01. Happy Cause I'm Going Home
02. Will You Still Love Me Tomorrow
03. Cause I Love Her
Bass Trombone – Jack Jeffers (tracks: A1 to B1)
Congas – Sonny Morgan (tracks: A1 to B1)
Drums – Billy Cobham
Flute – Hubert Laws, Jr.
Guitar – Greg Miller (tracks: A1 to B1), John Fourie (tracks: A1 to B1)
Organ – Charles Earland
Trombone [Tenor] – Dick Griffin (tracks: A1 to B1)
Trumpet, Flugelhorn – Jon Faddis (tracks: A1 to B1), Lee Morgan, Victor Paz (tracks: A1 to B1), Virgil Jones
Recorded at Van Gelder Studio, Englewood Cliffs, NJ; February 17, 1972 (tracks 1 to 4) and February 16 & 17, 1972 (tracks 5 & 6).
For 1972's Intensity, Charles Earland's fifth of ten Prestige discs, the Mighty Burner seemed to be aiming toward something a little different than his usual collection of soulful tenor-organ jams. The presence of two songs from the rock group Chicago and a small trumpet-dominated horn section indicate that jazz-rock was the goal. The result, the LP's four original tracks plus two tracks from the same date originally released as part of Charles III, is one of his very best.
Unfortunately, though, Intensity has the notorious reputation as the last recording trumpeter Lee Morgan participated in (done two days before his girlfriend shot him to death). But Morgan is perhaps the least notable aspect of what makes the record work well. His playing here - and elsewhere at the time - sounds rather indifferent, sometimes sloppy and far less stellar than the glowing commentary he offered up on a string of excellent Blue Note records throughout the 1960s (evident on his own lackluster "Speedball," also included here).
What does stand out is Earland's strong performances, especially on two lesser known Chicago tunes ("Happy Cause I Love You" and a "Lowdown" that is not Boz Scaggs's more famous hit, as the disc's liners imply). Both are punctuated for effect with a needless fuzz guitar. But it doesn't detract from the attractive energy the Earland-Laws-Morgan triumvirate achieves.
Earland also contributes two of his own above average originals: the wonderfully melodic medium tempo swinger, "Cause I Love Her," and the cooking "Morgan" (named after the fact of death, but neither a Morgan feature nor specifically dedicated to him).
One notices, too, the interesting sound spectrum engineer Rudy Van Gelder achieves here. The occasional trumpet punctuation (arranged by Earland and the underrated trumpeter Virgil Jones) shimmers, even though its glory-hallelujah harshness seems a bit overheated. But the combo tracks are superbly captured. Compare the sound here to any one of Laws's Van Gelder engineered CTI dates. Then listen to any one of Morgan's Van Gelder engineered Blue Note dates. The difference is remarkable. Unfortunately, though, Billy Cobham's exceptionally vibrant drumming sounds as muffled and in-the-next-room as too many Van Gelder sessions did during that time.
The Prestige records Earland made between 1969 and 1974 remain his finest work. Intensity certainly ranks among the best, capturing a fine player at the very top of his game and easily recommended to those who seek meaningful organ jazz and of equal appeal to fans of the ever-diverse Hubert Laws.
Even if the performances on Intensity weren't excellent, this Charles Earland session would be required listening for jazz historians because it marked the last recorded documentation of Lee Morgan. Only two days after Intensity was recorded at Rudy Van Gelder's famous New Jersey studio on February 17, 1972, the influential trumpeter was shot and killed by a girlfriend at the age of 33. Refusing to confine himself to hard bop, Morgan was exploring soul-jazz and fusion during the last years of his life -- and his enthusiasm for soul-jazz is hard to miss on Earland's funky "'Cause I Love Her" as well as inventive interpretations of Chicago's "Happy 'Cause I'm Goin' Home" and the Shirelles' "Will You Still Love Me Tomorrow." Originally released on LP by Prestige, Intensity was out of print for many years but was reissued on CD in 1999 for Fantasy's Original Jazz Classics (OJC) series. For the CD, Fantasy added two bonus tracks: a passionate remake of Morgan's "Speedball" and a driving version of Chicago's "Lowdown," which shouldn't be confused with Boz Scaggs' 1976 hit. The importance of this reissue cannot be denied.