Article Contributed by Craft Recordings
Published on 2026-05-05
Photo: Courtesy of Jazz Dispensary
Jazz Dispensary announces the latest addition to its acclaimed Top Shelf series: an unearthed gem from the golden age of jazz-funk fusion, Reachin’ by Roger Glenn. For nearly fifty years, Glenn’s debut has been a secret handshake among sophisticated crate-diggers and fusion connoisseurs—a treasure excavated from the fertile musical fault lines of the late-’70s Bay Area. Out of this eclectic, socially conscious epoch, Glenn created a masterpiece of Latin jazz, cosmic funk, and rare groove.
Now, Jazz Dispensary is bringing this timeless record back from Craft Recordings’ deepest vaults. As with every release in the label’s meticulously curated Top Shelf series, Reachin’ has been immaculately restored: all-analog (AAA) mastering by Kevin Gray at Cohearent Audio, cut straight from the original master tapes; 180-gram vinyl pressed at Fidelity Record Pressing; and a tip-on jacket that faithfully reproduces the original artwork. Reachin’ arrives July 10 and is available for pre-order now.
To understand Reachin’, you have to understand the versatility, roots, and imagination of Roger Glenn. The son of famed New York trombonist and vibraphonist Tyree Glenn, he is a quintessential musician’s musician. As a child, he watched his father rehearse alongside Duke Ellington while absorbing a love of Cuban polyrhythms from his mother. After three years in the armed forces—where he played in an army band alongside Grover Washington, Jr. and Billy Cobham—Glenn quickly became a sought-after fixture of the East Coast jazz world.
A supremely gifted improviser, Glenn soon caught the attention of major jazz figures: legendary vibraphonist Cal Tjader enlisted him to play flute in his band, revered flautist Herbie Mann recruited him on vibes, and Dizzy Gillespie—a friend of his father—invited Glenn to join his group for a tour of Brazil.
Glenn’s recording debut came alongside the “Mother of Bebop,” Mary Lou Williams on 1970’s Music for Peace. From there, his résumé only became more illustrious, with contributions to Mongo Santamaría’s Mongo ’70, Donald Byrd’s Black Byrd, and Cal Tjader’s GRAMMY®-winning La onda va bien. This wasn’t merely a matter of connections—it was a testament to his gift for melody and polymathic virtuosity.
Glenn’s debut as a bandleader and composer came after moving to the West Coast, where he reconnected with his former high school bandmates, producers The Mizell Brothers. In the mid-’70s, Larry and “Fonce” Mizell were at the apex of their powers, having recently helmed Donald Byrd’s Black Byrd, helping define the DNA of jazz-funk and laying groundwork for acid jazz and neo-soul.
The singular alchemy of 1977’s Reachin’ lies in this union between Motown hitmakers and an omnivorous multi-instrumentalist raised among jazz royalty. As disco fever swept the dancefloors, Glenn summoned something more mystic, organic, and personal.
On Reachin’, Glenn teamed up with prodigies of San Francisco’s music scene, including Herbie Hancock’s Headhunters members Bill Summers and Paul Jackson. Mark Soskin handles keys, Ray Obiedo delivers fiery guitar work, and a quartet of percussionists—including a young Sheila E.—brings Glenn’s Afro-Caribbean vision to life.
From the infectious title track that opens the album, Glenn transports the listener into a different realm. His flute and vibraphone cut through like light—soothing yet electric. “Rio” delivers dancefloor heat, while “Gloria” leans into modal jazz, showcasing Glenn’s improvisational strength. The journey closes with “Rezo Chango,” an incantatory, percussion-driven piece invoking the Yoruba deity Chango—a reminder of music’s power to expand and transform.
Reachin’ is the third Top Shelf release in Jazz Dispensary’s 10th anniversary celebration, following releases from The Visitors and Joe Henderson. More deep cuts and groove-forward releases are expected throughout 2026.
Tracklist
Side A
Reachin’
Rio
Don’t Leave
E.B.F.S.
Side B
Overtime
Kick
Gloria
Rezo Chango
