The Atlantic Jazz series continues with this slice of mostly '60s jazz-soul treats. Fittingly, the 11-track disc includes a side by one of the prime progenitors of soul, Ray Charles: He and MJQ vibraphonist, Milt Jackson, stretch out on the canonized "How Long Blues." Further expounding on the soul-jazz trajectory, the collection spotlights work by organist Shirley Scott (the Aretha Franklin hit "Think"), Les McCann and Eddie Harris (their classic Montreux Festival cut "Compared to What"), Yusef Lateef ("Russell and Elliot"), and Hank Crawford ("You're the One"). And there's even a bit of boogaloo-enhanced bossa, compliments of trumpeter Nat Adderley ("Jive Samba"). The soundtrack to your next retro-cool shindig.

Midnight Ramble, released in 1983 on Milestone, was saxophonist Hank Crawford's return to recording after a four-year break following his departure from Kudu. It was the beginning of a decades-long relationship with the prestigious jazz label. Crawford, a veteran of Ray Charles, had long been associated with soul-jazz groove-oriented music. On this date, he delivers a solid, straight-ahead session with some notable surprises. The first is that he plays not only his trademark alto saxophone, but also electric piano. Next is his rhythm section: Dr. John on piano and organ, Charles "Flip" Greene on bass, guitarist Calvin Newborn (brother of Phineas), and stone-cold soul-jazz drummer Bernard Purdie. But that isn't all. Crawford also includes five other horns: two trumpets, trombone, bass saxophone, and David "Fathead" Newman on tenor. Needless to say, Crawford's idea of "straight-ahead" still contains plenty, plenty soul. The program is solid, top to bottom; it's amiable, relaxed, and deeply rooted in the blues.

Recorded when he was 63, After Dark finds Hank Crawford excelling by sticking to what he does so well: uncomplicated, blues-drenched, gospel-minded soul-jazz. Warmth and accessibility continued to define the veteran alto saxophonist, who sounds like he's still very much in his prime on everything from "Amazing Grace" to W.C. Handy's "St. Louis Blues" and the standard "T'aint Nobody's Business If I Do." Crawford reminds us how appealing and sentimental a ballad player can be on "That's All," and he demonstrates that Ruby & The Romantics' early-1960s soul-pop gem "Our Day Will Come" can work quite well in a jazz setting. The saxman's noteworthy support includes producer Bob Porter (who, true to form, is smart enough to step aside and let Crawford do his thing), guitarist Melvin Sparks and drummer Bernard "Pretty" Purdie. It's been said that Crawford is jazz's equivalent of a charismatic soul singer like Sam Cooke, Marvin Gaye or his former employer Ray Charles, and After Dark makes it very hard to disagree with that assertion.

Hank Crawford always puts a lot of passion into each note he plays. On this set of blues and soulful ballads, Crawford caresses each melody as usual but the lack of tempo variations and the generally so-so material keep this from being one of his more essential recordings…

Help Me Make It Through the Night is the twelfth album led by saxophonist Hank Crawford and his first released on the Kudu label in 1972.

Organist Jimmy McGriff and altoist Hank Crawford always make for a potent team. With guitarist Wayne Boyd and drummer Vance James completing the quartet, McGriff and Crawford explore an appealing mixture of blues, soulful ballads and riff tunes. Few surprises occur but many of the songs (particularly "Movin' Upside the Blues," "The Sermon," "When I Fall in Love" and "Mercy, Mercy, Mercy") are fairly memorable. The fans of these fine players will not be disappointed.