Author Archives: dunderbeck1980

Anatomy of THE Groove: “Woman Don’t You Cry For Me” by George Harrison

George Harrison would’ve been 74 this Saturday. Remember very well the day he passed away because it was the delivery man for my parent’s new bed who told them he’d just heard the news. This was also around the time I was heavily exploring the music of “the quiet Beatle”. Harrison is said to have gone to Memphis on one of the Beatles trips to America and picked up some Booker T & The MG’s records. He loved playing the blues too. Later on,he developed a close musical relationship with Billy Preston. In addition to being one of the funkiest players around,Preston was also essentially a fifth Beatle during 1969.

Harrison’s first non experimental solo album All Things Must Pass was a huge success for him  in 1970. His following albums didn’t fare so well. His mid 70’s album Dark Horse and Extra Texture began adding soul and jazz/rock elements into his sound. But a horse singing voice with Harrison at the time was part of what hindered their success. He had a huge comeback in 1976 with the debut release on his custom label Dark Horuse Thirty-Three & 1/3. The song that opened the album was originally a 12 bar electric blues piece he wrote while touring with Eric Clapton in 1969. It was called “Woman Don’t You Cry For Me”.

Alvin Tayler’s drums kick into his shuffling,funky shuffle. Willie Weeks chunky slap bass and Richard Tee’s organ provide the intro before Harrison’s slide guitar provides the main melody. David Foster himself counters with some serious Billy Preston style funky Clavinet. On the refrain,the drum and Clavinet go into a heavy break beat before Harrison’s guitar segues into the next chorus. That bluesy slide guitar plays the chorus as an instrumental on the bridge-before the musical combination used in the intro goes into the final choruses of the song before it finally fades out.

The first time I heard this song,turned out my father I both heard the song as something quite different. I heard it as a thick mid 70’s funk jam. He heard it as a total 12 bar blues. Actually, both of us were right. Funk is,as most 20th century American popular musical forms are,a blues based one. And this song does a superb job at bridging the musical generation gap. Harrison’ countrified blues slide guitar with the electrified “united funk” arrangement of the song showcases how important the form of it actually is to the instrumentation. Surely,this is one of George Harrison’s finest moments of the mid 70’s.

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Anatomy of THE Groove: “Watching You” by Slave

Slave are a band that I’ve desired to talk about for some time now. They were among one of the great late 70’s/early 80’s Dayton Ohio bands along with Heatwave and Zapp. What made them unique in their time however is that they were likely the first Generation X funk band-all of its members still in high school when they formed in 1976. Their first album the following year got them an instant smash funk hit with the song “Slide”,now a mainstay of what many funkateers refer to as “Dayton funk” subgenre. By their 1979 album Just A Touch Of Love,singer/songwriter/drummer Steve Arrington joined the band.

Arrington was only a member of Slave for four years,before leaving to form a successful solo career of his own starting in 1983. But in the early 80’s,Arrington’s unique (and occasionally idiosyncratic) vocal approach allowed Slave to become one of the bands to lay the building blocks for what is now known as the post disco/boogie funk sound. Their first album of the 1980’s (and second album to feature Arrington) was called Stone Jam. Its one of the few Slave albums to remain consistently in print over the years. One of its most well known (and successful) jams is called “Watching You”

Arrington throws the strong dance beat along with Mark Hicks high,clean guitar tone that revs up into the main chorus of the song. This features Ray Turner’s high pitched synthesizer melody and and the late Mark “Mr. Mark” Adams delivers a great walking,slapping bass line holding the whole thing together. The falsetto choral vocals transition to Arrington’s narrative vocals on the refrains. The bridge of the song has Arrington’s drums showcasing M. Mark’s powerful bass line as a solo-with Turner’s synths on the accents. A new chorus with both vocal parts continues until the song fades.

My friend Henrique and I often have a lighthearted dialog about a “super hip young brother in the early 80’s” driving around in a sporty little car trying to impress the ladies around him. “Watching You” brings up this image strongly. Its got the thick,bass/guitar oriented groove that was Slave’s stock and trade. That combined with its playful lyrics of young black people giving each other the admiring,romantic eye made the song and the Stone Jam album Slave’s biggest commercial success since the bands debut four years earlier. And this helps to define “Watching You” a post disco funk masterpiece.

 

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Leon Ware (1940-2017): Caught Up In The Soul Fire Of The Song

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Leon Ware is someone I’m not sure a lot of people outside the soul/funk community are too aware of. Among people I know such as Henrique Hopkins,Henry Cooper and Calvin Lincoln,he is very likely an icon. He maintained a solo career from 1972 up through the end of his his life. And was a fine singer. Mainly however,he was one of the finest composers in the soul/funk/jazz spectrum during the early 70’s. His style used a lot of jazz styled chord progressions,which he blended with strong pop hooks and heavy hitting lyrically romanticism.

Mister Ware composed two songs that inspired the singer/songwriter side of my soul and funk musical interests very strongly as a younger man. Those songs were Marvin Gaye’s “I Want You” and (perhaps Ware’s best known composition) “I Wanna Be Where You Are”. That particular song was recorded by several different people. But became a huge success for Michael Jackson in 1972,and helped launch his solo career.  As far as Marvin Gaye was concerned,Ware gave the most help to him than he did for many other artist by composing the entirety of Gaye’s 1976 album I Want You  when the artist suffered from writers block.

That occurred just after Ware was the man behind the 1974 Quincy Jones album project  Body Heat.  This albums gurgling,swampy groove also included the memorable soul hit “If I Ever Lose This Heaven” (recorded the same year by Average White Band). And it helped Quincy’s heavily arranged jazz sound to get deeper and funky. Ware extended his talents onto Quincy’s next album Mellow Madness-itself featuring the debut of the Brothers Johnson. In the late 70’s and early 80’s,Ware continued his solo career and continued writing songs for artists like Melissa Manchester.

Ware passed away after nine years of suffering from Pancreatic cancer on February 24th. Even so,I’m one of those people who views the combination of jazzy chord progressions, soulful melodicism and and funky rhythm to be the most successful fusion of black American uptempo music. Along with people such as Stevie Wonder,Leon Ware celebrated the connections between all those elements as a songwriter. Which probably explains why he and Quincy Jones were such close associates. His influence can be felt today in the songwriting of artists such as King and Thundercat. And will therefore live on.

 

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Anatomy of THE Groove: “The Greatest” by King

King are an LA female trio who seem to be getting a lot “magazine time” in Rolling Stone, The Fader, Spin and The New York Times. The core of the trio are the Strother sisters Paris and Amber as well as Anita Bias. This gives the group roots in Minneapolis as their late uncle was twin city bluesman Percy Strother. Its the sister Paris who produces the music,while the songwriting is a collaborative effort between all the members. There sound is a mixture of dreamy,funkified 80’s style “Afr0-Chill” as it were-with a strong Afro Caribbean influence in their heavily rhythmic electronic approach to music.

Since the release of their debut EP The Story in 2011,they appeared on the HIV/AIDS benefit tribute album Red Hot+Fela a couple of years later-doing the song “Go Slow”. Right in between that,they collaborated with contemporary jazz maestro Robert Glasper on the song “Move Love” from his Black Radio. Their 2016 debut album We Are King was nominated for best urban contemporary album at this years Grammy’s. That inspired me to seek out and purchase the CD of it. So far in my listening,the song that speaks and sings to me most is the Muhammad Ali tribute entitled “The Greatest”.

An electronic Afro Latin conga drum percussion stomp opens the album,as the main rhythm of the entire song. A synth riser brings the vocals in on its sonic wave. This is accompanied on the ethereal vocal harmonies on the song with song tingling,high pitched melodic synthesizers. There’s also a more brittle synth spike right in the middle of the arrangement-which solos right before the second refrain. As the song progresses,further stabs of arpeggiated synthesizers rise up to the same aural level as the lead vocal before the song fades out.

“The Greatest” is an amazing tribute to late champion Ali. It talks about the man being a fighter both in and out of the boxing ring. Have to congratulate the Strother sisters and Anita Bias for focusing on such a strong African American hero at a time when anti black racism continues to rear its ugly head. The music of the song never loses focus of its strong Afrofuturism. The rhythm is full on Afro Caribbean. And its complex, jazzy melodies are sung in meditative,chant like harmonies. King prove on this, and what I’ve heard of their debut album,to be a strong contemporary African American musical voice.

 

 

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Anatomy of THE Groove: “Cloud 9” by Jamiroquai

Jamiroquai were a band who,two decades ago now,were the musical lifeblood of my personal interest in funk and disco. Its a story that’s been told on this blog at least once. They’ve had their lineup changes over the years for sure. Even still over the years,their mid to late 90’s albums are ones that I still continue to return to many times. As a matter of fact,they tend to define how how I view the contemporary nu funk movement as a whole. That being said,never been one to give into blind idolatry of any musical figure either. And Jamiroquai have been no exception to that rule.

Following their (unintended) 9/11 release of A Funk Odyssey, Jamiroquai album releases became less and less frequent. Albums such as 2005’s Dynamite were promoted with the over modulated hip-hop influenced single “Feels Just Like It Should”. And with their 2008 album Rock Dust Light Star fading seemingly as quick as it came, Jamiroquai seemed to have faded into the annals of the past. Early this year,they announced the release of their 8th studio album Automaton.  The title track was released first. But this EDM influenced song didn’t speak so much to me as the newest lead off single from the album “Cloud Nine”.

A deep piano chord,an ethereal synth and vocal pulse provide the intro to the song. A string burst opens into the refrain of the song. This consists of a thick disco beat-with a polyphonic synth playing the lead melody. And assisted by a pulsing rhythm guitar and bubbling synth bass line playing the higher ends of the changes. The rhythm guitar and bubbling bass are higher in the mix on the choruses-along with the string burst that leads into the heavily echoed bass/synth line on the bridge. The refrain and chorus are lightly improvised upon until it fades-accompanied by a jazzy synth solo before it ends.

“Cloud 9”, as far as I’m concerned ,is Jamiroquai’s strongest single since “Little L” came out 16 years ago. It showcases the band moving in their own career arc much the same as funk did during its first generation. Much as Jamiroquai were a live percussion/horn based jazz/funk band with extended jams and instrumentals when they started out,they are now a post disco/boogie funk group with strong jazz/funk melodic influences by the time their 8th album is about to drop. Only the future can tell if Jamiroquai’s future is going to remain in this strong progression. But “Cloud 9” is an excellent step in this direction.

 

 

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Larry Coryell: Fuzzy Memories Of The Godfather Of Fusion

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Larry Coryell is a somewhat unique musician for me to discuss. My friend Henrique informed me of the guitarists passing this past Sunday-at the age of 73. Generally speaking when doing a tribute to a fallen musician,I come at it from the point of view of strong knowledge about their music and often their back round. In the case of Mister Coryell,the exact opposite is true. Haven’t actually had much experience (if any) with his music at all. Still,an outsiders perspective might be an interesting place to come at him from. So I’ll start out discussing my only experience with him.

Again,this is a family musical story about me and my father. He was my first inspiration in terms of music and knowledge of it. This story started out with one of our many musical discussions when I was in my late teens. The subject was Miles Davis and his innovation of jazz fusion. And my father mentioned Larry Coryell as an artist who also innovated fusion. The only album he had by Coryell at that time was a cassette of a 1970 album called Spaces. With John McLaughlin,Miroslav Vitous,Chick Corea and Billy Cobham aboard, the album is apparently considered a ground zero for fusion along with Miles’s  Bitches Brew.

Perhaps from listening to so much music,particularly electric jazz in all its forms,the memories I have of the Spaces album have also faded somewhat with time. Do remember that it was the first jazz records I heard that was heavily based in acoustic guitar. In the ensuing years,I began to listen to other acoustic jazz guitar maestros such as Earl Klugh. The only other time within the next two decades that I heard Coryell’s playing again was when I reviewed the Larry Young song “Moonwalker” on this blog,which featured Coryell’s playing on it.

In a case similar to the also recently departed David Axelrod, my musical case with Larry Coryell represents something that I’ve often disliked being done by other people. And that is embracing an artists music only after they pass away-the cult of the dead being a motivating factor in appreciating a musician. All that being said,if any of you out there haven’t checked out musical innovators who are still living,it would be a great idea to do so. There’s something so creatively rewarding about embracing art while the artist themselves are still with us. Even if their music will never simply die with them.

 

 

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Anatomy of THE Groove: “The Family” by Nina Simone

Nina Simone’s personal biography is a long and complicated one. She was for sure one of the most complex female personalities of black American music in the mid to late 20th century. She was also one of the major innovators of what I refer to as “people music”-utilizing the jazz,blues,soul and funk spectrum of music to speak directly to the ideas of civil rights and black power. A journey from “Mississippi Goddamn” to a move to Liberia (the African nation founded by former American slaves) in a decades time showcases the complex arc of life had by North Carolina native Eunice Kathleen Waymon.

After the mid 70’s,Simone took a hiatus from recording. Though she continued performing,the quality of her shows continued to be extremely erratic. A lot of this could be attributed to the mental illness she learned of in the late 80’s-along with family/marriage discord. During a particularly rough spot in her life living in Brussels,she recorded the album Baltimore on Creed Taylor’s CTI label. She bemoaned having little creative input in the project-such as writing and arrangement. Yet it did produced one of her strongest grooves in a song entitled “The Family”.

Jim Madison’s four beat drum hit,Gary King’s scaling up bass line and the crying guitar of Eric Gale open up the song with the CTI string section for a heavy bluesy vibe. Nina accompanies her vocal lead with a like minded piano as the refrain builds back into itself. The horns,strings,guitar and Nina’s piano all provide alternating call and response bars of melody to each other-including the backup vocals on the choruses that bring in a more funky,danceable rhythm. After Gale takes an extended guitar solo on the bridge,that call and response refrain/chorus extends itself for the remainder of the song until it fades.

Written by John Hurley and Ronnie Wilkins ,”The Family” actually reminds me of exactly the type of song that suited Nina Simone in the late 70’s environment. It possessed the down home bluesy jazz/funk sound of the Crusaders with the orchestral elements that CTI brought in. The gospel vibe of the lyrics,plus Simone’s curtly soulful delivery of them,add to the tale of poverty and the conditions it can bring upon human beings can negatively impact on family relations. It was a fine example of Nina Simone in a studio setting during a time that may not have been personally good for her. But still creatively potent.

 

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Anatomy of THE Groove: “Door Number Two” by Walter Becker

Walter Becker is one of those players whose proven himself the ultimate “comeback kid” as it were. The Queens native met Donald Fagan while the two attended Bard College. And of course they would soon be the core of Steely Dan. While the songwriting of Steely Dan was a collaborative effort between the two,Becker’s instrumental influence generally came through his guitar solos.  They grew from a virtuosic blues rock style in the early 70’s to an intricate,crisp jazz tone later on. A serious of exhausting events led Becker to leave Steely Dan following their Gaucho album-remaining musically inactive for a decade.’

In 1993,Steely Dan reformed and began touring. Becker released his solo debut album 11 Tracks Of Whack a year later. With a somewhat more stripped down musical approach and vocal style closer to that of Eric Clapton,his albums were as critically successful as Fagans. But didn’t have quite the same commercial appeal. It would be another 15 years later that his sophomore album Circus Money. This was an independently released project from 2008 that featured the same superb studio players Becker had worked with in the past. It also started out with just the right groove on the song “Door Number Two”.

