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Grant Green discography
Grant Green discography
Grant Green discography
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This is the discography for American jazz musician Grant Green.

As leader

[edit]
Year Title Peak chart positions Label Notes
US
[1] 		US R&B
[1] 		US Jazz
[1]
1961 Grant's First Stand ― ― ― Blue Note
Green Street ― ― ―
1962 Sunday Mornin' ― ― ―
Grantstand ― ― ―
1963 The Latin Bit ― ― ―
Feelin' the Spirit ― ― ―
1964 Am I Blue ― ― ―
1965 Idle Moments ― ― ―
Talkin' About! ― ― ―
His Majesty King Funk ― ― ― Verve Reissued on CD in 1995 (Verve/Polygram 527474).
1966 I Want to Hold Your Hand ― ― ― Blue Note
1967 Street of Dreams ― ― ―
1969 Goin' West ― ― ―
1970 Carryin' On ― 49 ―
Green Is Beautiful ― 24 ―
Alive! ― ― ― Live album
1971 Visions 151 31 5
1972 Shades of Green ― ― 9
The Final Comedown ― ― ― Soundtrack album of The Final Comedown (1972)
Live at The Lighthouse ― ― 12 Live album. LA series.
Iron City! ― ― ― Cobblestone Re-released in 1977 (Muse MR 5120); reissued on CD in 1998 (32 Jazz 32048), and again in 2003 (Savoy 17227).
1976 The Main Attraction ― ― 20 Kudu Reissued on CD in 2002 (Epic/Legacy 86145).
1978 Easy ― ― 45 Versatile Reissued on CD in 2001 (Unidisc UBK 4111), and again in 2007 (Essential Media Group 11025).
1979 Matador ― ― ― Blue Note Japan only
Solid ― ― ― LT series
1980 Remembering ― ― ― Japan only. Reissued on CD as Standards (1998).
Gooden's Corner ― ― ― Japan only. Included in compilation album The Complete Quartets with Sonny Clark (1997).
Nigeria ― ― ― LT series. Included in compilation album The Complete Quartets with Sonny Clark (1997).
Oleo ― ― ― Japan only. Included in compilation album The Complete Quartets with Sonny Clark (1997).
1985 Born to Be Blue ― ― ―
1989 Reaching Out ― ― ― Black Lion[2] Originally released in 1961 as Reaching Out by Dave Bailey Quintet (Jazztime JT 003); reissued in 1973 as Green Blues by Grant Green (Muse MR 5014); reissued on CD in 1989 as Reaching Out by Grant Green (Black Lion BLCD 760129).
1999 Blues for Lou ― ― 19 Blue Note Connoisseur series
2001 First Session ― ― ― Connoisseur series
2006 Live at Club Mozambique ― ― ― Live album
"—" denotes releases that did not chart or were not released in that territory.

[3]

As sideman

[edit]

1959:

1960:

1961:

1962:

1963:

1964:

1965:

1966:

1969:

1970:

1973:

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Grant Green discography

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from Grokipedia
The discography of , an influential , comprises over 25 albums as a leader recorded primarily for from 1961 to 1978, alongside extensive contributions on more than 50 sessions and numerous posthumous compilations and reissues that highlight his versatile style spanning , , and . Green's recording career began with his debut as a leader, Grant's First Stand (1961), featuring organist Larry Young, and quickly escalated into a prolific output, with 22 leader sessions tracked between 1960 and 1965 alone, though only 14 were issued during his lifetime due to label priorities. His tenure defined much of his legacy, yielding seminal works like Green Street (1961), a soulful trio outing with bassist Ben Tucker and drummer Dave Bailey; Feelin' the Spirit (1963), a gospel-infused exploration; and (1963), a relaxed classic with tenor saxophonist and vibraphonist that remains one of his most acclaimed recordings. By the late 1960s, Green's sound evolved toward funkier grooves on albums such as Alive! (1970), a live set capturing his prowess, and Visions (1971), incorporating R&B elements with percussionist Billy Wooten. Beyond leadership, Green's sideman roles enriched dozens of dates for artists including organists Jack McDuff and John Patton, saxophonists and , and guitarist , often on but also Prestige and , demonstrating his adaptability from trio formats to larger ensembles. Posthumous releases, starting in the late 1970s after his death in 1979, unearthed vault material like Matador (recorded 1964, issued 1979) and comprehensive sets such as The Complete Quartets with (1997), with recent reissues including vinyl editions of Solid (2025) continuing his catalog's ongoing influence in jazz programs as of November 2025.

