Perhaps one of the least known helmsmen of the Hammond B-3 organ, Leon Spencer, who is also known as Leon Spencer, Jr., is one of the finer practitioners of organ groove music that's now referred to as acid jazz. Call it jazz funk, groove jazz, what have you, Spencer was one of the art's best contributors and while people dance, tap their feet or bob their heads to his music all these years later, hardly anyone knows his name today. His recording career was mercilessly brief (roughly 1968-76), concentrated most heavily in 1970 and 1971, when producer Bob Porter was helping birth that confluence of jazz, r&b and rock that yielded a new kind of funk that wouldn't be appreciated until the 1990s when it was revived and revered as what became known as 'rare groove' and 'acid jazz.' Spencer was part of the appreciation society, but - oddly - his career never recovered when admiration of his music did.

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Leon Spencer was born in Houston, Texas, on November 1, 1945, and started piano lessons early, studying the instrument for more than 10 years. He gigged around Texas with David Newman then attended Texas Southern University to study engineering. He later attended the University of Houston. After getting out of the army, Spencer heard Jimmy Smith in person and decided to take up the organ and backed Houston visitors like Peggy Lee and Lou Rawls when they came through town.

He also gigged around Texas with fellow Houston native, guitarist Melvin Sparks, whom he first met while the two were in school together. In 1969, Spencer spent three months in Los Angeles, where he made his recording debut with guitarist Wilbert Longmire, who he'd work with again over the years. He came to New York in 1970 and immediately found opportunities working with his friend, Melvin Sparks, who'd already established a journeyman reputation in New York and over the years has recorded with practically every jazz organ player except, strangely enough, Jimmy Smith. 'As a player,' wrote Bob Porter in his 1997 notes to Legends of Acid Jazz - Leon Spencer, 'Spencer was all Jimmy Smith on top, but his use of organ bass was most unusual. He would use the lower manual much more than most players and develop bass lines that had considerably more than average range.

It is fortunate that master engineer Rudy Van Gelder was aboard for these dates because he brings out the very best in Spencer's organ sound. Autocad Lt 2000i Download Free. ' Spencer is too often unfairly or inaccurately compared to Jimmy Smith when he's considered at all, or marginalized as a mere imitator not worthy of further merit.

But this does not do justice to what Spencer brings of himself to the Hammond B-3. Spencer may use 'The Boss' as a launching pad of inspiration. But he goes places that Smith would have never dared, mixing the cosmic funk of Larry Young and Lonnie Smith with the spacey soul of rockers Greg Rolie, Brian Auger, Steve Winwood or Ray Manzarek. Young R&B-3ers like Billy Preston and Booker T.