Visions＜限定盤＞

ビリー・ウーテン、エマニュエル・リギンス、チャック・レイニー、イドリス・ムハマド、レイ・アルマンド、ハロルド・コールドウェルをフィーチャーしたグラント・グリーンの1971年作品。

R&Bとジャズ・ファンクが取り入れられた作品でグリーンならではの独特なトーンとメロディズムがャクソン5、シカゴ、カーペンターズ、モーツァルト、そして後にケンドリック・ラマーがサンプリングしたクインシー・ジョーンズの「Maybe Tomorrow」などの曲を高めている。
シングル・ジャケット仕様
〈パーソネル〉 Grant Green (g)Billy Wooten (vib) Emmanuel Riggins (el-p)Chuck Rainey (el-b) Idris Muhammad (ds) Ray Armando and Harold Caldwell (perc)

Grant Green's early-'70s recordings for Blue Note are continually attacked by jazz critics for being slick, overly commercial sessions that leaned closer to contemporary pop and R&B than hard bop or soul jazz. There's no denying that Green, like many of his Blue Note contemporaries, did choose a commercial path in the early '70s, but there were some virtues to these records, and Visions in particular. Often, these albums were distinguished by hot, funky workouts in the vein of Sly Stone or James Brown, but that's not the case here. On Visions, the guitarist crafted a set of appealingly melodic, lightly funky pop-jazz, concentrating on pop hits like "Does Anybody Really Know What Time It Is," "Love On a Two Way Street," "We've Only Just Begun," and "Never Can Say Goodbye." Supported by minor-league players, Green nevertheless turns in an elegant and dignified performance -- after stating the melody on each song, he contributes typically graceful, memorable solos. Simply put, he sounds fresh, and his playing here is the best it has been since 1965's His Majesty, King Funk. Ultimately, Visions is a bit laid-back, and the electric piano-heavy arrangements are a little dated, but Grant Green never made a commercial pop-jazz album as appealing and satisfying as Visions. ~ Stephen Thomas Erlewine