Les McCann -

Les McCann (September 23, 1935 – December 29, 2023) was an American jazz pianist and singer.

He emerged on Pacific Jazz Records with the 1960/61 albums Les McCann Ltd. Plays the Truth, Les McCann Ltd. in San Francisco, and Les McCann Sings. His records blended energetic trio performances with gospel-inflected vocals. He expanded his reputation with the 1966/67 concert recordings Live at Shelly’s Manne-Hole and Live at Bohemian Caverns–Washington, D.C. During this period, he also collaborated as a sideman with artists such as Teddy Edwards, Richard “Groove” Holmes, Stanley Turrentine, and Lou Rawls, further cementing his role in the emerging soul jazz sound.

From the 1970s onward, McCann embraced a more expansive approach, integrating electric pianos, ARP synthesizers, clavinet, and orchestral arrangements. Albums like Another Beginning (1974), Hustle to Survive (1975), and River High, River Low (1976) showed a shift toward funk and R&B textures while retaining jazz sensibilities. He continued to experiment with electronic instrumentation on later works such as Layers (1973) and Music Lets Me Be (1977), blending improvisation with layered arrangements and innovative studio techniques. Across his career, McCann maintained a distinct voice as both a keyboardist and vocalist, bridging jazz, funk, and soul with inventive harmonic and rhythmic textures.

Background

He was born Leslie Coleman McCann on September 23, 1935, in Lexington, Kentucky. He grew up with four brothers and one sister who all sang in the church choir. Their father was a jazz fan who encouraged his children’s music interests.

McCann played drums and tuba in his school marching band. He took up piano at age six. When his instructor died after a fortnight of lessons, Les taught himself the instrument. He attended Los Angeles City College and enlisted in the US Navy at age 17.

After completing his service and winning a singing contest, McCann moved to California and formed his own trio, which became a fixture of the West Coast jazz scene. The trio performed its first professional engagement at the Purple Onion club in 1959. He declined an offer to join Cannonball Adderley‘s band, choosing to focus on leading his own group.

Pacific Jazz Era

McCann’s recording career began in the early 1960s when he signed with Pacific Jazz Records. With his trio, he released Les McCann Ltd. Plays the Truth (1960), Les McCann Ltd. in San Francisco (1961), and Les McCann Sings (1961). These albums highlighted his integration of gospel, soul, and R&B elements into jazz, laying the groundwork for what would become known as soul jazz.

Throughout the 1960s, McCann continued recording prolifically for Pacific Jazz and Limelight Records. He released Les McCann Plays the Hits (1966), which featured interpretations of popular songs, alongside live recordings such as Live at Shelly’s Manne-Hole (1966) and Live at Bohemian Caverns–Washington, D.C. (1967). These albums captured his energetic performances and the spontaneous interaction of his trio.

McCann also collaborated widely as a sideman during this period. He played on Teddy Edwards’ It’s About Time (1960), Richard “Groove” Holmes’ Groove (1961), Stanley Turrentine’s That’s Where It’s At (1962), and Lou Rawls’ Stormy Monday (1962). His contributions as a pianist on these sessions reinforced his reputation for blending gospel and R&B sensibilities into jazz frameworks.

Much Les

Les McCann released his eighteenth album, Much Les, on January 17, 1969, on Atlantic.

Much Les contains three McCann originals and a fourth (“Doin’ That Thing”) by bassist Leroy Vinnegar, who forms the core trio with drummer Donald Dean. They also tackle numbers by Cole Porter (“Love for Sale”) and the Fifties pop standard “With These Hands.” They’re backed on select tracks by a ten-piece string section (with cellist Ron Carter) and percussionists Willie Bobo (timbales) and Victor Pantoja (congas).

The album balances funk-inflected soul-jazz with strings and Latin percussion. “Doin’ That Thing” and “Burnin’ Coal” emphasize tight, syncopated rhythms and spirited interplay. Ballads like “With These Hands” and “Love for Sale” highlight McCann’s expressive, crooning touch, while “Burnin’ Coal” incorporates handclaps and vocal shouts.

