Ramsey Lewis -

Ramsey Lewis (May 27, 1935 – September 12, 2022) was an American pianist, composer, and bandleader from Chicago. He entered recording with bassist Eldee Young and drummer Redd Holt, reached the pop and R&B charts with “The ‘In’ Crowd,” “Hang On Sloopy,” and “Wade in the Water,” and later led electric-keyboard, orchestral, and large-ensemble projects for Cadet and Columbia.

Associated musicians: Eldee Young (bass, cello), Redd Holt (drums), Cleveland Eaton (bass), Maurice White (drums), Morris Jennings (drums), Charles Stepney (keyboards, arrangements), Henry Johnson (guitar), Bill Dickens (bass), Frankie Donaldson (drums)

Background

Ramsey Emmanuel Lewis Jr. was born May 27, 1935, in Chicago to Pauline Lewis and Ramsey Emmanuel Lewis Sr. His father directed the choir at Wayman A.M.E. Church and played recordings by Duke Ellington, Art Tatum, Teddy Wilson, and Meade Lux Lewis at home. Church pianist Ernestine Bruce began teaching Lewis at age four, and he started playing for the congregation at nine.

Bruce referred Lewis to pianist Dorothy Mendelsohn at the Chicago Musical College Preparatory School. He studied classical piano there from 1947 through 1954 while attending Wells High School from 1950 through his 1954 graduation. Lewis entered the college division of Chicago Musical College that autumn but left before completing a degree.

During his first year at Wells, Lewis accepted saxophonist and pianist Wallace Burton’s invitation to join the Clefs. The seven-piece group played jazz and R&B at Chicago dances, where Burton introduced the classically trained pianist to bebop repertory. The Korean War draft removed Burton and several Clefs members. Lewis continued with bassist Eldee Young and drummer Redd Holt as a piano trio and developed a regular Chicago nightclub schedule.

Lewis, Young, and Holt signed with the Chess brothers’ Argo imprint and entered a Chicago studio during 1956. Argo issued their first album, Ramsey Lewis and His Gentle-Men of Swing, later that year.

Ramsey Lewis and His Gentle-Men of Swing

The Ramsey Lewis Trio released its debut album, Ramsey Lewis and His Gentle-Men of Swing, in 1956 on Argo.

Lewis leads Young and Holt through standards, the Bizet adaptation “Carmen,” and original material by the trio. Young contributes cello as well as bass, while Holt receives a feature on “Fantasia for Drums.”

A1. “Carmen” (4:30)
A2. “I’ll Remember April” (4:07)
A3. “The Wind” (4:00)
A4. “Bei Mir Bist du Schön” (3:13)
A5. “My Funny Valentine” (3:10)

B1. “Fantasia for Drums” (5:45)
B2. “Dee’s New Blues” (5:45)
B3. “Tres” (4:45)
B4. “Limelight” (2:17)

Leonard and Phil Chess produced the 1956 Chicago sessions for Argo, the jazz imprint they had opened the previous year. Lacey Crawford photographed the front cover, which presents the trio in formal dress beneath the elongated album title.

Lem Winchester and the Ramsey Lewis Trio

Argo released Lem Winchester and the Ramsey Lewis Trio in 1958.

Vibraphonist Lem Winchester joins Lewis, Young, and Holt for a program associated with the modern-jazz repertory of Clifford Brown, Duke Jordan, and George Shearing. Winchester contributes the original “A Message from Boysie.”

“Joy Spring” smiles through buoyant vibraphone phrases and compact piano replies. “Sandu” rolls through a slow blues with warm, ringing resonance.

A1. “Joy Spring” (3:25)
A2. “Where It Is” (4:27)
A3. “Sandu” (6:12)
A4. “Once in a While” (5:28)

B1. “Jordu” (3:23)
B2. “It Could Happen to You” (3:39)
B3. “Easy to Love” (3:34)
B4. “A Message from Boysie” (5:08)

Dave Usher produced the October 8, 1958 session in Chicago, where engineer Malcolm Chisholm recorded Winchester beside the established trio. W. Hopkins designed a sleeve that identifies the vibraphonist and Lewis as equal principals.

An Hour with the Ramsey Lewis Trio

The Ramsey Lewis Trio released An Hour with the Ramsey Lewis Trio in 1959 on Argo.

Lewis, Young, and Holt expand the LP to twelve performances drawn from standards, traditional material, and the Lewis-Young composition “Consider the Source.” Several selections extend beyond five minutes, including “The Way You Look Tonight” and the opening “Softly, as in a Morning Sunrise.”

A1. “Softly, as in a Morning Sunrise” (7:38)
A2. “C.C. Rider” (2:38)
A3. “Love for Sale” (4:22)
A4. “I Had the Craziest Dream/I Know Why” (6:37)
A5. “It Ain’t Necessarily So” (4:40)
A6. “I Love Paris” (2:10)

B1. “The Way You Look Tonight” (8:07)
B2. “Song of India” (2:31)
B3. “Consider the Source” (4:00)
B4. “The Ruby and the Pearl” (5:50)
B5. “Walls of Jericho” (3:26)
B6. “Angel Eyes” (5:00)

Usher produced the April 22, 1959 session at Ter Mar Studios in Chicago, the Chess operation that became Lewis’s principal recording base. Don Bronstein photographed the seated trio for a cover built around the album’s hour-long claim.

Down to Earth

The Ramsey Lewis Trio released Down to Earth in 1959 on EmArcy.

Lewis, Young, and Holt apply the trio format to folk songs, spirituals, and traditional melodies. The program joins “John Henry,” “Greensleeves,” and “Sometimes I Feel Like a Motherless Child” with three group originals.

“Soul Mist” eases through airy brushwork and bells before Lewis digs into harder piano figures near midpoint. “John Henry” rises with Lewis’s delayed entrance and forceful cymbal accents. “Greensleeves” traces its traditional theme through gospel-inflected turns. “Sometimes I Feel Like a Motherless Child” lingers on spare spiritual phrases.

A1. “Dark Eyes” (2:28)
A2. “Come Back to Sorrento” (3:10)
A3. “Soul Mist” (3:00)
A4. “John Henry” (2:26)
A5. “Greensleeves” (4:25)

B1. “We Blue It” (5:01)
B2. “Sometimes I Feel Like a Motherless Child” (2:10)
B3. “Suzanne” (3:15)
B4. “Billy Boy” (2:37)
B5. “Decisions” (2:06)

Jack Tracy produced the November 6 and December 4, 1958 sessions at Ter Mar Studios. Chicago designer Leroi Winbush handled the photography and cover treatment, which places the trio against a rural landscape suited to the folk-derived program.

