Love Bug

Compared to the groove-laden Blue Mode, Reuben Wilson’s Love Bug, released in 1970, slightly dials down the Funk-O-Meter while boasting an exceptional lineup of musicians. Tracks like “Hot Rod,” “Love Bug,” and “Back Out” showcase tight execution and deliver the goods, yet much of the album leans towards a lighter groove, masterfully executed nonetheless. While I once believed that soul jazz thrives best on a fat groove, the sheer calibre of musicianship here has me re-evaluating that stance. It’s possible that the secret lies in the arrangements, the compositions, or the musicians’ collective spirit—whatever it may be, Wilson triumphs in transforming three popular hits into engaging vehicles for improvisation.

The standout tracks include Wilson’s interpretations of “I’m Gonna Make You Love Me,” “Stormy,” and the iconic “I Say a Little Prayer.” The latter, a masterpiece in its own right thanks to Burt Bacharach and Aretha Franklin, finds new life through the authenticity and cohesion of Wilson and his band. Recent editions even feature a bonus track, Sam and Dave’s “Hold On I’m Comin’,” which is a fiery addition that leaves you wondering why it wasn’t included in the original release. With hard-grooving tracks like “Hot Rod,” “Love Bug,” and “Back Out” alongside these lighter selections, the album strikes a perfect balance.

Now, let’s talk about that dream lineup: George Coleman, Lee Morgan, Grant Green, Reuben Wilson, and Idris Muhammad. The tightness of their performance rivals any funk band of the era. Grant Green emerges as a standout, delivering melodic, well-constructed solos that are both in the pocket and engaging. His rhythm playing is impeccable, while Coleman expertly melds bebop complexity with funk’s rhythmic articulation, creating memorable results. Lee Morgan adds his characteristic enthusiasm, his robust trumpet sound perfectly suited for an organ setting. Meanwhile, Idris Muhammad’s drumming is nothing short of exceptional; his rhythmic finesse elevates every track, whether they swing or groove.

At the heart of it all is Wilson, who shines on Rudy Van Gelder’s Hammond C-3. His signature smooth, bubbly tonal quality differentiates him from other organists, providing a cohesive thread that ties the album together. This isn’t merely a commercial effort; these tracks are showcases for some of the finest talents in jazz.

Despite being underrated, Love Bug deserves recognition as a classic within the jazz organ canon. The programming is impeccable, especially with the addition of the bonus track, and the production quality is top-notch. The album cover is equally striking, and the chemistry among the musicians creates an accessible yet profound listening experience. It manages to transcend the early ’60s while remaining fresh and engaging. Over time, I’ve come to realise that Love Bug is one of the best soul jazz records ever produced. As a devoted fan of the genre, it has rightfully earned its place among my all-time favourites.