Monthly Archives: April 2015

Andre’s Amazon Archive 4/4/2015- ‘Experience: Jill Scott 826+’ by Jill Scott & Fatback Taffy

Experience_-Jill-Scott-826+-Disc-1-Live

Although originally inspired by jazz and funk’s incorporation into hip-hop the neo soul movement of the early/mid 90’s had certainly taken some interesting and unexpected turns by the beginning of the millennium. And no question this was part of that. After her debut Who Is Jill Scott? Words and Sounds, Vol. 1 rocked the music world in such a huge way she released this album independently and at a reduced price. It did pretty well with fans who’d stuck by her before her years of recording I’m sure and likely did the same with those who’d been wowed by her debut. All the same this album was almost set up to be a nonevent in other ways. It disappeared off a lot of record store shelves shortly after release and is probably not her biggest seller. But it does present a wonderful and sound musical concept that has a strong appeal.

Basically what one gets here is a double album;one disc of a live concert featuring her band Fatback Taffy and another of demo level unreleased material. The live set on the first disc stands out the most. For one thing her band has a rich,creamy sound overall. Fatback Taffy have the advantage of being about to get that retro soul thing down to a tee while retaining much of hip-hop’s brooding spareness. She moves in and out of extended pieces such as “Love Rain”,”Do You Remember”,”It’s Love” and “Gettin’ In The Way” almost effortlessly as the songs thick,shuffling jazz styled funky soul textures flow from one tune to the next.

Musically the most fascinating and funky cuts is the high octane uptempo Latin percussion styled “He Loves Me” which brings to mind,of all things Stevie Wonder’s classic “Another Star”. Her overall attitude in the between song banter is one of confidence and wit. Retaining hip-hop styled musings regarding people “with naturals always supposed to be positive” she also adds she sometimes is,other times not while explaining away some easily misinterpreted lyrics from “Gettin’ In The Way”. The song titled after the band is done in a great old fashioned gospel styled rave up.

The studio disc is a whole other matter. Focused far more on the hip-hop side of her “Gotta Get Up” finds Jill having one of her self dialog about the world of duty versus personnel need. Of these tunes the chunky funk of “Gimme” and the uniquely vocally chorded “Be Ready” are the most individual of these songs but for a disc of unreleased music at this early point in a recording career,one really can’t expect complete musical evenness. That being the case one thing this album definitely isn’t lacking on is Jill’s type of self expression. She doesn’t possess the in-your-face attitude of many female hip-hop/neo/retro soul type artists. Instead she comes more from the 70’s OG era in terms of keeping her actual feelings just slightly guarded-choosing to express a more worldly outlook than an inward one. Her internal dialog is only occasionally expressed and that makes it an important element of her sound. The moody rhythmic and melodic side of her music also expresses this well. Even though she started out with a bang this album represents her intent on focusing on her music as art more than as a commodity.

Originally Posted June 24th,2011

Link to original review here*

Stay tuned to Andresmusictalk for a new weekly feature,inspired by friend and blogging partner Rique,called Anatomy of THE Original Super Heavy Funk. This will be focused on classic funk/jazz/soul songs from the early 60’s up through the disco era. And for now will be posted the first and last Monday’s of every month. Thank you!

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Filed under 2001, Fatback Taffy, Funk, Hip-Hop, Jazz-Funk, Jill Scott, Neo Soul, OG's, Soul, Stevie Wonder

Anatomy of THE Groove 4/3/2015- Put It Where You Want It (Extended Version) by Larry Carlton

Considering how many times they’ve been reinterpreted from within their own catalog of songs? Band members who have come in and out of the Crusaders over the years seem to able to find ways of expanding on the elasticity of their own compositions. And even styles of soloing with other musicians. In 2001 Larry Carlton,always a very reliable album maker over the years,released his seventeenth solo album entitled Deep Into It. As was usually the case? Larry surrounded himself with a small group of jazz/funk session players both old and new. And included two remakes of the Crusaders classic “Put It Where You Want It”-one of which was an extended version that really caught my ear in particular.

It all starts with a burst of organ from Ricky Peterson,which burns hot and cold by turns over the intro as Larry plays a subdued bluesy guitar solo with an equally subdued percussive back-round from Paulinho Da Costa-while Chris Potter joins in with a like minded sax solo. Each of the main refrains of the song have this exact same flavor-subdued and slowed to a crawl. While on the main chorus the drums of Billy Kilson drives home the other musicians to higher musical power.On the third refrain,Potter drags out his sax solo into the same grits ‘n gravy attitude as Larry’s funky guitar.

This pattern extends itself through the remainder of this song-each musician taking a similarly themed solo over the stripped down musical backup. From the grooving Wurlitzer of Rick Jackson to the hiccuping slap bass of Chris Kent-all for the final five minutes of the song. By that time? Each musician are all playing the main melodic theme in a subdued whisper of an instrumental conversation with each other-really throwing on the strong,down home bluesy gospel/soul style melodic orientation of the composition to it’s fullest possible affect.

One of the things that strikes me instantly about this interpretation of the song is the fact it takes down an entirely different attitude than the 1972 Crusaders original. Both have a rather tight flavor-with the solos all taking equal presidents over understated unison playing. This version truly embraces the idea George Clinton coined that any groove slowed down to a bluesier crawl makes it funkier. Now this song was already as funky as one could get to start with. But this amazing sextet of musicians just take it directly into the pocket of the song. It’s almost as if to say that,by the time of the new millennium,each musician who’d been a Crusader at one point was able to bring that groove to any other musician they played with. And if you ask me? That’s a pretty amazing musical feat for the funk!

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Filed under 2001, Billy Kilson, Chris Kent, Chris Potter, Crusaders, Jazz, Jazz-Funk, Larry Carlton, Paulinho Da Costa, Put It Where You Want It, Rick Jackson, Ricky Peterson, slap bass, Wurlitzer organ