As leader

Original studio albums

Grant Green's original studio albums, issued from 1961 to 1978, primarily feature him as bandleader on , with brief forays to other labels in 1965, 1976, and 1978. These recordings capture his stylistic evolution, beginning with and organ trios in the early , incorporating Latin and spiritual elements mid-decade, and shifting toward soulful and fusion by the . Nearly all were cut at Rudy Van Gelder's studio in , emphasizing Green's signature clean tone and melodic phrasing alongside collaborators like organists Jack McDuff and Larry Young, saxophonists and , and drummers Ben Dixon and . The albums often blended standards, originals, and covers, with track listings typically comprising 5–8 pieces lasting 30–40 minutes, prioritizing groove over complexity. Early works like organ-led sessions highlight Green's blues roots, while later ones introduce electric instruments and larger ensembles for a commercial edge.
Release YearAlbum TitleRecordedLabelKey PersonnelNotes
1961Grant's First StandJanuary 28, 1961Blue NoteGrant Green (guitar), Baby Face Willette (organ), Ben Dixon (drums)Debut soul jazz organ trio album featuring originals and standards like "Lullaby of the Leaves."
1961Green StreetApril 1, 1961Blue NoteGrant Green (guitar), Ben Tucker (bass), Dave Bailey (drums)Sparse hard bop trio interpreting originals and standards such as "'Round About Midnight."
1962Sunday Mornin'June 4, 1961Blue NoteGrant Green (guitar), Kenny Drew (piano), Ben Tucker (bass), Ben Dixon (drums)Relaxed hard bop quartet with standards including "Sunday Mornin'."
1962GrantstandAugust 1, 1961Blue NoteGrant Green (guitar), Yusef Lateef (tenor sax, flute), Jack McDuff (organ), Ben Tucker (bass), Al Harewood (drums)Soul jazz quartet led by Green's originals like the title track.
1963The Latin BitMay 18, 1962Blue NoteGrant Green (guitar), John Acea (piano), Wendell Marshall (bass), Willie Bobo (drums), Carlos "Patato" Valdes (congas), Garvin Masseaux (chekere)Latin jazz exploration with Afro-Cuban percussion on tunes like "Mambo Inn."
1963Feelin' the SpiritDecember 21, 1962Blue NoteGrant Green (guitar), Herbie Hancock (piano), Butch Warren (bass), Billy Higgins (drums), Garvin Masseaux (tambourine)Gospel-inspired spiritual jazz covering hymns such as "Just a Closer Walk with Thee."
1964Am I BlueMay 16, 1963Blue NoteGrant Green (guitar), Johnny Coles (trumpet), Joe Henderson (tenor sax), Big John Patton (organ), Ben Dixon (drums)Soul jazz quintet with horn section on standards like the title track.
1964Idle MomentsNovember 4 & 15, 1963Blue NoteGrant Green (guitar), Joe Henderson (tenor sax), Bobby Hutcherson (vibraphone), Duke Pearson (piano), Bob Cranshaw (bass), Al Harewood (drums)Seminal modal jazz sextet known for its languid title track and relaxed vibe.
1965Talkin' About!September 11, 1964Blue NoteGrant Green (guitar), Larry Young (organ), Elvin Jones (drums)Energetic soul jazz trio with gospel-tinged covers like "Yesterdays."
1965His Majesty King FunkMay 26, 1965VerveGrant Green (guitar), Harold Vick (tenor sax), Larry Young (organ), Ben Dixon (drums), Candido Camero (bongos, congas)Funky soul jazz outside Blue Note, featuring upbeat originals.
1966I Want to Hold Your HandMarch 31, 1965Blue NoteGrant Green (guitar), Hank Mobley (tenor sax), Larry Young (organ), Elvin Jones (drums)Soul jazz reinterpretations of Beatles tunes like the title track.
1967Street of DreamsNovember 16, 1964Blue NoteGrant Green (guitar), Bobby Hutcherson (vibraphone), Larry Young (organ), Elvin Jones (drums)Intimate organ quartet standards including "If I Should Lose You."
1969Goin' WestJanuary 27, 1969Blue NoteGrant Green (guitar), Claude Bartee (tenor sax), Larry Young (organ), Garvin Masseaux (congas), Leo Morris (drums)Western-themed soul jazz with tracks like "Lone Ranger."
1970Carryin' OnOctober 3, 1969Blue NoteGrant Green (guitar), Claude Bartee (tenor sax), Willie Bivens (vibraphone), Clarence Palmer & Earl Neal Creque (electric piano), Jimmy Lewis (electric bass), Leo Morris (drums)Early funk jazz with electric keyboards and covers like "The Days of Wine and Roses."
1970Green Is BeautifulJanuary 30, 1970Blue NoteGrant Green (guitar), Blue Mitchell (trumpet), Claude Bartee (tenor sax), Emmanuel Riggins & Neal Creque (organ), Jimmy Lewis (electric bass), Idris Muhammad (drums), Candido (congas), Richie Landrum (bongos)Expansive funk ensemble blending jazz and R&B grooves.
1971VisionsAugust 1971Blue NoteGrant Green (guitar), Billy Wooten (vibraphone), Emmanuel Riggins (electric piano), Chuck Rainey (electric bass), Idris Muhammad (drums), Harold Caldwell (drums, percussion), Ray Armando (congas)Modal funk with pop-soul elements on tracks like "Bishop Patterson."
1971Shades of GreenNovember 23–24, 1971Blue NoteGrant Green (guitar), Billy Wooten (vibraphone), Emmanuel Riggins (electric piano, clavinet), Wilton Felder (electric bass), Nesbert Hooper (drums), King Errisson (congas), Harold Caldwell (percussion); overdubs with brass and woodwindsFunk jazz with orchestral touches, drawing on earlier soul styles.
1972The Final ComedownDecember 13–14, 1971Blue NoteGrant Green (guitar), Richard Tee (piano, organ), Cornell Dupree (guitar), Gordon Edwards (electric bass), Grady Tate & Bernard Purdie (drums), Ralph MacDonald (congas, bongos), Wade Marcus (arranger, conductor); orchestra with brass, woodwinds, stringsFunky soundtrack album for the blaxploitation film, featuring dramatic arrangements.
1976The Main Attraction1975Kudu (CTI)Grant Green (guitar), Hubert Laws (flute), Mike Brecker & Joe Farrell (saxophones), Don Grolnick (electric piano), Steve Khan (guitar), Will Lee (bass), Andy Newmark (drums), David Matthews (arranger); additional horns and stringsJazz-funk fusion with electric grooves and horn sections on standards like "Love on a Two-Way Street."
1978EasyApril 17–20, 1978VersatileGrant Green (guitar), Jon Faddis & Lew Soloff (trumpet), Hank Crawford (saxophone), Jorge Dalto (piano, electric piano), Buster Williams (bass), Doug Wilson (drums), Shanimba (percussion); string sectionSmooth jazz with lush strings, Green's final studio effort before his death, covering pop tunes.

Live albums

Grant Green's live albums capture his dynamic performances in club settings during the late and , showcasing his transition from to and through extended improvisations and rhythmic grooves. These recordings, often featuring electric instrumentation and high-energy interactions with audiences, highlight Green's role as a leader in intimate venues, where his guitar work blended bluesy phrasing with contemporary soul influences. The double album Alive! was released in 1970 by , featuring material recorded at various East Coast clubs between 1969 and 1970, including the Cliche Lounge in , on August 15, 1970. The personnel included on guitar, Claude Bartee on soprano and , Ronnie Foster on organ, Willie Bivens on , Jimmy Lewis on bass, and on drums, delivering funk-infused sets with tracks like "Let the Music Take Your Mind" and "Sookie Sookie" that emphasized groove over structure. This release exemplified Green's club circuit vitality, with Muhammad's propulsive drumming driving the band's explorations. Live at the Lighthouse, issued in 1972 by , documents a performance from April 21, 1972, at in . Green led a featuring Claude Bartee on soprano and , Gary on , Shelton Laster on organ, Wilton on electric bass, Greg Williams on drums, and Bobbye on percussion, performing extended pieces such as "" and "" that fused soul standards with . The album's live energy underscored Green's adaptation to electric , with Laster's organ adding a funky undercurrent to the group's interactions. In 2006, released Live at Club Mozambique, drawing from tapes recorded on January 6 and 7, 1971, at the Club Mozambique in , —a key venue in Green's 1970s touring schedule. The quartet consisted of Green on guitar, Jimmy Forrest on tenor saxophone, Larry Young on organ, and on drums, with sets including "Jan Jan" and "" that highlighted raw, improvisational funk. This previously unreleased material revealed Green's commanding presence in Midwestern clubs, where his guitar lines cut through dense, soulful ensembles. Resonance Records issued two significant archival live albums in 2018, both remastered from original tapes and representing major discoveries of Green's European and North American club work. Funk in France: From Paris to Antibes (1969–1970) compiles performances from October 26, 1969, at the ORTF Studio in , and June 18 and 20, 1970, at the Jazz Festival in . The Paris session featured Green with Larry Ridley on bass and Don Lamond on drums (plus on guitar for "I Wish You Love"), while the Antibes dates included Claude Bartee on , Clarence Palmer on organ, and Billy Wilson on drums; tracks like "Upshot," "," and "" demonstrate Green's early evolution, accompanied by rare photos from Chuck Stewart and Jean-Pierre Leloir, plus essays by Michael Cuscuna. These recordings mark Green's earliest known live dates as leader, bridging his Blue Note era with bolder experimentation. Similarly, Slick! Live at Oil Can Harry's captures a September 5, 1975, gig at the Oil Can Harry's club in , , with Green joined by Emmanuel Riggins on electric piano, Ronnie Ware on bass, Greg Williams on drums, and Gerald Izzard on percussion. The three-track set—"Now's the Time," "How Insensitive," and a medley of "Vulcan Princess/Skin Tight/Woman’s Gotta Have It/Boogie On Reggae Woman/For the Love of Money"—showcases over an hour of deep funk grooves and melodic extensions, reflecting Green's late-period immersion in club . The release includes a booklet with essays, interviews, and photos by Gerry Nairn, emphasizing the archival value of these tapes as a window into Green's vibrant touring life.
Album TitleLabel & Release YearRecording Date & VenueKey PersonnelNotable Tracks
Alive!Blue Note, 19701969–1970; Cliche Lounge, Newark, NJ (primary)Grant Green (g), Claude Bartee (sax), Ronnie Foster (org), Willie Bivens (vib), Jimmy Lewis (b), Idris Muhammad (d)"Let the Music Take Your Mind," "Sookie Sookie"
Live at the LighthouseBlue Note, 1972April 21, 1972; The Lighthouse, Hermosa Beach, CAGrant Green (g), Claude Bartee (sax), Gary Coleman (vib), Shelton Laster (org), Wilton Felder (eb), Greg Williams (d), Bobbye Hall (perc)"Betcha by Golly Wow," "Windjammer"
Live at Club MozambiqueBlue Note, 2006January 6–7, 1971; Club Mozambique, Detroit, MIGrant Green (g), Jimmy Forrest (ts), Larry Young (org), Idris Muhammad (d)"Jan Jan," "Walk On By"
Funk in France: From Paris to Antibes (1969–1970)Resonance, 2018Oct. 26, 1969 (Paris); June 18 & 20, 1970 (Antibes)Grant Green (g); Paris: Larry Ridley (b), Don Lamond (d); Antibes: Claude Bartee (sax), Clarence Palmer (org), Billy Wilson (d)"Upshot," "Hurt So Bad," "Hi-Heel Sneakers"
Slick! Live at Oil Can Harry'sResonance, 2018September 5, 1975; Oil Can Harry's, Vancouver, BCGrant Green (g), Emmanuel Riggins (ep), Ronnie Ware (b), Greg Williams (d), Gerald Izzard (perc)"Now's the Time," "How Insensitive," Medley (Vulcan Princess et al.)

Posthumous releases and compilations

Following Grant Green's death in 1978, and other labels began releasing a wealth of previously unreleased material from his prolific sessions, often shelved due to label priorities or commercial decisions at the time. These posthumous albums, numbering over 20 since 1979, primarily draw from Blue Note's archives and highlight Green's early blues-rooted style, with personnel including frequent collaborators like pianist and organist Big John Patton. Recent reissues include Solid (Blue Note Classic Vinyl Series, October 2025). One of the earliest such releases was Matador in 1979 on Japan, featuring a 1964 quartet session with on piano, Bob Cranshaw on bass, and on drums, emphasizing influences in unreleased tracks. That same year, appeared on , capturing a 1964 organ trio performance with Patton and Ben Dixon on drums, showcasing Green's soulful, groove-oriented guitar work. In 1980, several archival albums followed: Remembering on Blue Note Japan from an August 1961 session with Horace Parlan on , Wilbur Ware on bass, and Al Harewood on drums, focusing on standards; Gooden's Corner on Blue Note Japan, compiling December 1960–1961 quartet tracks with , Ike Quebec on tenor sax, Sam Jones on bass, and Louis Hayes on drums; Nigeria on Blue Note from January 1962 with , Jones, and on drums, incorporating African rhythmic elements; and Oleo on Blue Note Japan from the same year, featuring , Jones, and Hayes in a bop-oriented program. Later releases included Born to Be Blue in 1985 on , a March 1962 quintet session with Quebec, , Jones, and Hayes centered on ballads; and Reaching Out in 1989 on Black Lion, reissuing a 1961 quintet date originally led by drummer Dave Bailey, with Frank Haynes on tenor sax, Billy Garner on , George Tucker on bass, and Bailey on drums, revealing Green's early phrasing. Compilations gained prominence in the and , such as The Complete Quartets with in 1997 on , aggregating 1961–1962 sessions with Clark, various bassists, and drummers like Hayes and Blakey, including previously unissued takes that underscore Green's interplay with the pianist shortly before Clark's death. Blues for Lou followed in 1999 on , drawing from 1963 trio tracks with Patton and Dixon to highlight bluesy, swinging originals; while First Session in 2001 on presented Green's inaugural 1960 recordings, a with Al Harewood on drums, Larry Ridley on bass, and others, delayed in favor of later dates. A 2020 Blue Note compilation, Plays the R&B Hits, updated the focus on Green's later career with 23 tracks spanning 1970s R&B covers like "Got to Be There" by and selections from and , often featuring electric ensembles that reflect his shift toward . These releases have provided invaluable insight into Green's versatility and archival depth, though no new studio material has emerged beyond live recordings issued up to 2018.

As sideman

Early sessions (1959–1965)

Grant Green's sideman recordings from 1959 to 1965 marked his emergence in the scene, beginning with local sessions and quickly transitioning to major label work, especially at , where he served as a house guitarist in numerous and outings. His playing often provided rhythmic drive and melodic support in organ-guitar-drum trios, complementing leaders like organists Baby Face Willette, Jack McDuff, and John Patton, as well as saxophonists such as and . These collaborations highlighted Green's fluid, tasteful style, blending blues-inflected phrasing with precision, which helped solidify his reputation as a versatile accompanist during Blue Note's prolific early-1960s era. Over this period, Green participated in more than 25 sessions, with the majority occurring between and 1964, showcasing the label's emphasis on groove-oriented ensembles that fused , and modern elements. His role typically involved comping chords and single-note lines to underpin the organ's harmonic foundation, as heard in combos with Big John Patton and Larry Young, while occasional larger groups allowed for more horn-integrated interplay. These recordings not only built his studio proficiency but also paved the way for his debut as a leader in with Grant's First Stand on Blue Note. The following table lists Green's key sideman appearances from 1959 to 1965 in chronological order, focusing on original album releases and noting recording dates where documented:
YearLeaderAlbumLabelRecording DateNotes
1959Sam Lazar TrioSpace FlightCawthronLate 1959, St. Louis, MOEarly local session; guitar in organ trio.
1959Jimmy ForrestAll the Gin Is GoneDelmarkDecember 10, 1959, Chicago, ILSax-led quintet; Green's debut major recording.
1960Sam LazarSpace Flight (reissue)ArgoJune 1, 1960, Chicago, ILRe-recorded organ quartet appearance.
1961Lou DonaldsonHere 'TisBlue NoteJanuary 23, 1961, Englewood Cliffs, NJAlto sax quartet; rhythmic support.
1961Baby Face WilletteFace to FaceBlue NoteJanuary 30, 1961, Englewood Cliffs, NJOrgan quartet; key early Blue Note organ combo.
1961Jack McDuffThe HoneydripperPrestigeFebruary 3, 1961, Englewood Cliffs, NJOrgan quartet; soul jazz groove emphasis.
1961Stanley TurrentineUp at "Minton's"Blue NoteFebruary 23, 1961, NYCTenor sax quintet; live feel captured.
1961Dave BaileyReaching OutJazztimeMarch 15, 1961, NYCDrums-led quintet; varied ensemble.
1961Hank MobleyWorkoutBlue NoteMarch 26, 1961, Englewood Cliffs, NJTenor sax quintet; hard bop classic.
1961Horace ParlanUp and DownBlue NoteJune 18, 1961, Englewood Cliffs, NJPiano quintet; supportive guitar lines.
1961Sonny RedThe ModeJazzlandDecember 14, 1961, NYCAlto sax quintet; modal explorations.
1961Ike QuebecBlue & SentimentalBlue NoteDecember 16, 1961, Englewood Cliffs, NJTenor sax quartet; bluesy ballads.
1962Joe CarrollMan with a Happy SoundCharlie ParkerFebruary 12, 1962, NYCVocalist-led; lighter swing feel.
1962Dodo GreeneMy Hour of NeedBlue NoteApril 2 & 17, 1962, Englewood Cliffs, NJOrganist sessions; spiritual themes.
1962Don WilkersonElder DonBlue NoteMay 3, 1962, Englewood Cliffs, NJTenor sax quintet; soulful hard bop.
1962Lou DonaldsonThe Natural SoulBlue NoteMay 9, 1962, Englewood Cliffs, NJAlto sax quintet; funky grooves.
1963Jimmy SmithI'm Movin' OnBlue NoteJanuary 31, 1963, Englewood Cliffs, NJOrgan trio; covers and originals.
1963Herbie HancockMy Point of ViewBlue NoteMarch 19, 1963, Englewood Cliffs, NJPiano septet; early Hancock innovation.
1963John PattonAlong Came JohnBlue NoteApril 5, 1963, Englewood Cliffs, NJOrgan quintet; blues-driven soul jazz.
1963Gloria ColemanSoul SistersImpulse!May 21, 1963, Englewood Cliffs, NJVibes-organ quartet; rare Impulse outing.
1963Harold VickSteppin' Out!Blue NoteMay 27, 1963, Englewood Cliffs, NJTenor sax quintet; upbeat hard bop.
1963George BraithTwo Souls in OneBlue NoteSeptember 4, 1963, Englewood Cliffs, NJMulti-reed quartet; experimental tones.
1963Mary Lou WilliamsBlack Christ of the AndesSABAOctober 9, 1963, NYCPiano-led; sacred jazz composition.
1964Lee MorganSearch for the New LandBlue NoteFebruary 15, 1964, Englewood Cliffs, NJTrumpet sextet; modal hard bop.
1964Larry YoungInto Somethin'Blue NoteNovember 12, 1964, Englewood Cliffs, NJOrgan quartet; advanced harmonies.
1964Donald ByrdI'm Tryin' to Get HomeBlue NoteDecember 17, 1964, Englewood Cliffs, NJTrumpet septet; gospel influences.
1965Johnny Hodges / Wild Bill DavisJoe's BluesVerveJanuary 6–7, 1965, Englewood Cliffs, NJSax-organ sextet; blues jam.
1965Grassella OliphantThe Grass Is GreenerAtlanticMarch 1, 1965, NYCVibes sextet; post-bop swing.
1965Lou DonaldsonMusty RustyArgoJune 3, 1965, Englewood Cliffs, NJAlto sax quintet; funky closer.
These sessions underscored Green's integral contributions to Blue Note's sound, often providing the subtle propulsion that elevated organists' solos and saxophonists' improvisations, fostering the label's signature blend of accessibility and sophistication.

Later sessions (1966–1973)

In the later years of his career, from to 1973, Grant participated in approximately ten sessions, a marked decline from his earlier prolific output, as he navigated health challenges including and shifted toward and soul-infused collaborations. These recordings often featured him on , delivering crisp, rhythmic lines that complemented organ-driven ensembles on labels like Prestige and Blue Note, reflecting the era's move away from toward more groove-oriented sounds. His contributions during this period echoed the funky elements heard in his own leadership albums like Carry On the Blues (1967) and (1970), but in a strictly supporting role. Green's first notable sideman appearance in this timeframe was on Art Blakey's Hold On, I'm Coming (Limelight, 1966), recorded in with sessions spanning May 1965 and May 1966; here, Green provided guitar support alongside organist Malcolm Bass, bassist Reggie Johnson, and drummer Blakey, contributing to soul-jazz covers like the title track, a hit, in a larger ensemble setting that blended with emerging R&B influences. Later that year, he joined tenor saxophonist on Rough 'N Tumble (, 1966), a hard-swinging session featuring pianist and drummer , along with a including on trumpet, where Green's single-note guitar lines added punch to Turrentine's energetic originals like "La Fiesta de ," recorded at Rudy Van Gelder's studio. This date represented one of Green's final contributions to the label where he had been a staple earlier in the decade. By 1969, Green had transitioned primarily to , aligning with a wave of soul-jazz sessions amid his personal struggles. On Rusty Bryant's Rusty Bryant Returns (Prestige, 1969), recorded in at Van Gelder's, Green laid down funky behind Bryant's and Sonny Phillips, with Bob Bushnell and Herbie Lovelle, on tracks like "Night Flight" that showcased a gritty, urban groove. That same month, he appeared on Charles Kynard's The Soul Brotherhood (Prestige, 1969), contributing prominent funky guitar lines—such as his wah-wah-inflected solos on the title track—to a horn-heavy lineup including trumpeter and saxophonist David "Fathead" Newman, emphasizing Kynard's organ-driven soul explorations. Green's role extended to Reuben Wilson's Love Bug (Blue Note, 1969), a rare return to his former label, where his bluesy, riff-based guitar supported Wilson's and trumpeter on funky originals like the title track, backed by Leo Morris. Continuing his Prestige streak, Green guested on Brothers-4 (Prestige, 1969) by organist Don Patterson and saxophonist Sonny Stitt, recorded in September; his economical, groove-locking guitar complemented the leaders' interplay on standards like "Star Eyes," with drummer Billy James rounding out the quartet. In 1970, he reunited with Kynard for Afro-Disiac (Prestige, 1970), delivering soulful, percussive guitar amid a rhythm section of bassist Jimmy Lewis, drummer Bernard Purdie, and saxophonist Houston Person, on psychedelic-tinged tracks like the title cut that fused jazz with emerging fusion elements. That year also saw him on Person's Person to Person! (Prestige, 1970), where Green's sharp, funky comping enhanced the tenor saxophonist's warm tone on uptempo numbers like "Dolphin Dance," alongside organist Sonny Phillips, trumpeter Virgil Jones, bassist Jimmy Lewis, and drummer Idris Muhammad. Green's later sessions grew even sparser, reflecting his deteriorating health. On Fats Theus's Black Out (CTI, 1970), he provided gritty in a funk-jazz context with organists Hilton Felton and Clarence Palmer, bassist Jimmy Lewis or , and drummer , on raw tracks like the title song that highlighted the saxophonist's aggressive style—marking a rare venture onto Creed Taylor's CTI imprint. His final documented appearance came on Houston Person's live The Real Thing (Eastbound, 1973), recorded at Watt's Club Mozambique in ; Green's blues-infused guitar solos stood out on extended jams like "Sonny Boy," backed by organists Jimmy Watson, Sonny Phillips, and Brother Jack McDuff, guitarist Robert Lowe, trumpeter Marcus Belgrave, bassist James Jamieson, and drummers Hank Brown and , capturing a gritty R&B-soul vibe in one of Green's last professional outings before his death in 1979. These sessions underscored Green's adaptability to the soul-jazz evolution while signaling the end of his active recording career.

References

  1. https://www.jazzdisco.org/grant-green/discography/
  2. https://jazztimes.com/features/profiles/grant-green-incredible-jazz-guitar/
  3. https://blackpast.org/african-american-history/grant-green-1935-1979/
  4. https://www.blackpast.org/african-american-history/grant-green-1935-1979/
  5. https://www.bluenote.com/classic-vinyl-reissue-series-2025/
  6. https://www.bluenote.com/artist/grant-green/
  7. https://www.allmusic.com/album/green-street-mw0000126669
  8. https://www.allmusic.com/album/sunday-mornin-mw0000611198
  9. https://www.allmusic.com/album/am-i-blue--mw0000657559
  10. https://resonancerecords.org/artists/grant-green/
  11. https://www.allmusic.com/artist/grant-green-mn0000738855
  12. https://store.bluenote.com/products/grant-green-alive-lp-blue-note-classic-vinyl-edition
  13. https://www.allmusic.com/album/live-at-the-lighthouse-mw0000034722
  14. https://www.discogs.com/master/163281-Grant-Green-Live-At-The-Lighthouse
  15. https://www.allmusic.com/album/live-at-club-mozambique-mw0000576906
  16. https://store.bluenote.com/products/grant-green-live-at-club-mozambique-2lp-third-man-313-series
  17. https://resonancerecords.org/product/grant-green-funk-in-france-from-paris-to-antibes-1969-1970/
  18. https://resonancerecords.org/product/slick-live-at-oil-can-harrys/
  19. https://www.discogs.com/release/1179757-Grant-Green-Solid
  20. https://shop.bluenote.com/products/solid-classic-vinyl-series
  21. https://www.discogs.com/release/6370926-Grant-Green-Reaching-Out
  22. https://www.allmusic.com/album/the-complete-quartets-with-sonny-clark-mw0000024916
  23. https://www.discogs.com/release/717598-Grant-Green-The-Complete-Quartets-With-Sonny-Clark
  24. https://www.allmusic.com/album/blues-for-lou-mw0000252899
  25. https://www.discogs.com/release/1778607-Grant-Green-Blues-For-Lou
  26. https://www.allmusic.com/album/first-session-mw0000111682
  27. https://www.discogs.com/release/9476134-Grant-Green-First-Session
  28. https://open.spotify.com/album/1UB3vzC9LN3VBLJtmWKJYe
  29. https://music.apple.com/us/album/plays-the-r-b-hits/1541400181
  30. https://www.organissimo.org/forum/topic/91417-grant-green-under-estimated-as-jazz-artist-and-blue-note-to-blame/
  31. https://www.udiscovermusic.com/stories/grants-first-stand-grant-green-album/
  32. https://www.bluenote.com/spotlight/feeling-the-spirit-grant-green-in-1962/
  33. https://www.discogs.com/release/1077151-Art-Blakey-Hold-On-Im-Coming
  34. https://www.discogs.com/master/10447-Stanley-Turrentine-Rough-N-Tumble
  35. https://www.discogs.com/release/2553830-Rusty-Bryant-Rusty-Bryan-Returns
  36. https://www.discogs.com/release/479601-Charles-Kynard-The-Soul-Brotherhood
  37. https://www.discogs.com/master/59866-Reuben-Wilson-Love-Bug
  38. https://www.discogs.com/master/1647160-Don-Patterson-With-Sonny-Stitt-Brothers-4
  39. https://www.discogs.com/master/267845-Charles-Kynard-Afro-Disiac
  40. https://www.discogs.com/release/1925201-Houston-Person-Person-To-Person
  41. https://www.discogs.com/master/237610-Fats-Theus-Black-Out
  42. https://www.discogs.com/release/2295767-Houston-Person-The-Real-Thing
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