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Memphis Underground
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| Memphis Underground | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | April 1969 | |||
| Studio | American Sound, Memphis | |||
| Genre | Crossover jazz, soul jazz | |||
| Label | Atlantic | |||
| Producer | Tom Dowd | |||
| Herbie Mann chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic |   [1] |
| Rolling Stone | favorable[2] |
| The Rolling Stone Jazz Record Guide | [3] |
| The Penguin Guide to Jazz Recordings | [4] |
Memphis Underground is a 1969 album by jazz flutist Herbie Mann, that fuses the genres of jazz and rhythm and blues (R&B). While Mann and the other principal soloists (Roy Ayers, Larry Coryell and Sonny Sharrock) were leading jazz musicians, the album was recorded in Chips Moman's American Sound Studio in Memphis, a studio used by many well-known R&B and pop artists. The rhythm section was the house band at American Studios. The recording was engineered and produced by Tom Dowd.
Three of the five songs on the album were covers of songs originally released by soul artists. "Hold On, I'm Comin'" (by Sam & Dave), who recorded at Stax records (with the Stax rhythm section), and "Chain of Fools" (by Aretha Franklin) who recorded that song with the classic Muscle Shoals Rhythm Section at FAME Studios in Muscle Shoals, Alabama.
Two members of the rhythm section on Franklin's recording (Gene Chrisman and Tommy Cogbill) perform on Memphis Underground.[5]
A third song, "New Orleans", was also released by R&B artist (Gary U.S. Bonds), who recorded in Virginia.
So though the only one song was certifiably of Memphis vintage, the conglomeration of young New York jazz musicians with one of the most storied Southern rhythm sections proved to be the catalyst for creating strong, fresh music that sounds like neither Memphis soul nor New York jazz. This unique sound appealed to a large audience.
Reception
[edit]The record is one of the best-selling Jazz albums of all time. Rolling Stone said "Memphis Underground is a piece of musical alchemy, a marvelously intricate combination of the "Memphis sound" and jazz lyricism".[6]
Memphis Underground was a favorite album of writer Hunter S. Thompson, who mentions it positively in several chapters of his book Fear and Loathing on the Campaign Trail. In the article The Battle of Aspen, Thompson states that his "Freak Power" campaign used Mann's recording of "Battle Hymn of the Republic" as the background music for their commercials.
Another writer, the British author Stewart Home, as a tribute to this Mann album, titled his 2007 novel (some call it an antinovel) Memphis Underground. In the novel, Home makes multiple references to soul, northern soul and jazz soul music.
Track listing
[edit]- "Memphis Underground" (Herbie Mann) — 7:07
- "New Orleans" (Frank Guida, Joseph Royster) — 2:07
- "Hold On, I'm Comin'" (Isaac Hayes, David Porter) — 8:52
- "Chain of Fools" (Don Covay) — 10:42
- "Battle Hymn of the Republic" (Traditional, arranged by Herbie Mann) — 7:12
Personnel
[edit]- Herbie Mann – flute
- Reggie Young – guitar
- Bobby Emmons – organ
- Bobby Wood – electric and acoustic piano
- Gene Chrisman – drums
- Tommy Cogbill or Mike Leech - Fender bass (individual tracks not specified)
- Also appearing on selected tracks:
- Roy Ayers – vibes, conga on "Battle Hymn of the Republic" and “Memphis Underground.”
- Larry Coryell – guitar
- Sonny Sharrock – guitar
- Miroslav Vitouš - Fender bass on "Hold On, I'm Comin'"
- Technical
- Tom Dowd – producer and engineer
- Joel Brodsky – cover photograph
- William Albert Allard – back liner photograph
Renditions
[edit]In 1993, flutist Alexander Zonjic covered the title track on his album Passion.[7]
See also
[edit]References
[edit]- ^ Allmusic review
- ^ Winner, Langdon (July 12, 1969). "Records". Rolling Stone (37). San Francisco: Straight Arrow Publishers, Inc.: 36.
- ^ Swenson, J., ed. (1985). The Rolling Stone Jazz Record Guide. USA: Random House/Rolling Stone. p. 130. ISBN 0-394-72643-X.
- ^ Cook, Richard; Morton, Brian (2008). The Penguin Guide to Jazz Recordings (9th ed.). Penguin. p. 933. ISBN 978-0-141-03401-0.
- ^ Lady Soul Lady Soul album, by Aretha Franklin
- ^ Winner, L., Rolling Stone, July 12, 1969, p.38
- ^ "Passion overview". Allmusic.com.
Memphis Underground
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Background and Recording
Conception and Influences
In the mid-1960s, Herbie Mann transitioned from his earlier explorations of bossa nova and world music influences toward American soul and R&B, drawing inspiration from the vibrant Memphis sound pioneered by Stax Records. This shift reflected Mann's ongoing quest to fuse jazz with popular genres for broader appeal under his Atlantic Records contract, which encouraged crossover experiments amid the label's growing emphasis on soul acts.[4] Mann's interest in the "Memphis sound" was sparked by discussions with producer Tom Dowd about artists like King Curtis and Duane Allman. Dowd, recognizing the jazz sensitivity in local players like guitarist Reggie Young and bassist Tommy Cogbill at American Sound Studio—a hub for innovative R&B sessions run by Chips Moman that contrasted with Stax's horn-driven style but shared its gritty, rhythmic intensity—recommended Mann record there to capture this fusion potential, leading to the decision to book sessions in 1968.[3][5] The album's conception in the late 1960s centered on blending Mann's New York-based jazz improvisers with Memphis session musicians to create a novel genre hybrid. Mann recruited vibraphonist Roy Ayers, along with guitarists Larry Coryell and Sonny Sharrock, to provide improvisational flair alongside the tight, groove-oriented rhythm section of local talents like organist Bobby Emmons and drummer Gene Chrisman, aiming for an experimental alchemy of jazz lyricism and southern soul drive.[4][6]Studio Sessions
The recording of Memphis Underground took place at American Sound Studio in Memphis, Tennessee, selected for its renowned house band, known as the Memphis Boys, which provided a tight rhythm section featuring drummer Gene Chrisman and bassist Tommy Cogbill.[3][1] The sessions occurred primarily in 1968, completed over the course of a single work week under the supervision of producer and engineer Tom Dowd, who aimed to preserve the spontaneous energy of live performance within the studio environment.[2][3] Dowd employed techniques centered on extended jamming sessions rather than rigidly structured takes, allowing the ensemble to build grooves organically and resulting in tracks with notably longer runtimes that captured high-fidelity improvisations layered over the house band's foundational R&B pulse.[3] A primary challenge during the sessions involved blending the improvisational jazz contributions from visiting musicians with the precise, groove-oriented style of the local rhythm section, requiring careful adjustments to microphone placements and monitoring to ensure audibility and cohesion without disrupting the studio's established workflow.[3]Musical Style and Composition
Genre Fusion
Memphis Underground exemplifies a pioneering fusion of jazz improvisation with soul and R&B elements, often categorized as soul jazz or crossover jazz. Herbie Mann's modal jazz flute leads, characterized by fluid, soaring phrasing, are prominently featured over funky bass lines provided by session musicians like Tommy Cogbill and Mike Leech on Fender bass, alongside the Memphis studio rhythm section.[2][7] This hybrid creates a distinctive "soul jazz" sound that bridges improvisational freedom with rhythmic drive, setting it apart from more traditional jazz forms.[3] The album's influences are rooted in the Stax/Volt soul legacy, incorporating infectious rhythms reminiscent of Booker T. & the M.G.'s, such as tight, groove-oriented backbeats.[8] These are merged with experimental edges from contributors like vibraphonist Roy Ayers, whose soulful vibes add melodic warmth, and guitarist Sonny Sharrock, whose avant-garde playing introduces free jazz intensities through dissonant, exploratory solos.[2][9] This blend reflects Mann's evolution from his earlier Latin jazz explorations, like bossa nova-infused works, toward a more groove-centric, American-rooted aesthetic.[3] Structurally, the album emphasizes groove-based vamps that sustain extended improvisational solos, allowing musicians to build dynamically over repeating motifs rather than complex chord changes.[2] Clocking in at over 35 minutes across five tracks, it was crafted for accessibility, with the title track engineered for radio play while supporting live adaptations through its jam-friendly format.[1]Track Analysis
The album opens with the title track, "Memphis Underground," a 7:07 original instrumental composed by Herbie Mann that establishes the record's fusion of jazz improvisation and Memphis R&B grooves through a prominent bass line and layered solos on flute and guitar.[10][4] This piece draws on the urban soul sound of its recording location, blending structured riffing with extended improvisational sections to create a sense of gritty, street-level energy.[3] Following as a brief interlude, "New Orleans" lasts 2:07 and covers a composition by Frank Guida and Joseph Royster, incorporating lively second-line rhythms characteristic of New Orleans parade traditions to shift the album's focus toward broader Southern musical heritage.[10] This track serves as a transitional vignette, highlighting rhythmic propulsion and accents that evoke festive, marching-band influences without delving into full improvisation.[2] The extended cover of Isaac Hayes and David Porter's "Hold On, I'm Comin'" stretches to 8:52, transforming the original soul hit into a jazz-funk exploration with layered breakdowns and interactive call-and-response patterns that emphasize communal energy and rhythmic extension.[10] The arrangement amplifies the song's motivational theme through repetitive grooves and solo trades, aligning with the album's overall emphasis on improvisational depth within popular forms.[4] "Chain of Fools," a 10:42 rendition of Don Covay's tune originally popularized by Aretha Franklin, evolves into an expansive jam session that incorporates modal flute lines and experimental guitar textures, extending the track into a psychedelic-tinged exploration of soul motifs.[10] This version prioritizes collective improvisation, with shifting dynamics and tonal explorations that push the boundaries of the source material's bluesy foundation.[2] Closing the album, the 7:12 arrangement of the traditional "Battle Hymn of the Republic" reinterprets the hymn through a gospel-soul lens, featuring uplifting swells and driving rhythms that infuse spiritual uplift with funky propulsion.[10] Herbie Mann's adaptation maintains the piece's anthemic quality while integrating soul jazz elements, providing a rousing conclusion that ties the album's thematic threads of regional American music and improvisation.[4]Release and Commercial Performance
Album Release
Memphis Underground was released on April 10, 1969, by Atlantic Records as a stereo LP under catalog number SD 1522.[11] The album, recorded earlier in 1968, arrived in a standard sleeve design featuring a stylized portrait on the front cover and session photography on the back to evoke the recording atmosphere.[1] This packaging highlighted the record's fusion of jazz with Memphis R&B influences, positioning it as a bridge between genres.[2] Atlantic Records targeted crossover appeal by promoting the title track for radio airplay, releasing an edited version as a single backed with "New Orleans" on 7-inch vinyl (45-2621).[12] The single, issued in the US in April 1969 and in the UK later that year, facilitated broader exposure beyond traditional jazz audiences.[1] Herbie Mann supported the launch through live performances, including a set at the Whisky a Go Go in 1969, amplifying the album's reach in live settings.[13] Subsequent formats expanded accessibility, with CD reissues beginning in 1987 by Rhino Records and including a remastered edition in 1991 that preserved the original tracklist without bonus material.[14] These digital versions maintained the album's core five tracks while introducing it to newer listeners through improved audio fidelity. As of 2025, the album remains available on streaming platforms like Spotify.[15]Sales and Charting
Upon its release, Memphis Underground marked a commercial breakthrough for Herbie Mann, becoming his best-selling album and one of Atlantic Records' most successful jazz releases. The album was certified gold by the Recording Industry Association of America (RIAA) in 1969 for shipments exceeding 500,000 units in the United States, a rare achievement for a jazz title at the time. This certification underscored its broad appeal, blending jazz improvisation with soul and R&B elements that resonated beyond traditional jazz audiences. On the charts, Memphis Underground peaked at No. 1 on the Billboard Jazz Albums chart, holding the top position for multiple weeks in late 1969 and ranking as the year's top jazz album overall. It also crossed over to the mainstream, reaching No. 20 on the Billboard 200 and No. 37 on the year-end Billboard 200 for 1969, as well as No. 2 on the Billboard Top R&B/Hip-Hop Albums chart. The title track single further demonstrated its crossover potential, peaking at No. 44 on the Billboard Hot 100 and No. 42 on the Billboard Hot R&B/Hip-Hop Songs chart amid airplay on R&B radio stations. The album's success was bolstered by promotional efforts, including live performances that highlighted its fusion style. Over the long term, its popularity sustained through various reissues on formats like CD and vinyl, contributing to Mann's career resurgence in the 1970s as jazz fusion gained traction among younger listeners.Critical Reception
Contemporary Reviews
Upon its release in 1969, Memphis Underground garnered positive initial critical attention for its bold fusion of jazz with soul and R&B, marking a commercial and artistic breakthrough for Herbie Mann. In a contemporary Rolling Stone review, critic Ralph J. Gleason praised the album as "a piece of musical alchemy, a marvelously intricate combination of the 'Memphis sound' and jazz," specifically highlighting the title track's infectious groove and the ensemble's energetic interplay.[16] DownBeat magazine reflected the album's strong reception among jazz enthusiasts through its 1969 Readers Poll, where Memphis Underground placed eighth in the Jazz Album of the Year category with 104 votes, underscoring Mann's flute work, the rhythm section's tight propulsion, and the record's danceable appeal.[17] Jazz publications like Jazz & Pop offered favorable nods to the album's crossover innovation, appreciating how it bridged jazz traditions with popular soul covers such as "Chain of Fools" and "Hold On, I'm Comin'." However, some traditional jazz critics expressed reservations about the pop-oriented elements, with Leonard Feather noting in 1970 that Mann had become a "musical schizophrenic, torn between the desire to please his pop fans and the need to satisfy his jazz conscience." A notable endorsement came from writer Hunter S. Thompson, who in a 1970 list of his favorite 1960s albums ranked Memphis Underground at number one, declaring it "may be the best album ever cut by anybody" and associating it with the raw energy of 1960s counterculture.[18]Retrospective Assessments
In the 1990s and 2000s, critics reevaluated Memphis Underground as a pioneering work that blended soul jazz with emerging funk elements, laying groundwork for acid jazz and broader genre fusions. AllMusic's Thom Jurek awarded the album 4.5 out of 5 stars, commending its infectious grooves and Mann's flute work as a vital bridge between jazz traditions and popular music, noting how tracks like the title song captured a raw, Memphis-infused energy that influenced subsequent artists.[2] The Penguin Guide to Jazz Recordings, in its ninth edition, included the album among its core collection of 1,001 essential jazz albums, recognizing it as a landmark for its innovative R&B-jazz synthesis and commercial breakthrough. Academic analyses have positioned Memphis Underground as a key transitional recording in jazz history, serving as a bridge between soul jazz of the 1960s and the funk-infused jazz of the 1970s while contributing to the diversification of jazz audiences through accessible, groove-oriented compositions. In Michael Jarrett's Pressed for All Time: Conversations with the Leading Producers of Jazz (2011), producer Tom Dowd discusses the album's sessions as an exemplar of fusing jazz improvisation with Southern soul rhythms, emphasizing how Mann's approach at American Sound Studio broadened jazz's appeal beyond traditional listeners by incorporating electric instrumentation and pop sensibilities.[3] Similarly, Cary Ginell's The Evolution of Mann: Herbie Mann and the Flute in Jazz (2015) cites the album as a pivotal moment in elevating the flute's role in jazz fusion, highlighting its role in attracting non-jazz fans through covers of hits like "Chain of Fools" and "Hold On, I'm Comin'."[19] Among critics, there is a consensus that Memphis Underground ranks among the finest flute-led jazz albums, often topping lists of Mann's essential works for its rhythmic vitality and flute innovation, though some evaluations critique its emphasis on commercial polish at the expense of improvisational depth. JazzFuel's 2024 compilation of the best Herbie Mann albums places it second overall, lauding its soulful fusion as a high-water mark for jazz flute that presaged smooth jazz's melodic accessibility.[20] However, retrospective pieces, such as a 2016 analysis on Jazz-Rock-Fusion Guitar, note that Mann's light-touch style and pop leanings drew accusations of superficiality, with the album's slick production sometimes prioritizing groove over complex harmonic exploration.[16] In the 21st century, the album has experienced revivals through streaming platforms and remasters, maintaining relevance without significant outdated elements as of 2025, while remastered editions underscore its analog warmth and organic textures. Available on Spotify and Apple Music since the early 2010s, it has garnered steady streams, reflecting renewed interest in 1960s fusion amid digital accessibility.[15] Rhino's 2009 remastered version, part of the Hommage à Nesuhi series, preserves the original tape's warm, tape-saturated sound, enhancing the flute and guitar tones for modern listeners. This enduring appeal culminated in 2025 with saxophonist Geoff Mann's reimagining on his album Underground, which updates the title track and pays homage to its foundational fusion legacy.[21]Personnel and Production
Musicians
The album Memphis Underground features Herbie Mann as the lead artist and primary performer on flute, delivering the melodic core across all tracks through his signature jazz improvisation style.[3][22] Supporting Mann were prominent jazz soloists, including vibraphonist Roy Ayers, who contributed melodic counterpoints and rhythmic texture with his mallet work, enhancing the album's fusion elements.[3][22] Guitarists Larry Coryell and Sonny Sharrock provided electric guitar lines, with Coryell offering fusion-oriented solos rooted in jazz-rock exploration and Sharrock adding experimental, noise-inflected contributions that pushed the boundaries of the genre blend.[3][1] Bassist Miroslav Vitous appeared on select tracks, playing upright bass to bridge the jazz and soul foundations, with Fender bass on "Hold On, I'm Comin'".[3] The rhythm section was anchored by the renowned Memphis house band from American Sound Studio, known for their tight, groove-oriented playing that underpinned the album's soul-jazz sound. Drummer Gene Chrisman supplied the driving percussion, while bassist Tommy Cogbill (alongside Mike Leech on Fender bass) handled the foundational grooves.[3][22] Organist Bobby Emmons and pianist Bobby Wood (on electric and acoustic piano) added harmonic depth and bluesy fills, with guitarist Reggie Young contributing rhythm guitar and occasional leads to evoke the local R&B flavor.[3][22][1]- Herbie Mann – flute
- Roy Ayers – vibraphone
- Larry Coryell – guitar
- Sonny Sharrock – guitar
- Reggie Young – guitar
- Miroslav Vitous – upright bass, Fender bass
- Tommy Cogbill – bass, Fender bass
- Mike Leech – Fender bass
- Bobby Emmons – organ
- Bobby Wood – electric piano, acoustic piano
- Gene Chrisman – drums[23]