Tune In, Turn On (subtitled To the Hippest Commercials of the Sixties) is an album by Benny Golson featuring music from television advertisements recorded in 1967 and released on the Verve label.
Guitarist Eric Gale made his reputation as a session guitarist during the late 60's and 70's for a host of different artists, as well as being a key member of the jazz/funk group Stuff. As part of Sony's Contemporary Masters series, they've put two of Eric Gale's best solo albums together on one CD. "Gingeng Woman" released in 1977 and it's 1978 follow up "Multiplication" were both produced by Bob James and feature excellent support players like Steve Gadd, Ralph McDonald, Grover Washington, Jr., Anthony Jackson, and Richard Tee. Standout tracks from "Ginseng Woman" include "Red Ground", and his cover of Hall & Oates "Sara Smile". "Multiplication's" best cuts include his cover of Lee Ritenour's "Morning Glory" and the traditional "Sometimes I Feel Like A Motherless Child". His later work in the 80's and early 90's occasionally matched the peak he reached with these two albums. Sadly he passed away in 1994 and much of his solo output is out of print. But fortunately these two albums are available, and are most definitely worth checking out.
Good fusion, light jazz, and instrumental pop/R&B session from a talented guitarist who's made his living by carefully editing his solos and plugging into funk dates. Gale doesn't cut loose, but shows enough to hold interest, while the arrangements and production are geared for Urban and Adult Contemporary outlets and audiences.
The late famed session jazz guitarist Eric Gale (not to be confused with Eric Gales) may not be a household name on the jazz scene, but in a long career, he was highly sought after as a top session player. He appeared on over 500 albums, and recorded with artists that included Billy Joel, Quincy Jones, Van Morrison, Lena Horne, Gábor Szabó, Chuck Rainey, Grover Washington Jr., Phil Upchurch, Tom Scott, Patti Austin, and Paul Simon. "Multiplication" is highly polished late 70s jazz fusion. It’s mellow, uncomplicated, cool, and Eric used a tight funk approach on some of the tracks. The album is a joy to listen to and is not just for jazz fans.
In 1980, guitarist and composer Eric Gale came off the commercial success of 1979's Part of You (produced by Ralph MacDonald) and didn't do the obvious thing. Rather than make another record that swung for the smooth jazz fences, he made a darker, deeper, funkier, and bluesier album with legendary New Orleans producer Allen Toussaint.
With the exception of 1992's Born Again, saxophonist Tom Scott's output for GRP was consistently disappointing. Although obviously a talented player, Scott's willingness to play arrangements whose main goal was to gain radio airplay resulted in commercial and quickly dated music. Scott is heard with smaller groups throughout this 1988 effort, which include keyboardist Randy Kerber and guitarist Dean Parks, plus guest appearances by guitarists Eric Gale and Michael Landau; all this looks promising but is actually quite routine. None of the nine funky originals were infectious enough to catch on; Scott sounds fairly anonymous in spots, particularly when he utilizes a WX-7; and it is obvious that the music was made strictly for the money. At best, this is superior background music
While most musicians wind up pigeonholed into very strict stylistic trappings throughout their career, Tom Scott has f ound challenges and success playing all formats of jazz on his solo projects and as leader of the GRP All Star Big Band (in the early 90s). It was fun following his muse in the middle of the decade, as he ventured back to his straightahead roots on 1992's Born Again, then was back to the funk on this rousing jam session. Working with old and new friends like Grover Washington, Jr., Paul Jackson, Jr., Dave Witham, David Paich, Luis Conte, Eric Gale and Robben Ford, Scott mixes his own material with some contributions from the outside.
Some of the finer CTI recordings of the late '70s were those led by flugelhornist Art Farmer. Although the emphasis was generally on obscure material (in this case Farmer plays one original, two songs by Dave Grusin and one piece by pianist Fritz Pauer) and often featured musicians who did not normally play together, the results were generally quite rewarding. For this CTI LP (long out-of-print), the focus is almost entirely on Farmer who is joined by keyboardist Grusin, guitarist Eric Gale, flutist Jeremy Steig, either Will Lee or George Mraz on bass and drummer Steve Gadd. The moody music holds one's interest throughout.
Autophysiopsychic is probably the single album that many Yusef Lateef fans either love or hate the most. Along with guest soloist Art Farmer on flugelhorn, guitarist Eric Gale, keyboardist Cliff Carter, drummer Jim Madison and bassist Gary King (except for "Sister Mamie," which features Steve Gadd and Alex Blake respectively), "Teefski" romps through five fat slices of original funk that have far more in common with the sounds of Chocolate City than with the bop sounds of 52nd Street. Autophysiopsychic is awash in the soft soul-funk-jazz sound typical of Creed Taylor's (CTI) productions in the 1970s.