Never on Sunday

The Ramsey Lewis Trio released Never on Sunday in 1961 on Argo.

Lewis, Young, and Holt combine the Manos Hadjidakis title theme with standards, spiritual material, and the trio originals “The Ripper” and “You Just Don’t Care.” The selections retain the compact format used across the group’s early Argo albums.

“I Got Plenty o’ Nuttin’” swings through concise, soulful phrases. “The Breeze and I” glides across a poised standard theme. “Exactly Like You” bounds through buoyant trio swing.

A1. “The Ripper” (2:00)
A2. “I Got Plenty of Nothin’” (3:39)
A3. “Water Boy” (3:00)
A4. “Thanks for the Memory” (3:32)
A5. “Cielito Lindo” (2:35)

B1. “You Just Don’t Care” (3:08)
B2. “Never on Sunday” (2:10)
B3. “You’ve Changed” (4:09)
B4. “The Breeze and I” (2:36)
B5. “Exactly Like You” (2:34)

Leonard Chess produced the August 10-11, 1961 sessions at Universal Recording in Chicago. The assignment returned Lewis to the Chess organization after the EmArcy release Down to Earth.

Sound of Christmas

The Ramsey Lewis Trio released Sound of Christmas in 1961 on Argo.

The first half presents Lewis, Young, and Holt alone, while arranger Riley Hampton adds strings to the second half. The program pairs seasonal standards with the trio original “Christmas Blues” and the Lewis composition “The Sound of Christmas.”

A1. “Merry Christmas Baby” (4:04)
A2. “Winter Wonderland” (2:11)
A3. “Santa Claus Is Coming to Town” (2:25)
A4. “Christmas Blues” (2:50)
A5. “Here Comes Santa Claus” (2:41)

B1. “The Sound of Christmas” (2:22)
B2. “The Christmas Song” (3:18)
B3. “God Rest Ye Merry, Gentlemen” (3:19)
B4. “Sleigh Ride” (2:58)
B5. “What Are You Doing New Year’s Eve?” (3:27)

Ralph Bass produced the October 1961 sessions at Ter Mar Studios. Hampton’s string arrangements divide the album into trio and orchestral halves, with Young and Holt present across both settings.

Sound of Christmas reached No. 8 on Billboard’s seasonal Christmas LP chart.

Bossa Nova

The Ramsey Lewis Trio released Bossa Nova in 1962 on Argo.

Lewis, Young, and Holt record Brazilian material with guitarist and pandeiro player Josef Paulo and singer-percussionist Carmen Costa. The program includes songs by Luiz Bonfá, Antônio Maria, and João Gilberto beside two Lewis compositions.

“A Noite do Meu Bem” sways beneath Carmen Costa’s sung phrases and cabaça accents as Lewis’s trio maintains a supple pattern. “Cara de Palhaço” lilts through Josef Paulo’s guitar figures, pandeiro taps, and compact replies.

A1. “Samba de Orfeu” (3:35)
A2. “Manhã de Carnaval” (4:41)
A3. “A Criancinhas” (2:37)
A4. “A Noite do Meu Bem” (4:17)
A5. “O Pato” (2:37)

B1. “Generique (Happiness)” (5:00)
B2. “Roda Moinho” (3:19)
B3. “Cara de Palhaço” (2:22)
B4. “Canção para Geralda” (6:17)

Bass produced the September 22 and 25, 1962 sessions at Yamaha Studio in Los Angeles. The West Coast dates brought Paulo and Costa into the trio’s first album devoted entirely to Brazilian repertory.

Barefoot Sunday Blues

The Ramsey Lewis Trio released Barefoot Sunday Blues in 1963 on Argo.

Lewis, Young, and Holt concentrate on blues forms and related song material. Bassist Christopher White replaces Young on “Lonely Avenue” and “Act Like You Mean It,” while Young returns for the remaining eight performances.

“Lonely Avenue” lopes as Eldee Young doubles its melody with pizzicato cello and sung syllables.

A1. “Lonely Avenue” (2:56)
A2. “Don’t Even Kick It Around” (4:26)
A3. “Salute to Ray Charles” (5:51)
A4. “Barefoot Sunday Blues” (3:35)
A5. “Island Blues” (2:47)

B1. “I Spend My Life” (3:42)
B2. “Act Like You Mean It” (2:25)
B3. “Sarah Jane” (5:20)
B4. “The Train Won’t Wait” (3:02)
B5. “Come on Baby” (2:30)

Esmond Edwards produced the August 20, 1963 session at Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey. Writer Leroi Jones supplied the original notes, placing the blues program within a broader account of Black musical tradition.

Bach to the Blues

The Ramsey Lewis Trio released Bach to the Blues in 1964 on Argo.

Lewis connects classical source material with blues and popular-song forms. Young and Holt remain the principal rhythm section; bassist Richard Evans replaces Young on “Travel On” and “Peace and Tranquility.”

“For the Love of a Princess” traces Rimsky-Korsakov’s young-prince theme through compact trio phrases. “Misty Days, Lonely Nights” unfolds from Rachmaninoff’s Vocalise theme. “Bach to the Blues” bends Bach’s Wachet auf chorale into blues-inflected figures. “Dance Mystique” pivots from Tchaikovsky’s Arabian Dance through measured variations. “You’ll Love Me Yet” adapts Brahms’s poco allegretto theme with a stately contour.

A1. “For the Love of a Princess” (3:48)
A2. “Why Don’t You Do Right?” (4:20)
A3. “Misty Days, Lonely Nights” (3:21)
A4. “Bach to the Blues” (2:30)

B1. “Travel On” (3:44)
B2. “Dance Mystique” (5:30)
B3. “Sadness Done Come” (3:52)
B4. “You’ll Love Me Yet” (3:06)
B5. “Peace and Tranquility” (5:36)

Edwards produced the January 31, 1964 session at Ter Mar Studios. His return after Barefoot Sunday Blues established the producer partnership that carried into the trio’s 1965 breakthrough.

The In Crowd

The Ramsey Lewis Trio released the live album The In Crowd in July 1965 on Argo.

Lewis, Young, and Holt recorded the album before an audience at the Bohemian Caverns in Washington, D.C. The set combines Dobie Gray’s recent title song with standards, Brazilian material, and Lewis’s “Spartacus.” Audience handclaps and responses remain audible throughout the title performance.

“The ‘In’ Crowd” strides on spare piano phrases, locked syncopation, and audience handclaps. “Tennessee Waltz” teases through flamenco-flavored double-bass flourishes and wordless syllables. “You Been Talkin’ ’Bout Me Baby” struts through playful grunts and assertive accents. “Spartacus” arcs from a hushed melody into broad dynamic rises, with gentle triangle taps. “Felicidade” quickens through buoyant syncopation. “Since I Fell for You” settles into blues-bent phrasing.

A1. “The ‘In’ Crowd” (5:50)
A2. “Since I Fell for You” (4:06)
A3. “Tennessee Waltz” (5:02)
A4. “You Been Talkin’ ’Bout Me Baby” (3:01)

B1. “Spartacus” (7:17)
B2. “Felicidade” (3:29)
B3. “Come Sunday” (4:50)

Edwards produced the May 13-15, 1965 performances at the Bohemian Caverns, where engineer Ed Green recorded the trio in the club room. Don Bronstein designed and photographed the cover, using a close portrait of Lewis beside block lettering that foregrounds the title song.

Argo issued “The ‘In’ Crowd” as a 1965 single, which reached No. 5 on the Billboard Hot 100 and No. 2 on the R&B chart. The recording won the Grammy Award for Best Jazz Performance by a Small Group, and the album reached No. 1 on the R&B albums chart and No. 2 on the Billboard 200.

Lewis returned to the Lighthouse Café in Hermosa Beach during October 1965 and recorded “Hang On Sloopy” with Young and Holt. The single reached No. 11 on the Hot 100 and No. 6 on the R&B chart. Young and Holt left during 1966 to form Young-Holt Unlimited, and Lewis recruited bassist Cleveland Eaton and drummer Maurice White for the next trio.

Wade in the Water

Ramsey Lewis released Wade in the Water in 1966 on Cadet.

Lewis introduces Eaton and White across a program of soul, pop, and traditional material. Arranger Richard Evans enlarges the trio with brass and reed parts, while trombonist John Avant appears among the additional players.

“Wade in the Water” strides through firm syncopation and emphatic brass. “Uptight” churns around repeated vamps and compact ensemble replies. “Day Tripper” circles its theme with rim-shot accents and a Latin-leaning sway.

A1. “Wade in the Water” (3:46)
A2. “Ain’t That Peculiar” (2:48)
A3. “Tobacco Road” (4:34)
A4. “Money in the Pocket” (2:41)
A5. “Message to Michael” (3:09)

B1. “Uptight (Everything’s Alright)” (5:44)
B2. “Hold It Right There” (2:24)
B3. “Day Tripper” (3:07)
B4. “Mi Compasión” (3:06)
B5. “Hurt So Bad” (3:04)

Edwards produced the May 26-June 29, 1966 sessions at Universal Recording in Chicago, where Bob Kidder and Bruce Swedien handled the engineering. Bronstein photographed Lewis for a cover that announces the new Cadet imprint while retaining the visual approach of the preceding Argo albums.

Cadet issued “Wade in the Water” as a 1966 single, which reached No. 19 on the Hot 100 and No. 3 on the R&B chart. “Hold It Right There” earned Lewis another Grammy Award for Best Jazz Performance by a Small Group. The album reached No. 2 on the R&B albums chart.

Goin’ Latin

Ramsey Lewis released Goin’ Latin in February 1967 on Cadet.

Lewis, Eaton, and White apply the trio format to Latin-derived repertory, recent soul songs, and film themes. Evans arranged the sessions and provided the originals “Blue Bongo” and “Spanish Grease.”

“Hey, Mrs. Jones” barrels through an I–IV–V blues cycle, dense congas, and a hard horn vamp. “Function at the Junction” charges from a brassy entrance into church-derived piano figures. “Down by the Riverside” careens through joyous syncopation and packed ensemble replies. “Lara’s Theme” sways beneath Latin-inflected strings.

“I’ll Wait for You” glides through a soft bossa pattern. “Spanish Grease” coils around clave, montuno figures, and blues turns. “Cast Your Fate to the Wind” starts with squared dance accents before layering its lyrical theme across a midtempo pattern.

A1. “Hey, Mrs. Jones” (4:01)
A2. “Summer Samba” (3:09)
A3. “One, Two, Three” (3:26)
A4. “Free Again” (2:56)
A5. “Down by the Riverside” (3:43)
A6. “Blue Bongo” (4:19)

B1. “I’ll Wait for You” (3:17)
B2. “Function at the Junction” (3:04)
B3. “Spanish Grease” (3:11)
B4. “Lara’s Theme (Somewhere, My Love)” (2:36)
B5. “Cast Your Fate to the Wind” (3:12)

Edwards produced the December 21-23, 1966 sessions, with Brian Christian engineering Evans’s expanded arrangements. Tom Gorman designed the cover around Don Bronstein’s portrait of Lewis beneath a hand-lettered title.

Cadet issued “One, Two, Three” as a single, which reached No. 67 on the Hot 100. Goin’ Latin reached No. 2 on the Billboard jazz chart and No. 16 on the R&B albums chart.

The Movie Album

Ramsey Lewis released The Movie Album in June 1967 on Cadet.

Lewis, Eaton, and White interpret eleven film themes and screen songs. Evans arranged and conducted an orchestra and vocal group around the trio, with selections drawn from The Pawnbroker, The Umbrellas of Cherbourg, The Sandpiper, and other recent productions.

A1. “Theme from The Pawnbroker” (2:25)
A2. “Saturday Night After the Movies” (2:55)
A3. “The Gentle Rain” (3:28)
A4. “China Gate” (2:43)
A5. “Emily” (2:57)
A6. “Goin’ Hollywood” (3:30)

B1. “From Russia with Love” (2:39)
B2. “The Shadow of Your Smile” (3:52)
B3. “Girl Talk” (3:25)
B4. “Matchmaker, Matchmaker” (3:01)
B5. “Return to Paradise” (2:56)

Edwards produced the July 1966 sessions at Universal Recording in Chicago. Evans’s orchestral and choral arrangements define the album’s screen-music concept and separate it from the trio-led Goin’ Latin sessions recorded later that year.

The Movie Album reached No. 5 on the Billboard jazz chart and No. 124 on the Billboard 200.

Up Pops Ramsey Lewis

Ramsey Lewis released Up Pops Ramsey Lewis in February 1968 on Cadet.

Lewis, Eaton, and White interpret current soul and pop songs beside two Evans originals. Evans arranged and conducted the additional players, while “Bear Mash” extends the collaboration between the pianist and arranger.

“Soul Man” drives through hard piano phrases. “Respect” strikes with firm ensemble accents. “I Was Made to Love Her” turns through a compact, hard-edged treatment. “Jade East” glides through sitar figures and chiming accents.

A1. “Soul Man” (2:50)
A2. “The Look of Love” (4:22)
A3. “Respect” (3:00)
A4. “Goin’ Out of My Head” (3:42)
A5. “Party Time” (3:40)

B1. “Bear Mash” (3:00)
B2. “I Was Made to Love Her” (3:15)
B3. “Alfie” (2:45)
B4. “Why Am I Treated So Bad” (2:50)
B5. “Jade East” (3:25)

Evans produced the July and October 1967 sessions at Ter Mar Studios and directed the accompanying orchestra. The assignment shifted him from arranger on Lewis’s previous Cadet albums to full production control.

Cadet issued “Soul Man” as a single, which reached No. 49 on the Hot 100. Up Pops Ramsey Lewis reached No. 7 on the jazz chart, No. 25 on the R&B albums chart, and No. 52 on the Billboard 200.

Maiden Voyage

Ramsey Lewis released Maiden Voyage in July 1968 on Cadet.

Lewis, Eaton, and White combine current pop material with compositions by Charles Stepney, Evans, and members of the trio. Stepney and Eaton share the arrangement work, and the program includes the extended Stepney pieces “Les Fleur” and “Eternal Journey.”

“Maiden Voyage” floats through grounded piano figures, broad strings, and wordless ensemble replies.

A1. “Maiden Voyage” (4:45)
A2. “Mighty Quinn” (3:10)
A3. “Sweet Rain” (3:00)
A4. “Lady Madonna” (2:25)
A5. “Do You Know the Way to San Jose” (3:40)
A6. “Ode” (4:40)

B1. “Les Fleur” (4:35)
B2. “Since You’ve Been Gone” (2:55)
B3. “In the Heat of the Night” (3:47)
B4. “Afro-Boogaloo Twist” (2:30)
B5. “Only When I’m Dreaming” (3:55)
B6. “Eternal Journey” (6:26)

Evans produced the April 1968 sessions at Universal Recording. Stepney’s expanded role introduced the arranger who would direct Lewis’s next Cadet project.

Maiden Voyage reached No. 3 on the Billboard jazz chart, No. 14 on the R&B albums chart, and No. 55 on the Billboard 200.

Mother Nature’s Son

Ramsey Lewis released Mother Nature’s Son in December 1968 on Cadet.

Lewis and Stepney recast ten Lennon-McCartney songs from the 1968 Beatles album The Beatles. Lewis plays piano and electric keyboards with Eaton and White; Stepney adds organ and Moog synthesizer and conducts the orchestral players.

“Mother Nature’s Son” unfurls through broad strings and symphonic swells. “Julia” drifts in cream-smooth phrases before rising into wider orchestral space. “Back in the U.S.S.R.” struts on hard percussion and bright piano licks. “Dear Prudence” billows into grand passages.

“Cry Baby Cry” swells through broad sectional rises. “Good Night” settles into a rich orchestral arrangement. “Everybody’s Got Something to Hide Except Me and My Monkey” scorches across hard syncopation. “Blackbird” stretches its contoured theme through spacious extrapolation.

A1. “Mother Nature’s Son” (4:55)
A2. “Rocky Raccoon” (2:39)
A3. “Julia” (4:20)
A4. “Back in the U.S.S.R.” (3:15)
A5. “Dear Prudence” (4:55)

B1. “Cry Baby Cry” (3:50)
B2. “Good Night” (5:54)
B3. “Everybody’s Got Something to Hide Except Me and My Monkey” (3:13)
B4. “Sexy Sadie” (2:44)
B5. “Blackbird” (4:31)

Lewis recorded Mother Nature’s Son during December 1968 at Ter Mar Studios with Stepney and engineer Ron Malo. Jerry Griffith designed a cover that places Lewis at a grand piano in a staged garden, where Ray Komorski photographed him among foliage and rabbits.

Cadet issued “Julia” as a single, which reached No. 76 on the Hot 100 and No. 37 on the R&B chart. Mother Nature’s Son reached No. 3 on the jazz chart, No. 10 on the R&B albums chart, and No. 156 on the Billboard 200.

Another Voyage

Ramsey Lewis released Another Voyage in August 1969 on Cadet.

Lewis retains Eaton and White across a program of originals and current songs. Guitarist Phil Upchurch joins selected tracks, while White introduces kalimba on his composition “Uhuru” and Eaton contributes “Bold and Black.”

“If You’ve Got It, Flaunt It” pounds through kinetic accents. “How Beautiful Is Spring” unfurls in romantic lines with classical-grounded piano phrasing. “My Cherie Amour” saunters at midtempo. “Do What You Wanna” pumps through compact repeated figures. “Bold and Black” drives beneath high guitar tones and chunky rhythm. “Opus Number 5” glides through sumptuous harmonic turns. “Uhuru” ripples around kalimba figures.

A1. “If You’ve Got It, Flaunt It, Pt. 1” (2:49)
A2. “Wanderin’ Rose” (4:55)
A3. “How Beautiful Is Spring” (4:33)
A4. “Do What You Wanna” (2:41)
A5. “My Cherie Amour” (3:49)

B1. “Bold and Black” (4:07)
B2. “Opus Number 5” (5:38)
B3. “Uhuru” (2:20)
B4. “Cecile” (3:04)
B5. “If You’ve Got It, Flaunt It, Pt. 2” (2:18)

Lewis produced the May 12-14, 1969 sessions at Ter Mar Studios, where engineer Stu Black recorded Upchurch beside the trio. The dates yielded White’s first released kalimba performance on “Uhuru,” an instrument he later carried into Earth, Wind & Fire.

Another Voyage reached No. 5 on the jazz chart, No. 34 on the R&B albums chart, and No. 139 on the Billboard 200.

The Piano Player

Ramsey Lewis released The Piano Player in March 1970 on Cadet.

Lewis works with Stepney and Evans on an expanded studio set. Eaton and White remain in the trio, while strings and arranged ensemble parts surround songs associated with Fred Neil, Jimmy Webb, Laura Nyro, and the Beatles.

A1. “The Distant Dreamer”
A2. “A Rainy Day in Centerville”
A3. “Everybody’s Talkin’”
A4. “Didn’t We”
A5. “Whenever, Wherever”

B1. “Close Your Eyes and Remember”
B2. “You’ve Made Me So Very Happy”
B3. “The Love I Feel for You”
B4. “Time and Space”
B5. “Golden Slumbers”
B6. “Do I Love Her”

Lewis recorded The Piano Player during November 1969 at Ter Mar Studios. Stepney and Evans shared production with Lewis and divided the arrangement work across the orchestral program.

The Piano Player reached No. 9 on the Billboard jazz chart and No. 157 on the Billboard 200.

White left the trio after the 1969 sessions and concentrated on the group that became Earth, Wind & Fire. Lewis recruited drummer Morris Jennings, who joined Eaton for the next studio album.

Back to the Roots

Ramsey Lewis released Back to the Roots in 1971 on Cadet.

Lewis introduces Jennings beside Eaton and adds percussionist Henry Gibson. Harmonica player Bobby Rush and organist Stepney appear on “Up in Yonder,” while the program combines recent pop songs with Lewis originals and the standard “Since I Fell for You.”

A1. “Candida” (2:59)
A2. “We’ve Only Just Begun” (3:58)
A3. “Back to the Roots” (3:02)
A4. “Love Now On” (5:07)
A5. “The Fool on the Hill” (6:05)

B1. “Since I Fell for You” (3:03)
B2. “Up in Yonder” (4:37)
B3. “Crescent Noon” (4:33)
B4. “He Ain’t Heavy, He’s My Brother” (7:02)

Lewis reunited with Edwards to produce the 1971 sessions, returning to the producer behind The In Crowd and Wade in the Water. Their collaboration places the new Eaton-Jennings trio inside the established Cadet studio sequence.

Back to the Roots reached No. 3 on the jazz chart, No. 25 on the R&B albums chart, and No. 163 on the Billboard 200.

Upendo Ni Pamoja

Ramsey Lewis released Upendo Ni Pamoja in 1972 on Columbia.

Lewis begins his Columbia sequence with Eaton and Jennings. The trio extends Joaquín Rodrigo’s “Concierto de Aranjuez” and the three-part “Trilogy” across longer arrangements, while the remaining selections include songs associated with War, The Stylistics, Percy Mayfield, Michael Jackson, and Ocean.

“Slipping into Darkness” creeps through subdued Rhodes figures. “People Make the World Go Round” glides under gentle phrasing. “Got to Be There” opens space around close trio interplay. “Upendo Ni Pamoja” flows through smooth, extended passages.

A1. “Slipping into Darkness” (6:15)
A2. “People Make the World Go Round” (4:51)
A3. “Please Send Me Someone to Love” (4:33)
A4. “Got to Be There” (3:03)
A5. “Concierto de Aranjuez” (8:55)

B1. “Upendo Ni Pamoja (Love Is Together)” (7:22)
B2. “Trilogy: Morning/The Nite Before/Eternal Peace” (8:46)
B3. “Put Your Hand in the Hand” (3:52)
B4. “Collage” (6:32)

Lewis produced the album for Columbia after closing his sixteen-year Argo-Cadet association. The label change gave the Eaton-Jennings trio room for the longer performances that occupy most of the LP.

Columbia issued “Slipping into Darkness” as a single, which reached No. 44 on the R&B chart. Upendo Ni Pamoja reached No. 1 on the jazz chart, No. 9 on the R&B albums chart, and No. 79 on the Billboard 200.

Funky Serenity

Ramsey Lewis released Funky Serenity in January 1973 on Columbia.

Eaton and Jennings continue as the principal rhythm section. Violinist and percussionist Ed Green joins the trio, while Lewis divides the program between recent songs and extended originals such as “Dreams.”

“(If Loving You Is Wrong) I Don’t Want to Be Right” simmers through nocturnal blues phrases. “What It Is!” pulses beneath church-derived piano figures. “My Love for You” drifts through dreamy midtempo rises. “Nights in White Satin” darkens around violin dissonance and a reduced tempo. “Serene Funk” pounds through slow-burning electric-piano figures. “Dreams” coils from eerie suspension into a harder rhythmic vamp.

A1. “Kufanya Mapenzi” (5:17)
A2. “(If Loving You Is Wrong) I Don’t Want to Be Right” (5:24)
A3. “What It Is!” (2:41)
A4. “My Love for You” (5:14)
A5. “Nights in White Satin” (5:36)

B1. “Serene Funk” (4:11)
B2. “Dreams” (9:39)
B3. “Betcha by Golly, Wow” (5:09)
B4. “Where Is the Love” (4:56)

Lewis produced the October 1972 sessions, his second Columbia project with Eaton and Jennings. Green’s violin and percussion widen the trio without establishing a permanent fourth member.

Columbia issued “Kufanya Mapenzi (Making Love)” as a single, which reached No. 93 on the Hot 100. Funky Serenity reached No. 4 on the jazz chart and No. 117 on the Billboard 200.

Ramsey Lewis’ Newly Recorded All-Time Non-Stop Golden Hits

Ramsey Lewis released Ramsey Lewis’ Newly Recorded All-Time Non-Stop Golden Hits in 1973 on Columbia.

Lewis, Eaton, and Jennings revisit nine titles from the earlier catalog. The new studio performances include “The ‘In’ Crowd,” “Wade in the Water,” “Hang On Sloopy,” and the recent Columbia single “Slipping into Darkness.”

“Hang On Sloopy” bounces through joyous Caribbean-tinged accents. “Hi-Heel Sneakers” stamps across hard syncopation. “Wade in the Water” strides above a forceful rhythm section and church-derived piano phrases. “Slipping into Darkness” churns around electric figures. “The ‘In’ Crowd” hammers through harpsichord flourishes and a hard-driving refrain.

A1. “Hang On Sloopy” (2:13)
A2. “Blues for the Night Owl” (4:17)
A3. “Hi-Heel Sneakers” (2:41)
A4. “Carmen” (6:51)
A5. “Song of Delilah” (4:46)

B1. “Wade in the Water” (2:46)
B2. “Slipping into Darkness” (6:15)
B3. “Something You Got” (3:00)
B4. “The ‘In’ Crowd” (2:37)

Lewis produced the remakes as a studio project, not a compilation of Argo and Cadet masters. The Eaton-Jennings trio replaces the Young-Holt lineup on repertory first recorded for Argo and Cadet.

The album entered the Billboard 200 and R&B albums chart.

Solar Wind

Ramsey Lewis released Solar Wind in 1974 on Columbia.

Guitarist Steve Cropper shares production with Lewis and Eaton. Jennings remains on drums, while synthesizer player James Herson and percussionist Calvin Barnes join selected tracks. Cropper appears on four selections, including the title piece and “Loves Me Like a Rock.”

“Sweet and Tender You” bounds through an uptempo Memphis-cut pattern. “Hummingbird” glides across an understated theme. “Solar Wind” stamps beneath Motown-derived accents. “Jamaican Marketplace” locks into close trio interplay near midpoint. “The Everywhere Calypso” circles through compact Caribbean figures. “Love for a Day” cruises through a tightly arranged sequence.

A1. “Sweet and Tender You” (5:47)
A2. “Hummingbird” (4:52)
A3. “Solar Wind” (3:15)
A4. “Jamaican Marketplace” (7:16)
A5. “The Everywhere Calypso” (2:59)

B1. “Summer Breeze” (4:51)
B2. “Loves Me Like a Rock” (4:30)
B3. “Come Down in Time” (4:53)
B4. “Love for a Day” (4:56)

Lewis recorded “Hummingbird,” “Loves Me Like a Rock,” and “Love for a Day” at Cropper’s Trans Maximus studio in Memphis and completed the balance at CBS Studios in Chicago. Cropper’s production links the Memphis dates to his work after the breakup of Booker T. & the M.G.’s, while Lewis and Eaton directed the Chicago material.

Solar Wind reached No. 29 on the Billboard jazz chart.

Sun Goddess

Ramsey Lewis released Sun Goddess on October 2, 1974, on Columbia.

Lewis reunites with White, who brings several Earth, Wind & Fire musicians into the sessions. Bassist Verdine White, singer-percussionist Philip Bailey, reedist Don Myrick, and guitarist Johnny Graham join Lewis, Eaton, Jennings, and Stepney. Evans arranged the horns and strings.

“Sun Goddess” glows above metronomic bass, thick guitar strums, congas, and Brazilian-tinged sung syllables. “Living for the City” widens through strings and emphatic horns. “Love Song” cruises at midtempo. “Jungle Strut” stomps across firm syncopation. “Hot Dawgit” chants through compact blues figures and studio effects.

A1. “Sun Goddess” (8:29)
A2. “Living for the City” (5:20)
A3. “Love Song” (5:54)

B1. “Jungle Strut” (4:41)
B2. “Hot Dawgit” (3:02)
B3. “Tambura” (2:55)
B4. “Gemini Rising” (5:52)

Lewis recorded Sun Goddess during 1973 and 1974 with White and Columbia producer Teo Macero; engineer Dave Antler handled the studio work. Photographer Herb Breuer built the sleeve image around model Susan Leigh Scott, whose profile appears against the solar disc devised for the title.

Columbia issued “Sun Goddess” as a single (b/w “Jungle Strut”), which reached No. 44 on the Hot 100 and No. 20 on the R&B chart. “Hot Dawgit” followed and reached No. 50 on the Hot 100.

Sun Goddess topped the jazz and R&B albums charts, reached No. 12 on the Billboard 200, and received an RIAA gold certification.

Don’t It Feel Good

Ramsey Lewis released Don’t It Feel Good on September 1, 1975, on Columbia.

Lewis replaces Eaton with bassist Tiaz Palmer while retaining Jennings. Guitarist Byron Gregory, percussionist Derf Reklaw, and singers Brenda Mitchell-Stewart and Morris Stewart join the principal studio group. Stepney shares production and adds synthesizer.

“Don’t It Feel Good” drives through polished Fender Rhodes phrases and answering singers. “Juaacklyn” murmurs beneath distant echoes and dreamlike production. “That’s the Way of the World” glides through a firm electric arrangement. “What’s the Name of This Funk (Spider Man)” loops around tightly repeated figures.

A1. “Don’t It Feel Good” (5:23)
A2. “Juaacklyn” (5:03)
A3. “Spider Man” (3:20)
A4. “Something About You” (4:04)

B1. “That’s the Way of the World” (5:44)
B2. “Fish Bite” (3:50)
B3. “I Dig You” (5:35)
B4. “Can’t Function” (3:26)

Lewis recorded the album with Stepney and engineer Paul Serrano, a Chicago soundman whose period work included Earth, Wind & Fire and the Emotions. Their sessions continued the Lewis-Stepney partnership after the arranger’s intervening production work for Cadet and Chess.

Columbia issued “What’s the Name of This Funk (Spider Man)” as a single, which reached No. 69 on the Hot 100 and No. 6 on the dance chart. The title song followed and reached No. 99 on the R&B chart.

Don’t It Feel Good reached No. 3 on the jazz chart, No. 5 on the R&B albums chart, and No. 46 on the Billboard 200.

Salongo

Ramsey Lewis released Salongo in 1976 on Columbia.

Lewis works with Stepney and White across a seven-track studio album. Reklaw remains from the prior group, while keyboardist Jimmy Bryant, guitarist Gregory, bassist Ron Harris, and drummer Steve Cobb form the principal ensemble. Drummer Ndugu Chancler appears on “Slick,” and saxophonist Ernie Watts joins “Brazilica.”

“Slick” barrels through a propulsive Latin-derived pattern and brass punctuation. “Aufu Oodu” surges beneath African-tinged accents and intricate horn charts. “Rubato” unfurls as a brief orchestral interlude. “Salongo” coils around a firm bass figure before a breakdown introduces guitar and flute. “Brazilica” races across insistent samba accents and a saxophone solo. “Seventh Fold” broods through a compulsive pattern and dramatic orchestration.

A1. “Slick” (6:22)
A2. “Aufu Oodu” (4:51)
A3. “Rubato” (0:42)
A4. “Salongo” (4:42)

B1. “Brazilica” (7:16)
B2. “Nicole” (3:49)
B3. “Seventh Fold” (7:54)

Lewis recorded Salongo during 1975 and 1976 at Wally Heider Recording and Burbank Studios in California. Stepney and White divided the production work shortly before Stepney’s death in May 1976. Columbia art director John Berg developed the sleeve around a painted close-up of Lewis that turns the pianist’s face into the principal graphic.

Columbia issued “Brazilica” as a single, which reached No. 88 on the R&B chart. Salongo reached No. 7 on the jazz chart, No. 17 on the R&B albums chart, and No. 77 on the Billboard 200.

Love Notes

Ramsey Lewis released Love Notes in 1977 on Columbia.

Producer-arranger Bert DeCoteaux joins Lewis for a seven-track album. Stevie Wonder wrote and arranged “Spring High” and the title piece, while Lewis wrote the remaining original material apart from “Evergreen,” the theme from A Star Is Born.

“Spring High” ascends through luminous electric figures. “Love Notes” glides across spacious synthesizer passages. “Shining” cruises through a direct rhythmic arrangement. “The Messenger” surges through progressive turns and rock-derived guitar. “Stash Dash” drives across firm accents.

A1. “Spring High” (4:17)
A2. “Love Theme from A Star Is Born (Evergreen)” (4:29)
A3. “Shining” (4:36)
A4. “Love Notes” (6:17)

B1. “Chili Today, Hot Tamale” (5:13)
B2. “The Messenger” (5:17)
B3. “Stash Dash” (4:56)

Lewis recorded the album during 1976 and 1977 with DeCoteaux, whose string and horn arrangements had shaped contemporaneous sessions by Sister Sledge and Marlena Shaw. Berg designed the sleeve as a fold of ruled paper bearing handwritten notation; the package received a Grammy nomination.

Columbia issued “Spring High” as a single, which reached No. 85 on the R&B chart. Love Notes reached No. 7 on the jazz chart, No. 31 on the R&B albums chart, and No. 79 on the Billboard 200.

Tequila Mockingbird

Ramsey Lewis released Tequila Mockingbird in 1977 on Columbia.

Larry Dunn produces “Tequila Mockingbird,” “Skippin’,” and “That Ole Bach Magic,” while DeCoteaux handles the remaining tracks. Lewis plays acoustic and electric keyboards with a rotating studio cast that includes Dunn and bassist Verdine White.

“Tequila Mockingbird” springs through ornate keyboards and a soprano-saxophone line. “Wandering Rose” sighs beneath layered electric-piano phrases. “Skippin’” skips across an uptempo Brazilian-tinged pattern as congas, guitar, Moog, and woodwind replies trade entries. “Intimacy” layers melancholy turns around emotionally inflected phrases. “That Ole Bach Magic” dances through playful orchestration.

A1. “Tequila Mockingbird”
A2. “Wandering Rose”
A3. “Skippin’”
A4. “My Angel’s Smile”

B1. “Camino el Bueno”
B2. “Caring for You”
B3. “Intimacy”
B4. “That Ole Bach Magic”

Lewis divided the sessions among Burbank Studios, Sunset Sound, and Wally Heider Recording in California. Dunn directed the three designated tracks after his keyboard work with Earth, Wind & Fire, while DeCoteaux continued the production sequence begun on Love Notes. Berg devised the punning title and built the cover around a bird figure and agave imagery.

Columbia issued “Skippin’” in November 1977. The title piece followed during February 1978. Tequila Mockingbird reached No. 3 on the jazz chart and No. 111 on the Billboard 200.

Legacy

Ramsey Lewis released Legacy in 1978 on Columbia.

Lewis opens the album with a side-long adaptation of Johann Sebastian Bach’s Toccata, Adagio and Fugue in C major. Producer-arranger James L. Mack directs the orchestral and ensemble material, while bassists Ron Harris and Bernard Reed, drummer Keith Howard, guitarist Gregory, percussionist Reklaw, and synthesizer player Terry Fryer support Lewis across the remaining songs.

“Legacy” unfolds through toccata, adagio, and fugue sections as gospel-derived piano solos alternate with cinematic interludes. “All the Way Live” struts across staccato figures and dense orchestration. “I Love to Please You” glides through gentle passages. “Well, Well, Well!” breaks between direct polyrhythms and disco accents. “Moogin’ On” races through upbeat Latin-derived turns and Moog phrases. “Don’t Look Back” pivots between orchestral swells and taut syncopation.

A1. “Legacy: Toccata/Adagio/Fugue” (22:31)

B1. “All the Way Live” (4:27)
B2. “I Love to Please You” (3:49)
B3. “Well, Well, Well!” (3:32)
B4. “Moogin’ On” (3:22)
B5. “Don’t Look Back” (4:40)

Lewis recorded Legacy at Universal Recording and P.S. Recording Studios in Chicago, where engineer Stu Walder handled Mack’s orchestral production. Mack and Byron Olson arranged the side-long Bach adaptation and the shorter ensemble pieces.

Legacy reached No. 10 on the Billboard jazz chart and No. 149 on the Billboard 200.

Routes

Ramsey Lewis released Routes in 1980 on Columbia.

Larry Dunn and Allen Toussaint divide production across a large studio ensemble. Guitarists Al McKay, Leo Nocentelli, and Roland Bautista appear beside bassists David Barard, Keni Burke, and Byron Miller. Drummers James Gadson, Ndugu Chancler, and Herman Ernest form the largest role group.

“Whisper Zone” whispers through spectral ensemble harmonies and Fender Rhodes phrases. “High Point” rises as acoustic piano meets Brazilian-inspired percussion and a broad ensemble. “Caribbean Blue” sways beneath midtempo horns. “Colors in Space” climbs through bass-led figures.

A1. “Whisper Zone” (3:00)
A2. “High Point” (3:48)
A3. “Tondelayo” (4:52)
A4. “Caribbean Blue” (4:14)
A5. “Looking Glass” (3:33)

B1. “Come Back Jack” (3:36)
B2. “Colors in Space” (2:57)
B3. “Crystals ’N Sequence” (2:39)
B4. “You Are the Reason” (4:56)
B5. “Hell on Wheels” (4:08)

Dunn directed the Los Angeles personnel associated with the Earth, Wind & Fire circle, while Toussaint brought New Orleans players into the complementary sessions. Lewis remains the principal keyboardist across both studio casts.