A1. “Doin’ That Thing” (8:31)
A2. “With These Hands” (5:35) is a composition by Abner Silver and Benny Davis, recorded in 1951 by Guy Lombardo and polarized in 1953 by Eddie Fisher.
A3. “Burnin’ Coal” (6:40)

B1. “Benjamin” (5:47)
B2. “Love For Sale” (6:39)
B3. “Roberta” (8:57)

Joel Dorn produced the album, and Adrian Barber engineered the sessions at Atlantic Studios in New York. William Fischer arranged and conducted the album’s string section.

Swiss Movement (live w/ Eddie Harris)

Les McCann and Eddie Harris released a joint live album, Swiss Movement, in October 1969 on Atlantic.

The performance features McCann on piano and vocals and Harris on tenor saxophone, backed by Leroy Vinnegar on bass and Donald Dean on drums. Trumpeter Benny Bailey joins on select numbers. The set was recorded live at the Montreux Jazz Festival in June 1969, with no prior rehearsal among the musicians.

The album captures spontaneous energy, blending soul jazz with funk rhythms. McCann’s trio provides a tight, responsive foundation, while Harris and Bailey add improvisational interplay. “Compared to What” emphasizes impassioned vocals and a driving pace. Instrumentals like “Cold Duck Time” showcase sharp, syncopated exchanges and dynamic solos.

Les McCann wrote three tracks: “Kathleen’s Theme,” “You Got It In Your Soulness,” and “The Generation Gap.” Eddie Harris composed “Cold Duck Time,” and the opening number, “Compared to What,” was written by Gene McDaniels.

A1. “Compared To What” (8:18)
A2. “Cold Duck Time” (6:31)
A3. “Kathleen’s Theme” (5:45)

B1. “You Got It In Your Soulness” (7:08)
B2. “The Generation Gap” (8:45)

Joel Dorn and Nesuhi Ertegun produced the album, and the live performance was captured at the Montreux Jazz Festival in Montreux, Switzerland.

Comment

Les McCann released his twentieth album, Comment, in 1970 on Atlantic.

The album expands McCann’s trio format with bassist Ron Carter, drummer Billy Cobham, horn section arranged by William Fischer, and string orchestra. Vocalists include Roberta Flack and a choir on the title track. Keyboardists Richard Tee, Stanley Cowell, and Junior Mance contribute to the layered arrangements.

The album focuses on ballads and slow-to-mid-tempo soul, balancing lush strings and horn lines with McCann’s piano and electric piano. Tracks like “How Many Broken Wings” and “Baby, Baby” highlight his expressive vocals. The title track, “Comment,” stands out with a hard bop feel and choral backing.

Five tracks are covers or written by outside composers. Helen and Kay Lewis wrote four: “How Many Broken Wings,” “Can’t We Be Strangers Again,” “What I Call Soul,” and “Baby, Baby.” Johnny Mandel and Morgan Ames wrote “Unless It’s You,” Charles Wright and Yusuf Rahman wrote “Comment,” and “Yours Is My Heart Alone” was composed by Lehar, Loehner, Smith, Herzer, and Cassini.

A1. “How Many Broken Wings” (3:33)
A2. “Can’t We Be Strangers Again” (5:08)
A3. “Unless It’s You” (4:59)
A4. “What I Call Soul” (4:10)

B1. “Comment” (5:22)
B2. “Baby, Baby” (3:01)
B3. “Yours Is My Heart Alone” (6:29)

Joel Dorn produced the album, and sessions occurred at Atlantic Recording Studios and Regent Sound Studios in New York City. Bob Liftin, Jerome Gasper, and Bill Arlt engineered the recordings.

Second Movement (w/ Eddie Harris)

Les McCann and Eddie Harris released a joint studio album, Second Movement, in May 1971 on Atlantic.

The album pairs McCann on electric piano and vocals with Harris on tenor and electric saxophone, supported by bassists Jerry Jemmott and James Rowser, drummers Donald Dean and Bernard Purdie, guitarist Cornell Dupree, percussionist Buck Clarke, and trumpeter Benny Bailey. Vocalists include Cissy Houston, Deirdre Tuck, Judy Clay, and Renelle Stafford, while Arif Mardin arranged strings and horns.

McCann and Harris blend soul-jazz and funk with polished studio production. Tracks like “Shorty Rides Again” deliver upbeat, funky patterns, while “Universal Prisoner” and “Carry On Brother” emphasize vocal-led soul. Instrumentals “Set Us Free” and “Samia” explore laid-back, electric textures and extended vamps.

