Grassella Oliphant - The Grass Roots / The Grass Is Greener album flac
|The Grass Roots|
|1||One For The Masses|
|The Grass Is Greener|
|11||Get Out Of My Life Woman|
|12||Ain't That Peculiar|
|14||Peaches Are Better Down The Road|
|17||The Latter Days|
Barcode and Other Identifiers
- Barcode: 090431765722
The Grass Is Greener is an album by Colosseum, released in January 1970. In contrast to other albums by Colosseum, The Grass Is Greener was released only in the United States and Canada, on the Dunhill label, distributed by ABC. It was conceived as a North American alternative to November 1969's Valentyne Suite, complete with a muted, blue-green variation of the aforementioned album's cover.
The Grassella Oliphant Quartette - The Grass Roots (Atlantic LP 1438). Harold Ousley, tenor sax; Bobby Hutcherson, vibes; Ray McKinney, bass; Grassella Oliphant, drums. NYC, January 19, 1965. Clark Terry, trumpet, flugelhorn, pocket trumpet Harold Ousley, tenor sax John Patton, organ; Grant Green, guitar; Major Holley, bass Grassella Oliphant, drums. Get Out Of My Life Woman.
Artist: Grassella Oliphant Album: The Grass Is Greener Genre: Soul-Jazz Label: Atlantic/WEA/Warner Released: 1965/2013 Quality: FLAC (image+. cue) Tracklist: Get Out of My Life Woman (Toussaint) - 2:45. Ain't That Peculiar (in-Rogers) - 2:53. Soul Woman (Patton-Green) - 5:19. Peaches Are Better Down the Road (Terry) - 5:50. The Yodel (Patton-Green) - 6:35. Cantaloupe Woman (Dixon) - 4:40. The Latter Days (Ousley) - 3:05.
Drummer Grassella Oliphant's The Grass Is Greener is as good as it is rare. One of many soulful organ jazz dates that have gained cult status among sample hungry hip-hop and acid jazz devotees, this 1967 Atlantic album is packed with great playing and solid grooves (besides recording only one other album as a leader, his 1965 debut The Grass Roots, Oliphant also appeared on dates by singer Gloria Lynne and organist Shirley Scott, among others). While these cuts are marked by a progressive, almost modal sound, much of the other material, which also features tenor saxophonist Harold Ousley and trumpeter Clark Terry, has a more down home and groove-heavy flavor; this is especially true on Terry's "Peaches Are Better Down the Road" and a cover of Allen Toussaint's classic bit of New Orleans soul, "Get. With guitarist Grant Green and B-3 master John Patton completing the classic organ combo setup, the trio particularly stretch out on fine numbers.
The Grass Roots, The Grass Is Greener. Grassella Oliphant (September 1, 1929 in Pittsburgh, Pennsylvania) is an American jazz drummer. Oliphant backed Ahmad Jamal in 1952 and Sarah Vaughan in the late 1950s, Other artist he worked with included Gloria Lynne and Shirley Scott. He released two soul jazz albums as a leader on Atlantic Records in the 1960s. The Grass Roots, released in 1965, saw Oliphant working with saxophonist Harold Ousley, vibraphonist Bobby Hutcherson, and bassist Ray McKinney.
Album: The Grass Is Greener. The Grass Is Greener: Best 2 songs. Grassella Oliphant Quartet - The Latter Days 03:03. Grassella Oliphant Quartet - Ain't That Peculiar 02:51. Album: The Grass Is Greener. Grassella Oliphant Quartet: best 2 tracks. Grassella Oliphant Quartet - Step Lightly The Grass Roots, 1965 04:36. Grassella Oliphant Quartet - Mood Indigo The Grass Roots, 1965 03:16. Artist: Grassella Oliphant Quartet.
Grassella Oliphant Quartet: Haitian Lady, One For The Masses, The Descendant и другие песни. The Grass Is Greener. Чтобы добавлять треки в плейлисты, нужно авторизоваться.
The Grass Roots pairs the only two recordings drummer Grassella Oliphant ever released as a leader. He was a solid sideman in the 1950s with Sarah Vaughan, and then later with singer Gloria Lynne and organist Shirley Scott. Both these titles were released on Atlantic. The first, The Grass Roots, features saxophonist Harold Ousley, Bobby Hutcherson on vibes, and bassist Ray McKinney. Oliphant's playing is delightfully understated, but his contrapuntal work with Hutcherson is literally startling. Ousley's playing should be noted for its fury and tenderness, depending on the tune. His use of restraint is tentative because it allows him to bust it wide open at all the right moments with a big fat reedy tone.