Harvey Mason’s drum sound is one of the key elements in mid 70’s jazz-funk. Next to the Crusaders’ Stix Hooper,it was Harvey’s approach that really calcified the rhythm beat of that particular musical hybrid. Pretty much any band doing live instrumental based jazz-funk of the past decade and a half-including Lettuce,Greyboy and Snarky Puppy are all rhythmically built around what Harvey did on drums. Even for me, it’s very likely that Harvey Mason was the very first drummer I ever heard. With Herbie Hancock’s “Chameleon” being a very early musical memory. He is also important for another reason outside of those things.
Also similar to Stix Hooper, Harvey was a powerful session drummer too. Especially when it came to jazz and pop artists in the 70’s looking to make their sounds funkier. I’ve tended to notice when a musician does a great deal of session playing,they accumulate a good deal of musical allies. Many of Harvey’s were iconic soloists/session players in their own right such as Lee Ritenour,Ernie Watts,Chuck Rainey,Dave Grusin and Randy Crawford. All of these artists played a huge part on Harvey’s 1975 solo debut album Marching In The Street. And it was an album that really started right off with a bang with it’s monster title song.
Harvey starts out the song playing a steady,unaccompanied march which gradually adds funkier snare accents before Rainey’s bass chimes in along with Grusin’s electric piano. Ernie Watts,George Bohannon,Bobby Bryant and Oscar Brashear provide the accenting horn charts. By this point,Harvey’s playing both a double time drum solo-one very funky and a straight march along with a whistle. Watts adds a melodic Piccolo flute while the collective lead vocals (including Crawford) sing the repeated choruses and chants and along a round,muted trumpet solo. As the song progresses,the marching rhythm becomes more prominent before the song fades out with it being unaccompanied again.
Since Harvey Mason’s debut is so thick with heavy funk numbers, it was a bit of a challenge selecting just one. The reason the title song of the album stands out for me is how strongly linked it is with jazz history. From the days of Buddy Bolden’s “gutbucket” music of late 19th century New Orleans,the musical term funk was born at the core of the big four jazz rhythm. These earliest jazz bands were formed in many ways based on dis-guarded horns and drums left over from the Civil War,as well as local marching bands. So the idea of Mason returning this rhythmic concept to his 70’s sounds was sounding the call for the new revolutionary march of funk.