Les McCann wrote “Samia” and co-wrote “Shorty Rides Again” with Eddie Harris. Harris also co-wrote “Carry On Brother” with Rev’rand B. and wrote “Set Us Free” solo. “Universal Prisoner” was composed by Helen and Kay Lewis.

A1. “Shorty Rides Again” (8:29)
A2. “Universal Prisoner” (4:58)
A3. “Carry On Brother” (7:09)

B1. “Set Us Free” (10:28)
B2. “Samia” (7:31)

Arif Mardin produced the album and also handled remix engineering. Sessions occurred at Atlantic Studios in New York.

Invitation to Openness

Les McCann released his 22nd album, Invitation to Openness, in February 1972 on Atlantic.

The album pairs McCann on piano, electric piano, and Moog synthesizer with a large ensemble including drummers Al Mouzon, Bernard Purdie, and Donald Dean, percussionists William “Buck” Clarke and Ralph MacDonald, bassists Jimmy Rowser and Bill Salter, guitarists Cornell Dupree and David Spinozza, harpist Corky Hale, and multi-instrumentalist Yusef Lateef on tenor saxophone, oboe, and flute.

McCann blends jazz-rock fusion, psychedelic jazz, and funk across three lengthy hypnotic originals. The 26-minute opener, “The Lovers,” features dense interplay between electric pianos, Moog synthesizer, and rhythm guitar with Lateef’s Indian-influenced melodies. Side two moves through funk-driven “Beaux J. Poo Boo” and the multi-themed “Poo Pye McGoochie (And His Friends),” combining pastoral moods, avant-garde textures, and jazz-funk passages.

A. “The Lovers” (26:11) – opens with a meditative pace built on layered percussion and electric bass, joined by Fender Rhodes electric piano, wah-wah guitar, and Moog synth textures. Lateef adds a sinuous oboe line that floats over the rhythmic foundation. The track evolves through subtle shifts in mood and energy, emphasizing ensemble interplay over individual solos.

B1. “Beaux J. Poo Boo” (13:12) – accelerates the tempo with bright Latin-inflected rhythms and tight jazz-funk interplay. Multiple drummers and percussion drive the track, while Lateef punctuates with wind instruments that add angular lines. Chords remain repetitive, giving space for dynamic tension and rhythmic variation. The track balances precision with a lively, dance-like energy.

B2. “Poo Pye McGoochie (And His Friends)” (12:34) – unfolds as a multi-section suite, moving between pastoral passages, free improvisation, and jazz-funk bursts reminiscent of Weather Report. McCann experiments with Fender Rhodes textures and analog synth layers, weaving melodic and chaotic segments. Tempos and moods shift fluidly, allowing the ensemble to navigate structured themes and spontaneous interplay. The piece emphasizes evolving atmospheres rather than conventional solo statements.

Joel Dorn produced the album. Sessions occurred at Atlantic Studios in New York City with Jimmy Douglass engineering and Fred Catero handling remixing.

Talk to the People

Les McCann released his 23rd album, Talk to the People, in August 1972 on Atlantic.

The album pairs McCann on piano and vocals with bassist James Rowser, drummer Donald Dean, guitarist Keith Loving, percussionist Buck Clarke, and backing vocalists including The Persuasions, supplemented by other studio musicians. The album contains

McCann blends soul, funk, and R&B across instrumental and vocal tracks, including the Stevie Wonder cover “Seems So Long.” Clavinet-driven “Shamading” and swaggering “North Carolina” emphasize rhythmic interplay, while vocal numbers like Marvin Gaye’s “What’s Going On” and the title track deliver a socially conscious message with earthy, funky energy.

A1. “What’s Going On (Vocal)” (7:28)
A2. “Shamading” (3:41)
A3. “Seems So Long (Vocal)” (3:04)
A4. “She’s Here” (5:54)

B1. “North Carolina” (9:20)
B2. “Let It Lay (Vocal)” (5:22)
B3. “Talk To The People (Vocal)” (9:16)

Joel Dorn produced the album. Sessions occurred at Regent Studios in New York City with Bob Liftin as recording and remix engineer.

