes vocal-driven R&B with polished, up-tempo arrangements. The title track is dance-oriented, while other songs alternate between ballads and up-tempo funk. Synthesizers and tight rhythm sections reinforce the smooth, polished production throughout.

A1. “How Does It Feel” (4:12)
A2. “We Can Start Tonight” (4:15)
A3. “Universal Rhyme” (3:29)
A4. “Spell” (3:57)

B1. “On And On” (5:00)
B2. “Going Through The Motions” (3:49)
B3. “You And Me” (5:10)
B4. “Don’t Doubt My Lovin'” (4:30)

Sessions occurred at Kendun Recorders, Sunset Sound, Conway Recorders, and Studio 54, with Mason producing alongside Kenny Mason and Peter Chaikin engineering. Bernie Grundman handled mastering.

Stone Mason

Harvey Mason released his seventh album, Stone Mason, in 1982 on Alfa.

Mason wrote or co-wrote two of the eight tracks. He wrote “Autumn Flow” and co-wrote “What Goes Around” with Jerry Peters and Kelly McNulty. The album features compositions by Bob James (“Appassionata”), Dave Grusin (“Grusin’s Groove”), Jeremy Lubbock (“It All Comes From You”), Lisa Nemzo (“Hot Summer Nights”), Donny Hathaway (“Someday We’ll All Be Free”), and Victor Young (“Love Letters”).

Mason plays drums, marimba, orchestra bells, percussion, synthesizer, vibraphone, and provides vocals. Guitarists include Lee Ritenour, Ray Parker Jr., and John Tropea. Bassists include Anthony Jackson and Abe Laboriel. Keyboardists include Bob James, Dave Grusin, and David Foster. Kenny Mason contributes flugelhorn, and vocals appear from Karen Floyd, Kelly McNulty, and Lisa Nemzo.

The album blends smooth jazz and pop, alternating between instrumental and vocal tracks. Instrumentals like “Autumn Flow” and “Appassionata” feature contoured solos and polished textures. Vocal tracks, including Hathaway’s “Someday We’ll All Be Free,” emphasize smooth R&B phrasing and layered keyboard textures. Synthesizers and electric pianos provide a contemporary, relaxed sound across the record.

A1. “It All Comes From You” (4:32)
A2. “Appassionata” (5:12)
A3. “Autumn Flow” (4:50)
A4. “Grusin’s Groove” (5:05)

B1. “What Goes Around” (4:42)
B2. “Love Letters” (3:58)
B3. “Hot Summer Nights” (4:18)
B4. “Someday We’ll All Be Free” (5:35)

Sessions occurred across Minot Sound, Monterey Sound Studios, Yamaha R & D Studio, Davlen Sound Studios, Kendun Recorders, and Ameraycan Studios, with Mason producing and Lee Ritenour co-producing “Hot Summer Nights.”

Discography: