Personnel: James Brown (organ); James Razor Brown (vocals, organ); Dee Felice Trio (vocals); Louis Shelton (guitar, guitars); Wallace Richardson, Alphonso "Country" Kellum, Les Buie, Bill Pittman , Jimmy Nolen (guitar); Bill Pittman, Alfonzo Kellum (guitars); Pee Wee Ellis (alto saxophone, piano, organ); David Parkinson, Ernie Watts, Nat Jones, Joe Romano (alto saxophone); Maceo Parker, St. Clair Pinckney (tenor saxophone, baritone saxophone); Eldee Williams, Al "Brisco" Clark, Les Asch, Al Corley, Pete Christlieb, Buddy Collette (tenor saxophone); Charles Carr, Jimmy Mulidore (baritone saxophone); Joe Dupars, Waymon Reed, Robert Knight , Teddy Washington, Richard "Kush" Griffith, Robert Knight , Ron Harper, Al Aarons, John Audino, Chuck Finley, Tommy Porello, Mack Johnson, Ron Tooley (trumpet); Kenny Schroyer, Wilmer Milton, Fred Wesley, Garnett Brown, Jimmy Cleveland, Nick Dimaio, Bill Tole (trombone); Levi Rasbury (valve trombone); Frank Vincent, Alfred Ellis, Ernie Hayes (piano); Bernard Odum, Al Lucas, Ray Brown , Sam Thomas , Lee Tucker (bass guitar); Clyde Stubblefield, Melvin Parker, Obie Williams, John Starks, Louie Bellson, Nat Kendrick, Bernard "Pretty" Purdie, Dee Felice (drums); Jack Arnold (percussion).
Audio Mixer: Suha Gur.
Liner Note Author: Alan Leeds.
Recording information: Bell Sound, New York, NY; Criteria Studios, Miami, FL; King Studios, Cincinnati, OH; Memorial Auditorium, Dallas, TX; United Recorders, Hollywood, CA.
Photographers: Ray Flerlage; Chuck Stewart.
Arrangers: Nat Jones; Oliver Nelson; Pee Wee Ellis; Sammy Lowe.
James Brown fans might wonder at the title and at the fact that this posthumous collection is issued on Verve, the classic jazz label, but one listen through these 12 cuts will answer any questions. The Godfather was the king of soul and the architect of funk, but he also had a yen for jazzier flavors, as this excellent swinging set demonstrates.
Brown helms dynamic takes on contemporary jazz tunes (Cannonball Adderley's "Tengo Tango" and Joe Zawinul's "Why (Am I Treated So Bad)," among others), as well as revitalizing much-loved standards like "That's My Desire." The material ranges through the 1960s and '70s, and features a number of alternate mixes and singles edits, some of which have never seen the light of day (making the set a must for Brown collectors).