Routes reached No. 7 on the Billboard jazz chart, No. 51 on the R&B albums chart, and No. 173 on the Billboard 200.

Three Piece Suite

Ramsey Lewis released Three Piece Suite on April 1, 1981, on Columbia.

Arranger-producer Tom Tom 84 directs the studio sessions, while Patrice Rushen arranged strings on four tracks. Lewis interprets songs associated with the Beatles and Michael Jackson beside material by Tom Tom 84 and the supporting songwriters.

“Lakeshore Cowboy” saunters through jaunty accents and background audience replies. “Romance Me” glides beneath restrained guitar riffs. “So Much More” lingers on elegant piano phrases. “She’s Out of My Life” sighs through an intimate, softly contoured treatment.

A1. “Lakeshore Cowboy” (3:31)
A2. “Romance Me” (4:50)
A3. “Will You” (4:40)
A4. “Love Is” (3:24)
A5. “Michelle” (3:08)

B1. “Don’t Ever Go Away” (3:50)
B2. “So Much More” (4:09)
B3. “Can’t Wait Till Summer” (3:32)
B4. “She’s Out of My Life” (4:30)
B5. “Expansions” (4:25)

Tom Tom 84 produced, arranged, and conducted the album after comparable Chicago assignments for the Chi-Lites and Earth, Wind & Fire. Berg designed the sleeve around Victor Skrebneski’s studio portrait, which divides Lewis’s image into the three panels named by the title.

Columbia issued “So Much More” as a single, which reached No. 93 on the R&B chart. Three Piece Suite reached No. 10 on the jazz chart, No. 52 on the R&B albums chart, and No. 152 on the Billboard 200.

Chance Encounter

Ramsey Lewis released Chance Encounter in 1982 on Columbia.

Lewis leads a compact studio group with bassist Bill Dickens, drummer Frankie Donaldson, and guitarist Byron Gregory, who also plays sitar. Bassist Aaron Mills and drummer Jennings appear on selected tracks, while percussionist T.C. Campbell completes the auxiliary group. The program includes songs associated with Marvin Gaye, Joe Cocker and Jennifer Warnes.

“What’s Going On” pumps through a bass-heavy arrangement. “Chance Encounter” glides through poised instrumental figures. “Up Where We Belong” lifts around a measured duet. “Intimacy” revisits its theme through spacious electric phrases. “I Can’t Wait” charges through energetic band interplay.

A1. “What’s Going On” (4:52)
A2. “Chance Encounter” (4:50)
A3. “Up Where We Belong” (3:59)
A4. “Intimacy” (5:09)

B1. “A Special Place” (4:35)
B2. “Paradise” (5:10)
B3. “I Can’t Wait” (3:54)
B4. “Just a Little Ditty” (3:04)

Lewis produced the sessions at CBS Studios in New York and P.S. Recording Studios in Chicago. P.S. Recording had anchored his Chicago work since Legacy, while the New York dates extended the Columbia studio sequence. Chance Encounter entered Billboard’s jazz albums chart.

Discography:

Ramsey Lewis and His Gentle-Men of Jazz – Volume 2 (1958 • Ramsey Lewis and His Gentle-Men of Jazz)
Ramsey Lewis and His Gentle-Men of Swing (1958 • Ramsey Lewis and His Gentle-Men of Swing)
An Hour With the Ramsey Lewis Trio (1959 • The Ramsey Lewis Trio)
Down to Earth (1959 • Ramsey Lewis Trio)
In Chicago (1960 • The Ramsey Lewis Trio)
Stretching Out (1960 • Ramsey Lewis Trio)
More Music From the Soil (1961 • The Ramsey Lewis Trio)
Never on Sunday (1961 • The Ramsey Lewis Trio)
Sound of Christmas (1961 • The Ramsey Lewis Trio)
Bossa Nova (1962 • Ramsey Lewis Trio)
Country Meets the Blues (1962 • The Ramsey Lewis Trio)
The Sound of Spring (1962 • Ramsey Lewis Trio)
Barefoot Sunday Blues (1963 • Ramsey Lewis Trio)
Pot Luck (1963 • The Ramsey Lewis Trio)
Here ‘t Is / I Love Paris (1963 • The Ramsey Lewis Trio)
Bach to the Blues (1964 • The Ramsey Lewis Trio)
More Sounds of Christmas (1964 • The Ramsey Lewis Trio)
The Ramsey Lewis Trio at the Bohemian Caverns (live, 1964 • The Ramsey Lewis Trio)
The In Crowd (live, 1965 • The Ramsey Lewis Trio )
You Better Believe Me (1965 • The Ramsey Lewis Trio + Jean DuShon)
Swingin’ (1966 • The Ramsey Lewis Trio)
Wade in the Water (1966)
Hang On Ramsey! (live, 1966 • The Ramsey Lewis Trio)
Dancing in the Street (live, 1967)
Goin’ Latin (1967)
The Movie Album (1967)
Maiden Voyage (1968)
Up Pops (1968)
Mother Nature’s Son (1969)
Another Voyage (1969 • The Ramsey Lewis Trio)
The Piano Player (1970)
Back to the Roots (1971)
Upendo ni pamoja (1972 • The Ramsey Lewis Trio)
Funky Serenity (1973)
Ramsey Lewis’ Newly Recorded, All-Time, Non-Stop Golden Hits (1973)
Solar Wind (1974)
Sun Goddess (1974)
Don’t It Feel Good (1975)
Salongo (1976)
Love Notes (1977)
Tequila Mockingbird (1977)
Legacy (1978)
Ramsey (1979)
Routes (1980)
Blues for the Night Owl (1981)
Three Piece Suite (1981)
Chance Encounter (1982)
Les fleurs (1983)
Reunion (1983 • Ramsey Lewis Trio)
The Two of Us (1984 • Ramsey Lewis & Nancy Wilson)
Fantasy (1985)
Keys to the City (1987)
Classic Encounter (1988)
Urban Renewal (1989)
We Meet Again (1989 • Ramsey Lewis & Billy Taylor)