A bass and light snare based beat,crystalized sounding piano and bluesy rhythm guitar provide the intro-along with a moody electric piano solo. The basic rhythm of the chorus than comes in. This is a bossa with a clean guitar burst playing a single chord on every other bar or so-with the piano,keyboard and slippery bass line playing along with the female backup singers vocalizing the choral lyric. The refrain finds Becker singing a bluesy line with more piano improvisations behind him. Chris Potter provides a great bop sax solo on the bridge and extends it into the chorus that fades out the song.

Years of being a record producer and even a one time member of the sophisti pop group China Crisis really helped to enhance Walter Becker’s musical flavors as a solo artist. It wasn’t until revisiting “Door Number Two” for this overview did I realize that it has the vibe of a lower key “Papa’s Got A Brand New Bag”. The bossa Latin/boogaloo funk is there in the rhythm. Still Becker’s love of jazz comes through all the way-with musicians Keith Carlock,Jon Herington,Jim Beard and Ted Baker all solo right in the pocket of this groove. And it all makes for a great example of jazz with a raw rhythm attitude.

 

 

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Clyde Stubblefield,Thank You For Laying The Foundation

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Clyde Stubblefield,born in Chattanooga Tennessee in  1943,became interested in music based on his interest in the rhythms of the factories and trains around him. This is a fitting legacy for a man who,in 1967,would be asked along with fellow JB drummer John “Jabo” Starks to “make the entire band sound like a drum”. Everything from the shuffling rhythms of hip-hop and new jack swing,along with the stripped down rhythms of modern electronica,come directly from Mister Stubblefield.  Sadly,one of the most sampled drummers in music history passed of kidney failure on February 18th,2017.

I first learned the name of Stubblefield from a wonderful documentary on sampling entitled Copyright Criminals. Stubblefield was a participant-playing and discussing his famous drum break from James Brown’s “Funky Drummer”. The man said he wasn’t particularly concerned with money in regard to sampling his drum break. But just credit for it. Even Rolling Stone magazine,who often snub the influence of funk/soul musicians,named Stubblefield their drummer of the year in 1990. This began a series of accolades to a musician who I’m about to discuss the reason why he’s so revered.

Stubblefield’s approach to drumming,from “Cold Sweat” through “Funky Drummer” is based on playing a series of unusual syncopation’s with a light touch on his drums. This technique has been referred to as playing “ghost notes”. Its something a lot easier to hear and dance to than it is to explain with the written word. Speaking personally,it was a sound that myself (and I’m sure many others) knew extremely well before we even heard of Clyde Stubblefield. Even though he and James Brown are not with us anymore,their approach to music can never be extinguished from existence.

The saddest thing about Stubblefield is that his latter day health problems had him falling victim to the syndrome of a lot of elder musicians. Without record company residuals or health insurance for support,his medical bills ended up coming from other musical benefactors. Prince (who passed away last year) was a major one. Considering Stubblefield his idol as a drummer,he donated $80,000 to help pay his medical bills. So in terms of both his music and healthcare,Clyde Stubblefield’s legacy seemed to bring out the best in other musicians in terms of preserving his creative legacy.

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Walter “Junie” Morrison 1954-2017: We May Just Have You Covered More Then Bread Alone

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Walter “Junie” Morrison,who passed away yesterday at the age of 62,is a reminder to me of something me and friend Henrique Hopkins often discuss. With American pop’s music nonstop focus on vocalists,the musicians who helped create sounds we love to dance, listen and sing to often get neglected. Sometimes forgotten. I personally feel Junie is one of those people. One of the great Dayton Ohio funk innovators,Junie twice made his mark on the funk genre. First as a member of the Westbound era Ohio Players,with his Funky Worm” being their major breakthrough. And of course as a member of P-Funk.

