Five fat slices of original funk with far more in common with Chocolate City than 52nd Street.
Yusef Lateef made a deliberate choice in 1977 to chase the sound of CTI's softer, funkier aesthetic rather than lean on his jazz credentials. The result is an album that divides his audience, and that division is exactly the point. Creed Taylor shaped the sonic template here—lush, soulful, structured around groove rather than virtuosity—and Lateef stepped into it with his soprano saxophone, treating it as one voice in an ensemble rather than the dominant force.
Eric Gale on electric guitar is the spine of this record. His work cuts through the layered production with clean, funky lines that anchor tracks and keep them grounded even as the arrangements swell with strings and keyboards. Steve Gadd and Jim Madison trade drums across the sessions, locked into patterns that feel more like session work than jazz playing—which is exactly what Lateef wanted. Noel Pointer on electric violin adds texture, Art Farmer brings flugelhorn warmth, and Clifford Carter handles keyboards across these arrangements. The title, "Autophysiopsychic," is Lateef's term for his own music, but here it means something specific: a willingness to let funk and soul-jazz coexist without apology.
This is not typical Lateef territory. If you know him from his spiritual or modal work, this will feel like a detour. But the AllMusic reviewer nailed it: it's the most fun he recorded. Whether that's a feature or a bug depends entirely on what you came to hear.