Funky Ground After Finding His Sound
Young had already discovered his voice by 1965; here he leans into groove, with mixed results.
By 1968, Larry Young was no longer searching. Three years earlier, Unity (1965) had announced his arrival as a fully formed artist—a player who could navigate modal space, spiritual inquiry, and raw swing with equal conviction. Heaven on Earth finds him in a different headspace: less interested in exploration than in locking into funk rhythms and the kind of grooved-out organ work that was starting to dominate soul-jazz records. It's a sharp turn, not a natural extension. Young still has plenty to say—his solos retain the fluency and spiritual depth that made Unity compelling—but the album overall feels constrained by its own grooves. The funk rhythms are competent and clean, but they lack the inventive push that would lift the music beyond surface funk. It's the sound of a major voice choosing to work within tighter boundaries, and while there's nothing wrong with that choice, it means some of the best moments here are the ones where Young briefly breaks free rather than settles in. This is a solid record for listeners who want Young in his funkier mode, but it's not the place to start. Go to Unity (1965) first if you want to hear what he was truly capable of. Heaven on Earth matters mainly for what it shows about how even great players can decide to take a different road—sometimes with interesting results, sometimes with pleasant but forgettable ones.
Who's playing
George Bensonguitar
Herbert Morgantenor saxophone
Larry Youngorgan
Eddie Gladdendrums
Byard Lancasterwoodwind
Where next?
More by Larry Young
All 13 albums →
The musicians on this record
Their own records, close in time
