Feb. 7, 2010

Grover Washington, Jr. – The Loss Hurts, but the Love Heals

When we at TSJR first discussed doing this short series, I was incredibly excited and driven. Once I began this first piece, a piece on the innovator, the cornerstone of what we know now as smooth jazz, I found that I was not only driven and excited to do it, but quite saddened by the thought that the grandchildren of our baby boomers will never really know this master saxophonist who owned smooth jazz in every way imaginable, Grover Washington Jr.  It was a sobering moment when I first sat down to this labor of love, and I wondered if I could do it justice by presenting a worthy, though perhaps poignant, dedication to the man who defined all of this for us…and I found that I must. I owe that to him and to all who ever experienced him. Most importantly, I owe it to those who never knew the magic of the man, “Mr. Magic."  His website offers a very concise statement that is so jarring and exact.  It simply states:

For Grover Washington Jr., making music was always more than just recording hits, touring and selling records. It was about personal choices within a personal journey, the continual evolution of an artist creating a sound, a niche, and a style that became undeniably his own. There will never be another like him and we miss him dearly.

That alone gave me pause, made me take a huge breath before proceeding as I was stopped dead in my tracks by my sorrow, as well as my happiness at having experienced Grover.
It is certainly no secret that Grover Washington Jr, was one of the most popular saxophonists of all time.  He was long the pacesetter in his field. His roots were in R&B and soul-jazz organ combos, but he also fared very well on the infrequent occasions when he played straight-ahead jazz. A highly influential player, Grover pushed himself with the spontaneity and risk-taking of a masterful jazz musician.

Grover Washington Jr.'s father also played saxophone and was his first influence. The younger son started playing music when he was ten, and, within two years, was working in clubs. He picked up experience touring with the Four Clefs from 1959-1963 and freelancing during the following two years, before spending a couple years in the Army. He moved to Philadelphia in 1967, becoming closely identified with the city from then on, and worked with several organists, including Charles Earland and Johnny Hammond Smith, recording as a sideman for the Prestige label. His biggest break occurred in 1971, when Hank Crawford could not make it to a recording date for Creed Taylor's Kudu label; Washington was picked as his replacement, and the result was the album Inner City Blues, a big seller. From then on, he became a major name, particularly after recording his now signature albums, Mister Magic and Feels So Good in 1975 and, in 1980, Winelight. 

Grover usually stretched himself in concert, developing his own personal voices on soprano, tenor, alto, and even his infrequently-used baritone sax. He recorded as a leader for Kudu, Motown, Elektra, and Columbia Records and made notable guest appearances on dozens of records ranging from pop to straight-ahead jazz.

A string of acclaimed records brought Grover through the 1970s, which culminated in the signature piece for everything he would do from then on. It is often said that the 1980 release of Winelight brought forward the album that defined everything Grover represented. The album was smooth, fused with R&B and an easy listening feel. His love of basketball, especially for the Philadelphia 76ers, led him to dedicate his first track, "Let It Flow" to Julius Erving (“Dr. J”). The highlight of the album, and a main staple of radio airplay everywhere, was his great collaboration with soul artist Bill Withers, which resulted in "Just The Two of Us," a huge hit on radio during the spring and summer of '81, peaking at #2 on the Billboard Hot 100. It was also the final step away from Motown, landing him on Elektra Records and into a new era of jazz excellence. The album went platinum in 1981, and also won Grammy Awards in 1982 for Best R&B Song ("Just The Two of Us"), and Best Jazz Fusion Performance (Winelight). Winelight was also nominated for Record of the Year and Song of the Year.

In the post-Winelight era, Grover is credited for giving rise to a new batch of talent that would make its mark in the late 1980s and early 1990s. He is known for not only bringing Kenny G to the forefront but such smooth jazz artists as Walter Beasley, Steve Cole, Pamela Williams, Najee, and the late George Howard, as well. His song, "Mr. Magic," is noted as being influential on Go-go music starting in the mid-1970s.

Sadly, Grover left us on December 17, 1999, dying of a sudden heart attack while taping an appearance on CBS television's "The Saturday Early Show." He was 56. Never will the world get over that loss, but those who knew his music will forever recall the warmth, the sheer joy, and the heartbeat of smooth jazz that was Grover Washington Jr. --  Ronald Jackson