Ron Everett - 1977 - The Glitter Of The City

Ron Everett

1977

The Glitter Of The City

01. Royal Walk 5:05

02. Glitter Of The City (Song By Tahira) 5:21

03. Tipsy Lady 3:28

04. Mood Two Latin For You 7:47

05. Pretty Little Girl 2:05

06. Musicman New Rock Joy 11:34

07. Let Your Spirits Be Free 8:29

08. Fanfare For Coltrane 14:51

09. Untitled I 9:01

10. Untitled II 11:05

Alto Saxophone – Jimmy Savage (tracks: 1)

Alto Saxophone, Baritone Saxophone – Bobby Zankel (tracks: 1)

Bass – Bean Chandler (tracks: 2, 4 to 6)

Bass – Earl Womack (tracks: 3, 5)

Bass – Lenard Fletcher Bey (tracks: 1)

Bass – William P. Bennett (tracks: 1)

Congas – Adib (tracks: 2, 4, 6, 7)

Drums – Lex Humphries (tracks: 3, 5)

Drums – Nate Jones (tracks: 2, 4, 6, 7)

Flugelhorn – Hakim Yusef Sadiz (tracks: 1)

Guitar – Warren Marcus (tracks: 2, 4, 6, 7)

Percussions – Ron Mitchell Howerton (tracks: 1)

Piano – Charles King (tracks: 2, 4, 6, 7)

Piano – Dennis Fortune (tracks: 1)

Piano – Ron Everett (tracks: 3, 1)

Saxophone – Jim Miller (tracks: 2, 4, 6, 7)

Saxophone – Robert Shabazz (tracks: 2, 4, 6, 7)

Trumpet – Bill Walsh (tracks: 1)

Trumpet – Ron Everett (tracks: 1, 2, 4, 6, 7)

Vocals – Ron Everett (tracks: 1, 3, 5)

Vocals – Tahira (tracks: 2)

Ron Everett: The Unsung Philly Jazz Maverick and His 1977 Gem, The Glitter of the City

Ah, Ron Everett – the kind of musician who makes you wonder if the jazz gods were playing a cosmic prank by keeping him under the radar for so long. Born Ronald McCoy Everett on July 9, 1936, in the City of Brotherly Love (Philadelphia, for those not up on their cheesesteak geography), Ron kicked off his musical journey not with a trumpet blast, but as a bass singer in the doo-wop scene. Yep, this future jazz-funk alchemist was harmonizing with The Castelles, a classic 1950s vocal group known for hits like "My Girl Awaits Me." He joined around 1951-1953, replacing members and adding his deep tones to their sweet, street-corner serenades. Imagine: a guy who could croon like a lovesick teen one decade, then pivot to soulful sax and trumpet wizardry the next. By the 1970s, he'd evolved into a free/soul jazz saxophonist (though he'd grab the trumpet for this album), blending Philly's gritty vibes with spiritual grooves. Sadly, Ron passed away in August 1990 at just 54, leaving behind a legacy that's equal parts enigmatic and tragically overlooked – like a hidden speakeasy in a city full of flashy nightclubs. His story? One of selflessness, determination, and a dash of tragedy, as unearthed by dedicated diggers like "Philly Dave" Louis.

Now, onto The Glitter of the City, Ron's 1977 solo album – a shimmering, self-released oddity that's less "glitter" in the disco sense and more like the sparkle of Philly's underbelly reflecting off cracked sidewalks. Recorded on a shoestring budget (think " ramen-noodle-level funding"), this was no glossy studio affair. Ron poured his heart into it as a love letter to Philadelphia's vibrant musical heritage, capturing the city's soul-jazz pulse amid the disco fever that was dominating the airwaves. Picture this: while everyone else was boogieing to "Stayin' Alive," Ron was out here crafting funky jams infused with blues, spiritual jazz, and Latin rhythms – basically thumbing his nose at trends like a rebellious uncle at a family disco party. The sessions? Shrouded in mystery, but we know it was a DIY Philly affair, with Ron handling trumpet, vocals, and even piano on a couple tracks. No big-label polish here – just raw, community-driven energy from local talents. The original pressing was under his Vagabond King label, limited to tiny quantities, and circulated mostly in the Philadelphia region. Fun fact: the cover was a plain white sleeve with a black-and-white Xerox glued on, because why spend on graphic design when you can DIY like a punk rocker in jazz drag?

Speaking of the crew, Ron didn't go solo – he assembled a who's-who of Philly's underground scene, like a jazz Avengers team on a budget. Here's the breakdown by track, because why not geek out over credits?

Royal Walk: Alto sax by Jimmy Savage and Bobby Zankel (who also handles baritone); flugelhorn by Hakim Yusef Sadiz; flexotone and bongos by Ron Mitchell Howerton; piano by Dennis Fortune; trumpets by Bill Walsh and Ron himself (plus his voice).

Glitter of the City (Song by Tahira): Bass by Bean Chandler; congas by Adib; drums by Nate Jones; guitar by Warren Marcus; sax by Jim Miller; trumpet by Ron; vocals by the ethereal Tahira.

Tipsy Lady: Bass by Earl Womack; drums by Lex Humphries; piano and voice by Ron.

Mood Two Latin for You: Bass by Bean Chandler; congas by Adib; drums by Nate Jones; guitar by Warren Marcus; trumpet by Ron.

Pretty Little Girl: Bass by Earl Womack; drums by Lex Humphries; piano and voice by Ron.

New Rock Joy (or "Musicman New Rock Joy" in some listings): Bass by Bean Chandler; congas by Adib; drums by Nate Jones; guitar by Warren Marcus; voice and trumpet by Ron.

Let Your Spirits Be Free: Bass by Bean Chandler; congas by Adib; drums by Nate Jones; guitar by Warren Marcus; trumpet by Ron. (Composed by Alvin "Bean" Chandler – yes, that's the bassist pulling double duty.)

These folks were Philly lifers, bringing that authentic, street-honed flair. Lex Humphries, for instance, was a drumming legend who'd played with everyone from Dizzy Gillespie to Sun Ra – talk about upgrading your session like adding hot sauce to a bland sandwich. Ron's multi-instrumental prowess shines, but it's the ensemble's synergy that makes the album pop.

This album's backstory is comedy gold wrapped in vinyl tragedy. Ron didn't bother with stores or distribution; he sold copies straight from Philly street corners, like a one-man lemonade stand for jazz heads. In the disco-drenched '70s, pushing an avant-garde jazz LP was like trying to sell kale smoothies at a candy convention – surprising anyone bought it at all! Originals are so rare, they're owned by "literally just a handful of collectors worldwide," and even in Philly, they're unicorn-level elusive. One tale from the reissue hunt: Researchers stumbled on a master tape for an unreleased follow-up album, yielding three bonus tracks – like finding buried treasure in your grandma's attic. And the controversy? Whispers of it being "obscure, controversial, and mysterious" abound, perhaps tied to Ron's enigmatic life or the album's raw, unpolished edge that defied categorization. 

The Glitter of the City is the ultimate "holy grail" – Jazzman Records saved it from oblivion in 2021 as part of their Holy Grail Series (catalog #100, no less, like reserving the VIP table). Limited to 1,500 copies with restored audio, liner notes, and photos, it's now accessible to mere mortals. But its true impact? A testament to Philly's unsung jazz scene, blending soulful grooves with experimental flair that influenced underground funk and jazz-funk revivals. Ron's determination shines through – a reminder that great art doesn't need billboards; sometimes, street-corner hustle is enough. In a world of auto-tuned pop, this album's raw glitter feels like a rebellious wink from the past.

Clocking in at about 45 minutes across seven tracks, The Glitter is a genre-hopping joyride that's equal parts soothing and surprising. Opener "Royal Walk" struts in with horns and percussion like a Philly parade gone cosmic – those saxes and flugelhorn weave a tapestry that's regal yet relaxed, as if the band is tipsy on inspiration. The title track? A soul-jazz stunner with Tahira's vocals floating over congas and guitar, evoking a hazy city night where the glitter isn't sequins, but streetlights on rain-slicked pavement. "Tipsy Lady" lives up to its name: Ron's piano and voice stumble charmingly through a boozy blues, like a lounge act after one too many. Then "Mood Two Latin for You" heats up with Latin rhythms and trumpet flares – it's eight minutes of infectious groove that could've soundtracked a '70s cop show if anyone had noticed.

The B-side gets introspective: "Pretty Little Girl" is a tender, two-minute vocal-piano ditty, sweet as a stolen kiss. "New Rock Joy" stretches to 11 minutes of funky fusion, with Ron's trumpet and voice riffing over guitar licks – irregular beats add that "strange" free-jazz edge, like the track's trying to escape its own genre. Closer "Let Your Spirits Be Free" is spiritual jazz at its finest, uplifting and expansive, composed by bassist Bean Chandler as a freeing anthem. Overall, the album's a funky, bluesy celebration of Philly's musical melting pot, with half the tracks vocal-led for that soulful punch. It's not flawless – production's raw, like a bootleg gem – but that's the charm. In a humorous twist, it's jazz that's too cool for its era, now rediscovered like that forgotten mixtape that blows your mind. If you're into spiritual jazz with a side of funk (think Pharoah Sanders meets Roy Ayers, but on a budget), this is your new obsession. Ron Everett, we salute you – the glitter may have faded, but the city's soul shines eternal.