Live at Montreux

In May 1973, Les McCann released Live at Montreux, a document of his June 24, 1972, set at the sixth annual Montreux Jazz Festival.

The album pairs McCann on piano, clavinet, percussion, and vocals with bassist Jimmy Rowser and drummer Donald Dean. Percussionist Buck Clarke and guest Rahsaan Roland Kirk on saxophone augment the ensemble for select tracks.

They perform five Talk to the People numbers and one song each from Comment, Much Les (“With These Hands”), Swiss Movement (“Compared To What”), and Second Movement (“Carry On Brother”), plus one exclusive, “Price You Gotta Pay To Be Free.”

McCann blends funk, soul jazz, and protest-themed vocals across instrumental and vocal tracks. Driving instrumentals like “Cochise” contrast with gritty vocal numbers such as Marvin Gaye’s “What’s Going On” and Gene McDaniels’ “Compared to What,” while Kirk adds improvisational flair to the final numbers, including “Get Yourself Together.”

A1. “Cochise” (6:10)
A2. “Comment” (1:27)
A3. “Price You Gotta Pay To Be Free” (5:00)
A4. “What’s Going On” (8:30)

B1. “North Carolina” (11:30)
B2. “Carry On Brother” (9:30)

C1. “With These Hands” (9:35)
C2. “Compared To What” (6:30)

D1. “Get Yourself Together” (15:23)
D2. “Home Again” (5:02)

Joel Dorn produced the album. Sessions occurred live at the Montreux Jazz Festival with Stephen Sulke handling recording and Bob Liftin mixing the final product.

Layers

Les McCann released his 24th album, Layers, in February 1974 on Atlantic.

The album’s lineup centers on Les McCann on piano, electric piano, clavinet, ARP synthesizer, drums, timpani, and percussion, supported by Jimmy Rowser (electric and upright bass), Donald Dean (drums and percussion), and percussionists Ralph MacDonald and Buck Clarke. The absence of horns and guitar gives the album a stripped-down, futuristic character.

Musically, the album unfolds as a series of electronic suites that alternate between reflective, spacey passages and funky, rhythm-driven sections. “The Dunbar High School Marching Band” exemplifies McCann’s use of layered percussion and synthesized orchestration. Continuous suites like “Soaring (At Dawn) Part I” and “Soaring (At Sunset) Part II” emphasize immersive textures over conventional themes, while brief interludes punctuate the flow.

Songs From Boston

A1. “Sometimes I Cry” (5:24) – opens Layers with a slow, contemplative tempo, featuring McCann’s ARP synthesizer and electric piano weaving together somber, contoured lines. The phrasing is introspective, with subtle shifts in harmony creating an expansive emotional space.
A2. “Let’s Gather” (1:08) – is a brief, atmospheric interlude. Sparse keyboard textures and restrained percussion give the track a floating, meditative quality.
A3. “Anticipation” (0:48) – functions as a tension-building bridge with soft, fluttering synthesizer motifs that create a sense of suspense.
A4. “The Dunbar High School Marching Band” (6:06) – accelerates into an energetic, funky pace. McCann layers clavinet and dissonant keyboard solos over a stone-solid rhythm section, simulating brass and woodwind lines with synthesizer textures. The track alternates between angular motifs and flowing passages, maintaining constant motion.
A5. “Soaring (At Dawn) Part I” (5:53) – is spacious and reflective. The electric piano and synthesizer lines rise and fall in wave-like patterns, while percussion punctuates the contemplative flow, evoking a sense of gentle ascent.

Songs From My Childhood

B1. “The Harlem Buck Strut Dance” (5:55) – kicks off the second suite with a high-energy, syncopated rhythm, combining playful keyboard lines and percussive accents. The track emphasizes momentum and dynamic contrast throughout its run.
B2. “Interlude” (0:33) – is a brief, atmospheric bridge with soft electronic washes, providing a pause between the denser movements.
B3. “Before I Rest” (4:44) – is a brief, atmospheric bridge with soft electronic washes, providing a pause between the suite’s denser compositions.
B4. “Let’s Play (‘Til Mom Calls)” (3:20) – is a brief, atmospheric bridge with soft electronic washes, providing a pause between the suite’s denser compositions.
B5. “It Never Stopped In My Home Town” (1:54) – is a short, contemplative vignette. McCann’s piano phrasing is angular yet tender, weaving through understated electronic textures.
B6. “Soaring (At Sunset) Part II” (8:03) – closes the album with a long, mellow, and spacier passage. Layers of synthesizer and electric piano create a drifting, introspective soundscape, punctuated by soft, rolling percussion that sustains a sense of quiet resolution.

