Grover Live, Vol. 2, recorded in 1998, showcases the legendary saxophonist in peak form. Produced by Grammy-winner and contemporary jazz veteran Jason Miles, this album is currently available exclusively on streaming platforms. Having had the chance to hear Grover live in St. Louis around 1993, I can attest—he blew the roof off the place. This newly unearthed recording captures that same electrifying energy, reaffirming his status as a pioneer in blending jazz with funk and soul.

Meanwhile, Al Jarreau’s WOW! Live in Performance at the Childe Harold is a rare and long-lost gem from 1976, recorded in Washington, D.C. This release includes five songs never before heard on a live Jarreau album, including James Taylor’s Fire and Rain and Count Basie’s Shiny Stockings, along with early takes on Take Five and You Don’t See Me. It’s a must-hear for any Jarreau fan, offering a glimpse into his raw, early brilliance before he became a household name.

Both albums serve as a reminder of why these artists were—and still are—so revered. Their music transcends time, and thanks to these releases, a new generation of listeners can experience the magic of Grover Washington Jr. and Al Jarreau in their prime.

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Top 10 Contemporary Jazz – March 22, 1992

1. Yellowjackets – Live Wires (GRP)
2. Bobby McFerrin and Chick Corea – Play (Blue Note)
3. Marcus Roberts – As Serenity Approaches (Novus)
4. Diane Schuur, In Tribute (GRP)
5. The Harper Brothers, You Can Hide Inside the Music (Verve)
6. Acoustic Alchemy, Early Alchemy (GRP)
7. Vanessa Rubin, Soul Eyes (Novus)
8. Special EFX, Global Village (GRP)
9. Kilauea, Tropical Pleasures (Brainchild)
10. Steve Laury, Passion (Denon)

I was a fan of Yellowjackets at the time. I’d  listened to “Mile High,” “Geneva,” and “Wildlife” from Four Corners many times. I liked some tracks from The Spin and Greenhouse. On this live recording, I loved “Revelation” with Take 6 on vocals. I enjoyed Michael Franks adapting “Local Hero” into “The Dream.” I still recommend “Wildlife,” a track then-bassist Jimmy Haslip describes as “an African 6/8 piece with several layers of interlocking melodies and polyrhythms. It creates a hypnotic mood.”

I know Bob Mintzer is the saxophonist on this and all subsequent Yellowjackets recordings. Whatever happened to Marc Russo, the saxman he succeeded?

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