David Fathead Newman is a name that I’ve been aware of for a long time. In fact it was hearing the name spoken by my father that introduced me to the music of Ray Charles-rather than the other way around as one might expect. A native Texan who, Newman came right out the jump blues R&B school to be one of the key musical figures to evolve the saxophone during the formation of soul music in the 1975’s. As part of Ray Charles band,he was iconic. During his years after leaving Ray,Newman did session work for people such as Aretha Franklin and BB King. Not to mentioning carrying on a successful solo career as a bandleader.
Recording for a series of different labels during the decade,Newman eventually landed at Prestige at the end of the disco era. With a musical pallet that painting it’s brushstrokes from soul to jazz,Newman had developed a strong funkiness that allowed him to find a way to put his horn into the key of the hottest dance music of the late 70’s. He bought in members of Herbie Hancock’s Headhunters in Harvey Mason and Bill Summers. Stuff’s Eric Gale and Cornell Dupree-strong session musicians in their own right also came in for the 1979 album Scratch My Back-Newman’s one album for the label. The song that caught my ear most hear was “Rock Me,Baby (Like My Back Ain’t Got No Bone)”.
Summer’s percussion get’s the groove started out,while Mason comes in with a phat 4/4 beat shortly after. Newman’s sax plays a popping tone along with the thick slap bass line. The deeply voiced strings dart over the main rhythm like musical shooting stars. Vocalist Flame Braithwaite comes in and sings several different choruses of the songs title-with party sounds from Newman and the other musicians moving right along with the rhythm of the song itself. On the refrains of this mostly chorus based song, the bass line begins popping up and down in the classic disco bass style as the melody follows suit. The main chorus of the song maintains itself until the song fades out.
My friend and inspiration Henrique has referenced this song on a couple of occasions as an example of “funk functioning as disco”. And in every way,it’s a hot jam for sure. With Harvey Mason playing away at around 110BPM,this is relatively slow in tempo compared to the majority of disco records from the late 70’s. This fives the song an extra funkiness. Not to mention the thick slap bass thumping of Wilbur Bascomb,Jr. Newman’s sax takes on the same rhythmic character of the bass on this song too-popping along percussively rather than playing the melody. So this wonderful reworking of the BB King classic takes the blues straight into the disco funk territory wonderfully.