Sessions occurred at Regent Sound Studios in New York City with producer Joel Dorn, production associate Jack Shaw, and engineer Bob Liftin. The album was the first recorded in 32-track format, enabling complex layering of electronic instruments.

Another Beginning

Les McCann released his 25th album, Another Beginning, in late 1974 on Atlantic.

McCann plays piano, electric piano, ARP synthesizer, and clavinet, backed on the first two tracks by drummer Paul Humphrey, bassist Chuck Rainey, and guitarist Roy Gaine. The remainder features drummer Harold Davis, bassist James Rowser, and guitarist Miroslaw Kudykowski. which McCann arranged with “The Song of Love” co-writer William Eaton arranged the horns and string. “Maybe You’ll Come Back” author Morgan Ames appears among fifteen backing vocalists and percussionist Buck Clarke.

The album alternates between vocal tracks and instrumentals. “When It’s Over” is a slow, blues-tinged piece with gospel influences. “Someday We’ll Meet Again” is instrumental, featuring layered ARP synthesizer and a bop-oriented guitar solo. Other tracks mix R&B, jazz, and funk rhythms with orchestral arrangements and choral support.

A1. “Maybe You’ll Come Back” (3:58) – opens with a relaxed tempo and layered orchestration, combining acoustic and electric pianos, bass, drums, and guitar. McCann’s vocals carry the emotional weight, supported by harmonized backup vocals that add depth and texture. The track unfolds with a steady, flowing pace.
A2. “The Song of Love” (3:14) – maintains a casual, strolling beat over soft keyboard textures. Backup vocals punctuate the arrangement, providing a light, airy dimension that contrasts with McCann’s lead voice. The track balances simplicity with an expressive, measured delivery.
A3. “When It’s Over” (10:28) – spans ten minutes with a slow, blues-infused rhythm and gospel-style vocal layering. Initial piano, bass, and drums establish a contemplative base, gradually joined by a chorus of backing singers. The instrumental passages remain steady and expansive, allowing McCann to explore nuanced dynamics.
A4. “Somebody’s Been Lying ‘Bout Me” (3:32) – blends a light funk-inflected pulse with angular keyboard and guitar riffs. McCann’s vocals are expressive, while female backing voices weave around the lead, adding harmonic color. Sections shift subtly, sustaining listener engagement.

B1. “Go On and Cry” (5:23) – starts with a Latin-flavored tempo, moving into denser, syncopated passages. The electric piano and layered percussion interact with bursts of brass and vocal accents, creating dynamic tension throughout the track.
B2. “My Soul Lies Deep” (5:19) – is a mostly solo piano/vocal performance, with sparse string textures entering mid-track. The tempo is contemplative, emphasizing phrasing and subtle shifts in harmony.
B3. “The Morning Song” (3:38) – drives forward on an up-tempo R&B rhythm, reinforced by an energized choir. The keyboard and percussion interplay support McCann’s vocal lines, creating a bright but controlled sound.
B4. “Someday We’ll Meet Again” (6:58) – is an instrumental with a flowing pace and spacious arrangement. Miroslaw Kudykowski delivers a fiery bop guitar solo, while McCann’s synth and piano intertwine with horns. The track develops in layers, balancing intricate textures with rhythmic steadiness.

Sessions occurred at Regent Sound Studios in New York City and The Village Recorder, with producers Les McCann, Jack Shaw, and Joel Dorn, associate producer Morgan Ames, and engineers Bob Liftin and Rick Heenan.

Hustle to Survive

Les McCann released his 26th album, Hustle to Survive, in 1975 on Atlantic.

McCann plays Arp Solina String Ensemble, Fender Rhodes electric piano, clavinet, and piano on Hustle, backed by bassist James E. Rowser, guitarist Miroslaw Kudykowski, and percussionist Harold Davis. Pianist Herbie Hancock appears on “Will We Ever Find Our Fathers,” a submission by Carole Bayer Sager and Peter Allen.

