Charles Cha Cha Shaw - 1976 - Into Morning

Charles Cha Cha Shaw

1976

Into Morning

01. Eternal

02. K.Z.

03. Jugetty

04. Super Slik

Bass – Ronnie Boykins

Percussion – Art Blakey Jr.

Piano, Guitar – Billy Lyles

Tenor Saxophone – Brian Ross

Trumpet, Flugelhorn – Charles Cha Cha Shaw

Into Morning, Charles “Cha Cha” Shaw’s 1976 debut album on Folkways Records, is a warm, introspective, and occasionally fiery plunge into spiritual-tinged post-bop that feels like a sunrise jam session in a Harlem loft—intimate enough to hear every breath, ambitious enough to reach for the cosmos, and funky enough to keep your toes tapping while your soul does the heavy lifting. Clocking in with just four extended tracks, it’s the kind of record that rewards deep listening without demanding you sit in lotus position or burn incense (though both are encouraged). In an era when spiritual jazz was exploding in all directions, Shaw delivered something personal, grounded, and refreshingly unpretentious—like a working-class trumpet player who’d paid his dues on pop sessions deciding it was time to chase enlightenment on his own terms.

Born in New York, Charles “Cha Cha” Shaw earned his nickname from his lively, rhythmic approach to the horn and a personality that could light up any bandstand. A versatile sideman, he had already lent his trumpet to heavyweights like Curtis Mayfield, The Temptations, and even sessions linked to the Coltrane circle and Rashied Ali. By the mid-1970s, like many of his generation, he was drawn to the spiritual jazz underground, seeking deeper expression beyond commercial gigs. His influences blend Miles Davis’ modal elegance, the searching spirituality of John Coltrane and Pharoah Sanders, the earthy loft-scene energy of New York’s underground, and plenty of gospel and soul from his pop/R&B background. Shaw’s trumpet voice is bright, vocal, and expressive—technically strong yet full of heart, never afraid to stretch out or get a little gritty.

Released on the iconic Folkways Records (FTS 32863), Into Morning fits perfectly into the label’s mission of capturing authentic, non-commercial American creativity. Moe Asch’s imprint was a haven for voices too quirky or deep for major labels, and this was one of their rare modern jazz outings in the 1970s. The core group is a tight yet loose collective of fellow travelers: Shaw on trumpet and flugelhorn, the legendary Ronnie Boykins (Sun Ra’s longtime bassist) laying down deep, resonant foundations, Art Blakey Jr. on percussion bringing swinging family pedigree energy, Brian Ross on tenor saxophone for sharp, conversational interplay, and Billy Lyles contributing piano and guitar for harmonic warmth and texture. It’s a small-group setup that feels communal and lived-in, like friends turning a rehearsal into something transcendent.

The album opens with the title track “Eternal” (10:53), a glowing, expansive modal journey that lets Shaw’s flugelhorn sing long, lyrical lines over Boykins’ hypnotic bass and subtle percussion. It sets the spiritual tone without pretension—searching yet welcoming. “K.Z.” tightens things with more rhythmic drive and some post-bop edge, while the epic “Jugetty” (over 11 minutes) stretches into freer, more impassioned territory, full of call-and-response horns and building intensity. Closer “Super Slik” brings a groovier, almost funky strut that showcases the group’s versatility and Shaw’s knack for memorable heads that launch extended improvisations. All compositions are Shaw originals, highlighting his gifts as both melodist and conceptual leader.

Technically and sonically, Into Morning is a masterclass in organic small-group jazz. Shaw’s tone is clear and projective—capable of tender lyricism on flugelhorn or more assertive, crying statements on trumpet—while his improvisations balance technique with genuine emotional depth. The rhythm section creates a buoyant, breathing pocket: Boykins’ bass is a warm anchor, the percussion adds tactile swing, and Lyles’ piano/guitar provides just enough harmonic color without crowding. There’s real dialogue happening; solos emerge naturally from the collective rather than feeling like spotlight turns. The Folkways recording has that classic natural, roomy quality—intimate and present, with good separation that lets every nuance breathe. It’s spiritual jazz with post-bop roots and a soulful heartbeat: introspective yet energetic, avant-leaning without losing the groove. If a young Woody Shaw had crashed a Sun Ra Arkestra rehearsal but everyone agreed to keep things relatively earthly and swinging, something like this might result.

The artwork, designed by Ronald Clyne, embodies classic Folkways minimalism—straightforward, earnest, and culturally proud, with bold lettering and imagery that feels handmade and intentional. No cosmic gatefold explosions or flashy graphics; it radiates quiet dignity and says “this is real music by real people exploring something deeper,” perfectly matching the album’s unflashy sincerity.

Upon its 1976 release, Into Morning remained a quiet affair—typical for Folkways, it found its audience through libraries, educators, jazz collectors, and word-of-mouth rather than radio play or charts. Contemporary reviews were limited but appreciative of its soulful depth, while retrospective praise from spiritual jazz fans, crate-diggers, and reissue enthusiasts has grown warmer over the decades. Critics laud its balance of accessibility and exploration, Shaw’s strong trumpet work, and the genuine feeling that permeates every track. In a crowded field of 1970s spiritual jazz heavyweights, it stands as a charming, under-the-radar gem.

Its legacy is that of a humble but heartfelt debut: proof that a working musician with big ears and spiritual hunger could carve out something personal and lasting on a shoestring budget in the underground. For Cha Cha Shaw, it launched a small but meaningful discography (including the follow-up Kingdom Come) and captured him at a vital creative peak. Reissues on Smithsonian Folkways and independent labels have introduced it to new generations who crave authentic, warm-toned jazz with soul. Into Morning may not shout the loudest in the spiritual jazz pantheon, but it glows with quiet conviction—inviting you to ease into its world and emerge refreshed, maybe even a little more eternal. If you’re digging through the crates for hidden treasures, this one’s worth waking up early for. The morning is groovy, and the journey feels just right.