Released in 1977, Reachin’ by Roger Glenn sits at a unique intersection of Latin jazz, cosmic funk, and late-’70s fusion. For decades, it’s been a quiet favorite among crate-diggers—a record passed between listeners more than pushed into the spotlight.
Now, as part of Jazz Dispensary’s Top Shelf Series, Reachin’ returns to vinyl for the first time in nearly 50 years. The July 10 release features all-analog mastering by Kevin Gray at Cohearent Audio, is pressed on 180-gram vinyl at Fidelity Record Pressing, and arrives in a tip-on jacket reproducing the original artwork.
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STEPPING OUT FRONT
Before Reachin’, Glenn had already built a reputation as a versatile, in-demand player. The son of trombonist and vibraphonist Tyree Glenn, he grew up surrounded by jazz—absorbing both big band tradition and Afro-Cuban rhythm from an early age.
A multi-instrumentalist with roots in both East Coast jazz and West Coast fusion scenes, his credits include work with Donald Byrd, Cal Tjader, and Mongo Santamaría, among others.
Reachin’ marks his debut as a bandleader and composer—a moment where those influences come into focus. Moving between flute and vibraphone, Glenn shapes a sound that feels fluid and transportive, pulling together Afro-Caribbean rhythms, jazz improvisation, and groove-driven arrangements into a cohesive whole.
THE MIZELL TOUCH
The album was produced by The Mizell Brothers, whose work in the mid-’70s helped define the sound of jazz-funk. Fresh off projects like Donald Byrd’s Black Byrd, the duo brought a polished, rhythmic sensibility that pushed the genre toward new territory.
On Reachin’, that approach shifts slightly. Rather than leaning fully into the slick, studio-driven sound they were known for, the Mizells leave space for Glenn’s more organic, exploratory instincts—resulting in a record that feels both grounded in groove and open-ended in structure.
A BAY AREA LINEUP
Recorded in San Francisco, the sessions pull in a lineup rooted in the city’s late-’70s music scene. Bill Summers and Paul Jackson—both of The Headhunters—anchor the rhythm section, bringing a deep, syncopated feel.
Keyboardist Mark Soskin (soon to join Sonny Rollins’ band) fills out the harmonic space, while guitarist Ray Obiedo adds spiraling, high-energy leads.
A multi-percussion lineup—including a young Sheila E.—rounds out the sessions, helping realize Glenn’s layered, Afro-Caribbean vision.
LISTENING NOTES
- “Reachin’” — The opening track sets the tone immediately, with Glenn’s flute and vibraphone cutting through a tightly locked groove, balancing lift and momentum.
- “Rio” — A fast-moving fusion samba, built for the dancefloor and long embraced by DJs and collectors.
- “Gloria” — A shift toward modal jazz, giving Glenn room to stretch out and showcase his improvisational range.
- “Rezo Chango” — The closing track moves into more spiritual territory, centered on chant and layered percussion, bringing the album to a meditative close.
AN ONGOING CELEBRATION
Reachin’ marks the latest entry in Jazz Dispensary’s Top Shelf Series, part of a year-long slate celebrating the imprint’s 10th anniversary. The series continues to highlight out-of-print titles, deep cuts, and overlooked classics—bringing them back into circulation with carefully restored vinyl editions. More releases are on the way throughout 2026.
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