McCann co-wrote five tracks with Rev. B and collaborated with his backing players on “Us,” a funk-oriented instrumental built on electric piano and layered keyboards. Other songs combine R&B and soul textures with string and clavinet flourishes, while vocals range from earthy and direct to harmonically enriched.

A1. “Us” (5:17)
A2. “Changing Seasons” (4:18)
A3. “Got To Hustle To Survive” (4:02)
A4. “Butterflies / Everytime I See a Butterfly” (8:06) was co-written by Tiny Barge and features vocalist Sheila Raye. The parts inspired covers by Gladys Knight & The Pips (“Butterflies”) and Maxine Nightingale (“Everytime I See a Butterfly”).

B1. “Says Who Says What ?” (4:28)
B2. “Will We Ever Find Our Fathers” (5:13)
B3. “Well, Cuss My Daddy” (4:13)
B4. “Why Is Now” (4:11)
B5. “Let Your Learnings Be Your Eyes” (5:15) was written by singer Benard Ighner, a recent Marlena Shaw producer.

Sessions occurred at an unknown studio, with producers Les McCann, Bert DeCoteaux, and Tony Silvester, and McCann serving as arranger and conductor.

River High, River Low

Les McCann released his 27th album, River High, River Low, in October 1976 on Atlantic.

McCann plays keyboards and sings on River High, River Low, backed by bassist Jimmy Rowser, drummer Harold Davis, and guitarist Miroslaw Kudykowski. “I’m a Liberated Woman” features a separate lineup with drummer Paul Humphrey, guitarist/bassist Steuart Liebig, and pianist John Mayer.

McCann wrote eight of the ten tracks. “Baby, Just So Much Faith” was written by Maleah Grover, and “What Is It That We Have To Do To Let Our Children Grow” was co-written with Rev. B. The album alternates between funk and soul numbers. “River High, River Low” emphasizes rippling keyboards and cinematic textures, while “I’m a Liberated Woman” features a tighter, more rhythm-driven ensemble. Other tracks combine deep grooves with vocal-driven arrangements.

A1. “You Little Cheat” (2:20)
A2. “I’m Back Home” (3:46)
A3. “Loved You Full In Every Way” (3:16)
A4. “A Hand From the Crowd” (3:15)
A5. “I’m a Liberated Woman” (3:18)
A6. “River High, River Low” (6:36)

B1. “I’ve Been Thinking About My Problems” (3:31)
B2. “Baby, Just So Much Faith” (3:17)
B3. “Everywhere I Go, People Ask Me a Question” (3:34)
B4. “Woman, Come Home!” (4:35)
B5. “What Is It That We Have to Do to Let Our Children Grow” (7:41)

Sessions occurred at The Record Plant in Los Angeles, with McCann producing, Kelly Kotera engineering, and Rick Collins handling mastering.

Music Lets Me Be

Les McCann released his 28th album, Music Lets Me Be, in 1977 on Impulse!

McCann plays acoustic piano, electric piano, cowbell, and gong on Music Lets Me Be, backed by bassist Jimmy Rowser, drummer Kevin Johnson, and guitarists Miroslaw Kudykowski and Steuart Liebig. Percussionist Paulinho Da Costa appears on two tracks.

McCann wrote all seven tracks. The album is dominated by instrumentals that emphasize deep funk-jazz rhythms and dynamic interaction between keyboards and guitars. “Street Dance” and “Beyond Yesterday” feature extended improvisations, while “Vallarta” uses samba-inflected textures. Vocal tracks appear but remain secondary to the instrumentals.

A1. “Street Dance” (8:05)
A2. “Beyond Yesterday” (5:30)
A3. “My Darling, My Darling” (4:37)
A4. “Ruby Jubilation” (6:01)

B1. “My Name Is Francis” (3:03)
B2. “Vallarta” (6:54)
B3. “Music Lets Me Be” (11:42)

Sessions occurred at The Village Recorder in Los Angeles and The Burbank Studios in Burbank, with producers Les McCann and Esmond Edwards, and mixing by Danny Wallin.

Discography: