L.T.D. - Love to The World (1976)

MIZELL BROTHERS MONTH (APRIL 2026)

The Mizell-produced releases I usually enjoy are mostly jazzy instrumentals, but this album is soulful R&B leaning towards disco. Instrumentals are replaced by vocals, but when the vocals come from Jeffrey Osborne and his brother Billy, I can't complain. However, I can (and will) complain about the brevity of the album - 7 tracks, 33½ minutes. And the forgettable final track shouldn't even count in those numbers. Nevertheless, the stuff I like I really like, and that's a majority of the tracks. The Mizell touch is less pronounced on this album, but it's still there.

Press of the time:

• CashBox: "a fine representation of this jazz-funk group"
• Billboard: "Good example of ability to combine contemporary funk and general musical sophistication"

Album chart peaks:

• US Billboard 200: #52
• Billboard R&B: #7
• CashBox: #81

Tracks:

1. Love To The World (#91 pop, #27 R&B) - not much to the verse, but the simple chorus with soaring strings is glorious. And I certainly can't argue with the sentiment.
2. Time For Pleasure - featuring some tasty horn licks, this is the funkiest track on the album. Just the opposite of the previous tune, the syncopated verse is much better than the smoother chorus.
3. Love Ballad (#20 pop, #1 R&B) - The band's second biggest single and the best track on the album. The tune has often been covered (by Gary Bartz on another Mizell Brothers album, for example), but nobody completely owns it like Jeffrey Osborne.
4. Get Your It Together - I guess "it" is cleaner (safer?) than "shit" but they ain't foolin' nobody. This one reminds me of Crackin' in a good way.
5. Let The Music Keep Playing - another ballad, this one less successful. Obvious filler, they didn't even bother coming up with a complete set of lyrics.
6. The Word - straight-up disco so of course I dig it.
7. Love To The World Prayer - a slower rehash of the lead track with children's choir. I'm out.

If I owned this one on vinyl, side 1 would be getting the majority of playing time.

Personal Memory Associated with this CD: None

Donald Byrd - Street Lady (1974)

Note: the CD I listened to was the 1997 release in Blue Note's Rare Groove Series.

MIZELL BROTHERS MONTH (APRIL 2026)

The second album collaboration between Byrd and the Mizells. Yes, it's loaded with plenty of the same sort of smooth funk-lite music that meets at the intersection of jazz and R&B. From looking at the cover, one might expect a concept album about prostitution, but I'm just not hearing it. I think it was more of a marketing move made to capitalize on the trendy blaxploitation-film aesthetic of the time. If it was meant to convey a gritty-but-polished urban feel, I think they've done that. In any case, it's definitely Mizell music with the support of players such as Roger Glenn (flute), Chuck Rainey (bass), Harvey Mason (drums), and Freddie Perren (ARP synthesizer). Perren was a part of "The Corporation" at Motown Records along with Fonce Mizell. I'll admit that at times some of the grooves get unnecessarily repetitive and this is my least favorite of the albums Byrd did with Larry Mizell producing, but the tracks certainly fit in well with any Mizell Brothers playlist you might be putting together.

Reviews/ratings:

• Record World: "very strong"
• Billboard: "fine musical experience"
• DownBeat (★★): "depthless one-chord showcases, replete with monotony"
• The Penguin Guide to Jazz (5th ed., 2000): ★★½
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #33
• Billboard Jazz: #2
• Billboard R&B: #6
• Record World Jazz: #1

Tracks: 6 tracks, all written, arranged, and produced by Larry Mizell. My favorites are Sister Love and Woman Of The World.

Personal Memory Associated with this CD: None, but since this music is already putting me in "summer mode," I'm making my favorite baked bean recipe today. I'm in a good mood, so I'll share my recipe so you can take your next backyard grillfest up a notch:

DOC'S FAMOUS BRISKET BEANS

Ingredients:

• 28 oz can baked beans (I use Bush's Original)
• 8 oz smoked brisket, chopped or diced
• 1/3 cup BBQ sauce (I use Sweet Baby Ray's)
• 2.5 oz sweet onion, finely chopped
• 3 Tbsp brown sugar
• salt and pepper to taste (if your brisket has a peppery bark, you might not need any pepper)

Lightly sauté the onions in a skillet. Throw all ingredients in a slow cooker, cook on low for around 4 hours, stirring occasionally. Serves 4-6. Easily doubled (and should be often because the leftovers reheat beautifully). I suppose the recipe could be made substituting other smoked meats, so if you live in a part of the country that prefers BBQ pork and a mustard-based sauce, give it a try and please report back. Sweet mama my house smells fantastic.

Printable recipe card.

current view of the official CDP HQ slow cooker

Well, that certainly took me beyond the scope of this blog. As you were.

Previously revisited for the blog:
Stepping Into Tomorrow (1975)
Love Byrd (1981)
A New Perspective (1964)

Roger Glenn - Reachin' (1976)

EU import

MIZELL BROTHERS MONTH (APRIL 2026)

From the back CD insert: "Sought-after jazz funk rarity from reed-master Roger Glenn. Produced by the Mizell brothers and featuring Bill Summers and Paul Jackson from the Headhunters." I recognized Glenn's name from his work with Mongo Santamaria and Donald Byrd, but I had no idea he ever released an album as a leader until I started my Mizell Brothers deep-dive. Disco was all the rage in 1976 but this thing is a jazz-fusion/Latin-funk gem.

Glenn is a multi-instrumentalist specializing in woodwind and percussion instruments; on this album he focuses on flute and vibraphone. The music has a Latin flair, especially when compared to other Mizell Brothers albums. Great grooves are present, the bass lines are pumpin', and the Hohner Clavinet is making the funk funkier. There's an overall relaxing feeling like you're sitting on the porch, cool breeze blowing, cold drink in hand, and the sun is permanently setting. I'm not normally a fan of jazz flute, but I'll make an exception for Glenn and Bobbi Humphrey.

This 2010 CD reissue includes liner notes from Dean Rudland.

Press of the time:

• DownBeat (★★★½): "This pleasing, danceable product is hopefully only a first step."
• Walrus: "hot R&B fusion music which features near relentless rhythm"

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: The album didn’t have a clear hit single for commercial radio, but my top picks today are the appropriately titled Rio, and Kick (co-written by Sheila E.), and the title track. The final track, Rezo Chango, just doesn't fit in with the rest of the album and, not coincidently, is the least Mizell-sounding track here.

Personal Memory Associated with this CD: None

Donald Byrd - Stepping Into Tomorrow (1975)

Japanese import

MIZELL BROTHERS MONTH (APRIL 2026)

As the weather warms, I lately find myself drifting towards '70s jazz-funk albums such as Music Is My Sanctuary and the sort found on the Capitol Rare compilations. Then friend o' the blog Dirk Digglinator pointed out that many of those "summery" grooves I dig come from the writing and production of brothers Larry & Fonce Mizell who, in my vivid imagination, always wore sunglasses when seated at the studio's mixing console. And since we've already got high temperatures in the 90s here in San Antonio, let's get out the sunscreen and spin some Mizell Brothers discs while throwing some well-seasoned brisket in the smoker.

I don't know exactly what it is about this stuff that makes it summer music for me. Lots of tight, hypnotic, infectious, shimmering mid-tempo grooves featuring wah-wah pedals, silky keyboards, and basslines that refuse to sit still. Grooves are tight but never in a hurry. I can imagine I'm cutting through the morning fog into the sunshine as I drive my convertible along the coast. It all sounds the same yet it all sounds different. So what if DownBeat gave it a "tepid quasi-funk" label? We like what we like and judging by chart positions, I'm far from the only who enjoys these grooves.

There's not much playing from Byrd on this one; many tunes could just as easily been credited to saxophonist Gary Bartz. Then again, this album is all about feel, not blistering solos or virtuoso flexing. The occasional, wordless, high-flying whistle register vocals from Lorraine Kenner are impressive but often distracting. There I go nit-picking again. The vocals must not have bothered younger generations as the album became a sampling goldmine decades later, proving that sometimes a song’s true destiny is to be chopped up by DJs who weren’t even born when Byrd recorded the thing.

Reviews/ratings:

• Record World: "Byrd's best set yet"
• Billboard: "Producer Larry Mizell has himself in for additional points by contributing five tunes, so the LP really carries his imprimateur [sic]."
• DownBeat (no rating): "faceless tepid quasi-funk"
• The Virgin Encyclopedia of Jazz (1999): ★★★

Album chart peaks:

• US Billboard 200: #42
• Billboard Jazz: #2
• Billboard R&B: #7
• CashBox: #42
• Record World Jazz: #1

Tracks: Think Twice was released as a single and bubbled under the Hot 100 at #104. Shoulda charted higher but you already knew that. It's fantastic along with Makin' It and the mixed-meter Design A Nation. But really, you should just sit back and let this whole thing simmer as you catch some rays out back while minding the smoker. 😎

Personal Memory Associated with this CD: None, other than the summer vibes mentioned above.

