BST 84373

Grant Green - Visions

Released - 1971

Recording and Session Information

Van Gelder Studio, Englewood Cliffs, NJ, May 21, 1971
Billy Wooten, vibes; Emmanuel Riggins, electric piano; Grant Green, guitar; Chuck Rainey, electric bass; Idris Muhammad, drums; Harold Caldwell, drums, percussion #8; Ray Armando, congas.

7922 tk.2 Cantaloupe Woman
7923 tk.6 Never Can Say Goodbye
7924 tk.11 Maybe Tomorrow
7925 tk.15 Mozart Symphony #40 In G Minor, K550, 1st Movement
7926 tk.22 We've Only Just Begun
7927 tk.24 Does Anybody Really Know What Time It Is?
7928 tk.25 Love On A Two Way Street
7929 tk.28 Blues For Abraham

Track Listing

Side One
Title	Author	Recording Date
Does Anybody Really Know What Time It Is?	Robert Lamm	May 21 1971
Maybe Tomorrow	Marilyn Bergman, Alan Bergman, Quincy Jones	May 21 1971
Mozart Symphony #40 in G Minor, K550, 1st Movement	Wolfgang Amadeus Mozart	May 21 1971
Love on a Two-Way Street	Bert Keyes, Sylvia Robinson	May 21 1971
Side Two
Cantaloupe Woman	Ben Dixon	May 21 1971
We've Only Just Begun	Roger Nichols, Paul Williams	May 21 1971
Never Can Say Goodbye	Clifton Davis	May 21 1971
Blues for Abraham	Eloise Riggins	May 21 1971

Liner Notes

It has been said that when the vibrations and settings are good during a recording session, the finished product tends to make an average performer sound good, a good performer great, and no telling how much it will do for one who already is considered great. In this newest excursion for guitarist Grant Green, whose qualifications place him in that elite category of great, he makes the most of such a setting and comes up with one hell of a good package in "Visions." Even Rudy Van Gelder, engineer extraordinaire, who has been involved in some way or other with most of Grant's recordings, pointed out that he had never heard Green play as well in any previous — everybody was on, feeling one another, and subsequently making sessions. And there is one simple reason it possible for the masses, jazz and pop fans alike, to capture that same feeling that went on in the studio. This happy spirit takes off on the opening cut, "Does Anybody Really Know What Time It Is." The tune, made famous by the jazz-rock group Chicago, takes on an even freer, more flowing mood. At the same time, it maintains a certain mellowness characteristic of Grant's playing. By the way, dig the man at the electric bass, Chuck Rainey, not only on this tune, but throughout the album. Grant changes directions and comes up with an incredibly beautiful, yet mellow original by Quincy Jones, "Maybe Tomorrow," which Q. did for the movie, "John and Mary." Grant's guitar seems to have a hypnotic effect on the listener; It's one of the more pretty things one might hear him play. And Wolfgang must be groovin' somewhere after listening to Grant's updated version of "Mozart Symphony #40 in G Minor." While Grant, Chuck Rainey, vibist Billy Wooten and electric pianist Emanuel Riggins lay the groundwork with the "straight" performance, the percussion section of Idris Muhammed, Harold Cardwell and Ray Armando prepare the heavily funked-up rhythm. This version could make it a favorite all over again. Right on, Wolfgang! Right on, Grant! "Love on a Two Way Street," "We've Only Just Begun" and "Never Can Say Goodbye" are top 40 hits which have been done by many artists. Grant has his interpretations of the selections as well, but all with a mellow approach which can be listened to not just by jazz and pop enthusiasts, but the middle-of-the-roaders, too. "Cantaloupe Woman" and "Blues for Abraham" close out the LR Or should we say, that ends the selections, for I know you will want to start the album over once it ends.