It was Henrique who brought to my attention today that Kashif Saleem,born Michael Jones in NYC,passed away this last Sunday. The causes is still unknown as of now,and not that important. What does matter is that while Kashif was well known as a producer for other artists,it all stemmed from lesser sung achievements of his own. He joined the disco funk band B.T Express as a teenager for their third album Energy To Burn in 1976. He began producing for Evelyn King on her 1981 hit “I’m In Love”-beginning a long tradition of him producing funky female talent in the early 80’s. His talent went even further than that.
Alongside Stevie Wonder,Kashif is known as a synthesizer pioneer in funk/soul. He extended on Wonder’s work by creating sounds that became known as the boogie funk sound. That is mixing live rhythm sections with electronic orchestrations and melodies. He was an orphan who managed to get up of a very abusive foster family. While in primary school,he focused strongly on music. Even learning woodwind instruments-pretty rare for even multi instrumentalists. His self titled solo debut came out in 1983. The song that epitomizes his artistry on it for me is an instrumental entitled “The Mood”.
A strong,space heavy Afro Latin snare/hi hat drum starts off the song. The remainder of the song consists primarily of Kashif’s vocals and many layers of synthesizers. There’s a fluttering synth string,a wispy higher tones one in the back round and a brittle bass one accompanying the multi tracked layers of Kashif’s almost operatic,jazzy vocalese. On the refrains of the song,the melody goes into a higher key and a high funky rhythm guitar assists the melody. On the final choruses of the song,Kashif sings vocalese through a Vocoder before the song fades out.
Kashif’s boogie funk production style is generally spare but glistening enough to appeal to 80’s soul singers. But the moment I heard this instrumental 12 years ago,it was entrancing what a sonic marvel this really is. Its basically an Afro Latin jazz/funk number produced in the more electronic boogie style-with some beautiful chordal modulations and…just a general magical quality to the synthesized sounds created. Kashif will be remembered for me as someone able to get the most warmth out of 80’s era synthesizers. And I am hoping that will continue to be his most enduring musical legacy.
Miles Davis seemed to record a lot of his electric music of the early 70’s with his noted sense of spontaneity. He had his producer Teo Macero just record whatever he and his players were doing-all of it. And than have individual songs cut for albums later on. He did this on his fusion breakthrough Bitches Brew. And it’s a strong possibility he approached his 1972 album On The Corner in much the same way. That accounts for why there have been so many “complete sessions” box sets during the CD era for Miles. And it also points to the general approach Miles came at the whole idea of grooves and rhythm.
Miles said of On The Corner that he recorded the album as a way to “reach the kids” as he put it. Henrique and myself had a very meaningful discussion on this recently. And he bought out an excellent point. Miles was a member of America’s silent generation. Musically,this was a generation who championed melody. His own mother had advised him to “always play something you can hum”. As an innovator of modal jazz in the late 1950’s, Miles tended to view funk’s rhythmic base as solely for a dancing mindset. However ,he was able to fuse rhythm and melody here on the song “Black Satin”.
Badal Roy’s tabla drums and Khalil Balakrishna’s electric sitar washes introduce the album. After that Mtume’s percussion and Michael Henderson’s up-scaling three note bass line kick in to fatten up the groove. Miles plays a high medium pitched,processed trumpet fanfare. He punctuates with single note,percussive hits throughout the song. All between bursts of wah wah guitar,Herbie Hancock’s tweeting synthesizer and manic hand claps. On the last section of the song,Miles’ solo fives way to the cinematic organ of Harold I. Williams before the tabla/sitar intro that opened the song fades it out.
Miles’s On The Corner album is almost like one 54 minute jam sliced into four pieces. “Black Satin” would function as the second segment of that jam. But it has the most melodic content of the entire album. And it comes from Miles’ solo too-that aspect of the song you can hum. In terms of harmonic atonality, Miles was inspired by the experimental composer Karlheinz Stockhausen. Henderson’s bass line and the fast,percussive tempo tell another story. It’s based very much on the chase scene music of the blacksploitation films of the day. And this song was used as such in Don Cheadle’s film Miles Ahead.
The very first time I heard On The Corner,it was like being transported into a funky utopia. Part of the appeal was that the melodies were so minor or absent. It was like music where every aspect of it was doing it’s own dance. As time as passed,this song with it’s budding melody epidermises Miles’ extending on James Brown’s concept of turning his whole band into a drum. Also with the poly rhythms of this groove and the psychedelic sitar soloing, “Black Satin” also blends Afro-Caribbean and Indian flavors for pan ethnic funk delight. It brings Miles’ sound into the early forefront of the world fusion jazz/funk sound.
Filed under 'On The Corner', 1970's, Afro-Cuban rhythm, Badal Roy, blacksploitation, electric sitar, Funk Bass, Harold I. Williams, Herbie Hancock, jazz funk, Karlheinz Stockhausen, Khalil Balakrishna, Michael Henderson, Miles Davis, Mtume, organ, percussion, Psychedelia, synthesizer, tabla drums, Teo Macero, trumpet, wah wah guitar, world fusion