Previously revisited for the blog:
Love Byrd (1981)
A New Perspective (1964)

Buena Vista Social Club Presents Ibrahim Ferrer (1999)

Around the turn of the century, I went through a brief "Cuban phase" during which I listened to a lot of Afro-Cuban music and became a wannabe cigar aficionado. Oddly, I didn't drink much rum at the time. Go figure. Anyway -  even though he then lived about 80 miles away, my high school friend Jim went through a similar phase along with me. I would travel to his place a few weekends a year where he had set up his back porch as a place to drink beer, smoke cigars, and listen to Afro-Cuban CDs. He dubbed it "Jaime's Cantina" and it was a great place to relax (my stressors around 1999 included grad school, teaching middle school, raising two sons ages 6 & 2, being webmaster for my church, and guess what? Everything turned out ok despite my worry.).

Admittedly, I haven't listened to much Afro-Cuban music since those days but I found this Ibrahim Ferrer CD among my father's belongings and it's got me grooving once again. No cigars this go round as they now make me nauseous for some reason (getting old is hell).

Ferrer was famous for his bolero vocals, but this disc has a variety of styles, including my personal favorite, son. The album was nominated for a Grammy in the category of Best Tropical Latin Album. Plus, after the release of this album, Ferrer - at the age of 72! - was named Best New Artist at the inaugural Latin Grammy Awards. And now I need to dig out my Buena Vista Social Club DVD and give that another watch this afternoon.

Press of the time:

• Billboard: "delightful solo debut"
• DownBeat (★★★★½): "his voice is as inspiring as his personality"

Album chart peaks:

• US Billboard 200: #137
• Billboard Top Latin: #2
• Billboard Tropical: #1

Tracks: It's all good, but if I had to pick my favorites today, they would be Bruca Maniguá, Guateque Campesino, Qué Bueno Baila Usted, and the dreamy Silencio.

Personal Memory Associated with this CD: I was honored to see Ferrer perform not long after this CD was released.

The Man From Snowy River (1982)

Soundtrack for an Australian film starring Kirk Douglas. Music composed, arranged, and conducted by Bruce Rowland. I don't think I've ever seen the show, but my high school buddy Scott somehow discovered the movie back in early '80s, loved the soundtrack, bought the album, and made us listen to it quite a bit. The soaring main theme is quite lovely and I'm 90% sure I played an arrangement of said theme with one of my junior high bands back when I made a living teaching in the public schools in the early 1990s. Scott's LP was also my introduction to the Varèse Sarabande label. I really wasn't looking for a copy of the soundtrack, but when you can buy a bit of nostalgia for 50¢ in a thrift store, you do so.

The soundtrack won prizes for Rowland in the category of best score from the Australian Film Institute as well as the Australasian Performing Right Association.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: 14 tracks, 34 minutes. As with many soundtracks, you get two or three themes and then variants of those themes in all sorts of instrumentation and tempi.

Personal Memory Associated with this CD: see above

Charlie Haden/Jan Garbarek/Egberto Gismonti – Magico (1980)

This one's not for me. By the end of the album, I was wondering to myself if my personal "ECM season" had passed and I should no longer look for ECM CDs in the used bins. But then I read the reviews that were less than favorable (save for the folks at Stereo Review) and now I'm thinking this one was simply a swing-and-a-miss. After all, nobody can bat 1.000. (Baseball analogies provided in honor of the opening of the 2026 MLB season.)

Reviews/ratings:

• Stereo Review: "ought to send you scrambling for the nearest record shop"
• Musician: "like gazing at a tree, knowing every leaf and branch is there for a reason, yet unable to trace the whole chain of consequence back to the trunk and the roots."
• High Fidelity: "Putting these three world-class jazzmen together was a great idea that somehow never ignited."
• CashBox: "There is nothing obvious about the music"
• DownBeat (★★½): "it is imbued with a studied hush and false intimacy that ultimately cloys and bores."
• The Penguin Guide to Jazz (5th ed., 2000):★★★
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:

Personal Memory Associated with this CD: None