- Released: March 5, 2002
- Label: Sony
Q - 4/02, p.1323 out of 5 stars
- "...The album introduces saxophonist Grover Washington Jr, thumps along like a train thanks to drummer Billy Cobham and represents the leap from Hammond organ-led soul jazz into jazz-funk proper..."
- 1.It's Too Late
- 2.Workin' On A Groovy Thing
- 3.Never Can Say Goodbye
- 4.Blues Selah
- 6.It's Too Late - (previously unreleased, bonus track)
Personnel includes: Johnny Hammond (organ); Hank Crawford (alto saxophone); Stanley Turrentine, Grover Washington, Jr. (tenor saxophone); Danny Moore, Freddie Hubbard (trumpet); Eric Gale, George Benson (guitar); Johnny Williams (bass); Billy Cobham (drums); Airto Moreira (percussion).
Producer: Creed Taylor.
Reissue producer: Didier C. Deutsch.
Recorded between June 3 & July 18, 1971. Originally released on Kudu Records. Includes liner notes by Didier C. Deutsch.
All tracks have been digitally remastered.
Personnel: Eric Gale , George Benson (guitar); Hank Crawford (alto saxophone); Grover Washington, Jr., Stanley Turrentine (tenor saxophone); Danny Moore, Freddie Hubbard (trumpet); Johnny Hammond (organ); Johnny Williams (electric bass); Billy Cobham (drums); Airto Moreira (percussion).
Liner Note Author: Didier C. Deutsch.
Recording information: Hollywood Palladium, Los Angeles, CA (06/03/1971-07/18/1971); Van Gelder Studios, Englewood Cliffs, NJ (06/03/1971-07/18/1971).
Arrangers: Grover Washington, Jr.; Leo Johnson.
If a 12-string guitarist earned the name "Rickenbacker" it would tell you something about the extent of his abilities, so consider the significance of organist Johnny Hammond's moniker and realize it ain't his given surname. BREAKOUT is a prime example of the kind of groove-conscious-but-breezy soul jazz that CTI and its sister label Kudu were famous for in the '70s. Hammond arrived at Kudu after a string of releases on Prestige, and he adapted perfectly to the new setting. The album finds him modernizing his sound a bit, taking on versions of pop tunes (by the likes Carole King and Nail Sedaka) without ever compromising his aesthetic integrity. Eric Gale's punchy guitar, Airto Moreira's percolating percussion, and the robust R&B sax tones of Grover Washington, Jr. (when he was still cool) all aid Hammond's cause immeasurably. Still, the focus is obviously on the sterling organ work on offer here, full of soul and grit, never overly facile, but always rising to meet the challenge of each new tune.