Henrique and myself were chatting online a couple of days ago about a favorite recurring topic between us. And that topic is funk music in every section of the record store. I remarked that it was unlikely that there would be any funk in a stores new age section. Henrique answered me with this video,featuring a song by a group known as Rasa. He described the album as consisting primarily of Hare Krishna chanting. This lead to the conclusion that new age music was a conceptual idea as opposed to a musical genre. Of course hearing new age music as being mostly piano based,it never occurred to me that new age themes are common in a lot of the funk I love.
After doing a bit of research via an article done four years ago by Wax Poetics magazine,it turns out that Rasa was the brainchild of Christian oriented funk/soul artist Eugene McDaniels son London. He went to a Krishna temple with his teenage brother Chris at the advice of their mother-during the time London was studying at the Berklee College Of Music. A few of the temple heads managed to convince the brother to record an album of contemporary Hare Krishna music. It has apparently become a favorite among crate digging DJ’s/hip-hop samplers. The song that introduced into all of this,courtesy of Henrique is actually entitled “Chanting”.
Roger Panansky’s round bass synthesizer starts things out playing along with Anthony Jackson’s electric bass guitar tones. As well as the slow paced percussive drumming of Webb Thomas. London’s JB style rhythm guitar comes in on the main refrains,while the horns of (featuring Randy Brecker) melodically assist on the choruses. There is a two second break before a fluttering,round electric bass solo from Jackson bubbles up like instrumental champagne on the bridge-again with Brecker and sax player George Young playing call and response on their horns. These instrumental exchanges are accented by electric piano. The chorus and refrain repeat themselves until the song fades out.
This song is a wonderfully grooving jazz/funk piece,with a strong rhythmic thump and a full emphasis on the bass. Whether it be from a bass guitar or a synthesizer. The lead singer on this Vakresvara Pandit sings in a manner very similar to Jamiroquai’s Jason Kay. So this ends up being the type of spiritually inclined funk that would be the bass musical medium of the acid jazz/funk movement a couple of decades later. Though this album was apparently only ever sold at Krishna temples and events,it really fascinates me at the possibility that this famous offshoot of Vaishnaism based spirituality would chose “people music” funk as it’s own gospel. As it stands,it’s top notch late 70’s melodic jazz/funk!
Filed under 1970's, Acid Jazz, Anthony Jackson, bass synthesizer, Berklee College Of Music, Chris McDaniels, crate digging, drums, Funk Bass, George Young, Hare Krishna, horns, jazz funk, London McDaneils, Randy Brecker, Rasa, Uncategorized, Wax Poetics magazine, Webb Thomas
Norman Connors is a fascinating artist to me. Starting out as a free jazz drummer with people such as Archie Shepp and Pharaoh Sanders,Connors was something of an internal talent scout during the 1970’s. His early solo career consisted of solo albums with an avant garde fusion style that somewhat anticipated the rise of the new age musical concept. By the end of the decade,Connors was known primarily for romantic soul ballads featuring the lead vocals of artists such Jean Carn,the bassist Michael Henderson and his major pet project in the late Phyllis Hyman. One of these ballads,”You Are My Starship” is still his best known song.
Over the past decade or so,I’ve been progressively exploring the music of Norman Connors album by album. Even though he became known for his slow numbers,it was through his uptempo material that his music really evolved. And it was an exciting time too because Connors original run as a solo artist started at the dawn of the funk era and came to a conclusion around the beginning of the post disco period. One major period of his career that has attracted me was from when Connors began transitioning from jazz to a more funk/soul sound in the mid 70’s. And one major cornerstone of that was the title song to his 1974 album Slew Foot.
A hard,fluttering horn chart led by Eddie Henderson opens up the groove as Connors in similar manner to the Bar Kays’ choral horns from 1967’s “Soul Finger”. The Clavinet of Hubert Eaves plays additional rhythm support-as each refrain is separated by a break featuring a bluesy amp’d guitar from future Mtume member Reggie Lucus. He is supported on bass by Anthony Jackson on those scaling,cinematic refrains before Lucas gets a chance to really rock out on the middle chorus of the song. The rhythm scales back down to the drums,bass line and Clavinet on the final part of the song. Especially right as the horns fanfare the song right into fade out.
Norman Connors really lifted up cinematic funk at a very important time. This was during the blacksploitation era when Isaac Hayes was winning best musical score for his work on Shaft. Not to mention Curtis Mayfield’s huge success with Superfly and Roy Ayers with Coffey. Even though this song wasn’t in a movie,it was surely funk that moved itself on every level. Both rhythmically and melodically. It was also a building block in the evolution of Reggie Lucus’s transition into funk with the late 70’s edition of Mtume as well. So as a musician and a major talent assembler,this was some of Norman Connors’ finest funk!
Filed under 1970's, Anthony Jackson, cinematic soul, clavinet, drums, Eddie Henderson, Funk, Funk Bass, guitar, horns, Hubert Eaves, jazz funk, jazz rock, Norman Connors, Reggie Lucus, Uncategorized