Charles Wright & the Watts 103rd Street Rhythm Band is a pioneering American soul and funk band. Formed in the early 1960s, they had the most visibility from 1967 to 1973 when the band had 9 singles reach Billboard's pop and/or rhythm and blues charts, such as "Do Your Thing" (#11 Pop, #12 R&B), "Till You Get Enough" (#12 R&B, #67 Pop), and "Love Land" (R&B #23, Pop #16). They are best known for their biggest hit on Warner Bros. Records, 1970's "Express Yourself" (#3 R&B, #12 Pop), a song that has been sampled by rap group N.W.A and others…
In the early '50s, Ray Charles took the fiery passion of gospel and the hard-hitting sound of the blues, and by putting them together he created a whole new sound in rhythm & blues that helped make him a legend in American music.
This two-fer CD pairs 1972's Live at the Lighthouse with the less impressive, though still worthy, 1974 album Kharma, which was recorded at that year's Montreux Jazz Festival. As the head of a sextet on Live at the Lighthouse, Earland spearheaded some first-class soul-jazz, which integrated some funk and rock of the early '70s without sounding like a watered-down cocktail of all those styles (as many other soul-jazz-pop albums of the time did). The horn section of James Vass on sax and Elmer Coles on trumpet leaned more toward soul than jazz, as heard on the opening instrumental cover of Sly & the Family Stone's "Smilin'." The Carpenters' "We've Only Just Begun" wasn't the greatest tune to attempt, though Earland gamely put it into a boppish swing arrangement.
The steady increase in recordings of his music has now established Suk as one of the great musical poets of the early 20th century. Too much is made of his affinities with his teacher and father-in-law, Dvorák; for his own part, Dvorák never imposed his personality on his pupils and Suk's mature music owes him little more than a respect for craft and an extraordinarily well developed ear for orchestral colour. His affinities in the five-movement A Summer's Tale, completed in 1909 – a magnificent successor to his profound Asrael Symphony – reflect Debussy and parallel the music of his friend Sibelius and Holst, but underpinning the musical language is a profound originality energising both form and timbre.
Mackerras's recording joins a select band: Šejna's vintage performance on Supraphon and Pešek's inspired rendition with the Royal Liverpool Philharmonic; his is an equal to them both and the Czech Philharmonic's playing is both aspiring and inspiring.