Junie’s work with P-Funk on their late 70’s albums and jams,especially Funkadelic’s 1979 magnum opuses “One Nation Under A Groove” and “(Not Just) Knee Deep”,showcased him as an instrumental innovator yet to be. Whenever one of us here’s a flamboyant, melodic synthesizer riff from 80’s electro new wave to present day dubstep,they are in fact hearing a sound that Junie Morrison helped to created. Junie also maintained a successful solo career from the early 70’s to mid 80’s. My review of the Funkytowngroove’s reissue of a two CD set of a couple of a those solo records say a lot about what the man did for music.


Walter Junie Morrison is one of those three career punches in the R&B world. He started out in the Ohio Players during their Westbound years,started a solo career mid decade and of course became a starring member/contributer to P-Funk before relaunching his solo career in the early 1980’s. As one of the prime innovators of the “video game” style of melodic,high pitched funk synthesizer,a sound that’s come to transcend decades and fashion Junie already had something good to go with anyway.

Of course he’s also a very unique artist anyway. He really loves to be eclectic musically. And he also enjoys blending genres in ways that are very different and sometimes may even sound incompatible. That probably has a lot to do with why George Clinton bought him into his fold to begin with. Sometimes though artists such as this seem to say more as part of a whole than as their own people. Lucky for us that was definitely not the case for Junie here.

This set presents Junie’s 1980 recording ‘Bread Alone’ and 1981 realese ‘5’. Both of them showcase his interest in heavy songcraft,closer to the Ohio Players or Slave in that regard as opposed to P-Funk’s more abstract sound. Still that influence cannot help but show up. “Love Has Taken Me Over (Be My Baby)” for sure has a Parliament aspect to production. But songs such as “Why” and especially “Seaman’s First Class (Jock Rock)” have a much sleeker jazz-funk take with very strong sophistifunk overtones.

As a mutli instrumentalist “everything man” his bass,keyboard and drum lines all pop and thunder right with the demands of the melody and arrangement. “Funk Parts” is a very straight synth funk groove,heavy on the video game synthesizer. The title track,on the other hand is a very sentimental,romantic number mixing,interestingly enough country western and reggae. “Apple Song” showcases his unique take on arena rock with a very humanitarian/spiritual message over the seemingly simple melody.

‘5’ is another matter. Now this is pretty much stomping boogie funk all the way,starting with the mildly jazzy/pop styled “Rappin About Rappin” that has a very P-Funk inspired hook with the piano chords and female choruses-talking about “rapping about the games people play”. “I Love You Madly” and the hyper melodic “Last One To Know”, “Jarr To The Ground” and “Taste Of Love” follow in the same league-heavily crafted sophistifunk. On “Victim Of Love” Junie is rocking out on heavy cars belting out vocally JB style about a frustrating,forbidden love afair.

The ballad “Cry Me A River” again brings in that country pop flavor while the title track (there is one) sounds like it might be one of those implicit sexual messages that have gotten somewhat lost from music with time. Overall on both these albums Junie offers up a wide yet connected range of musical stylings into a music that is definitely eccentric and definitely his own. Actually on a similar path to Prince in a way,only with a much more obvious sense of wit and humor. Junie Morrison is probably one of the more unheralded all around talents in funk,soul and R&B. And for those in doubt these albums,especially taken together will go far in even changing the minds of any doubters.


Because Junie Morrison was a musical figure who deserves major celebration for his contributions to music (both sung and unsung),wanted to personally thank my Facebook friend Anthony Michael Calvert for being largely responsible for reissuing some of Junie’s solo albums on CD. He is the founder/joint owner of Funkytowngrooves,who issued this set as part of their Hidden Treasures series. So whether your a fan of P-Funk,the Ohio Players or just love that particular synthesizer approach Junie brought to the table,Mister Morrison’s musical life is one that deserves a strong degree of celebration.

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