After hearing “‘Nard” the one definitive impression you’ll have is that New York pianist Bernard Wright has a large number of musical influences ranging from Herbie Hancock,George Duke,Lenny White and of course Dave Grusin (his producer) and Miles Davis.But one thing the 16 year old musician does very well is find unique and creative ways of gathering his influences into his own special kind of musical sound.
Released on vinyl in 1981 on GRP “‘Nard” is at it’s core a funk-jazz album,but all that means is that the backup has a rhythmic R&B style over which Wright plays very memorable and often improvised solo’s on his acoustic piano,Fender Rhodes and sometimes the occasional synthesizer.But only on the spiky funk of “Just Chillin’ Out” and “We’re Just The Band” do synths play that big a part.
“Master Rocker”,”Spinnin'”,”Firebolt Hustle” and the jamming “Bread Sandwiches” are all based on a chunky backup of guitars,rhythms and often sudden melodic exchanges,that plus the comically absurd vocals of “Haboglabotribin'” brings up the George Duke connection.The general sound (especially on the one ballad in Weldon Irvine’s “Music Is The Key” showcases Bernard Wright as an artist with a firmly established 1970’s-based sound..
The electronic and glossy sheen of 1980’s style jazz-funk an R&B in general are not to be found in huge doses on ‘Nard’.But thanks I’m sure to poor promotion on GRP’s part this album (and artist in general) have gone almost forgotten until this CD reissue.I brought it only on customer recommendation and I couldn’t be more pleased with what I heard.And despite it’s often hefty price tag ‘Nard’ will be more then worth the investment.I recommend it not only as an ear pleasing guidebook for other aspiring young musicians but to any fan of late 70’s/early 80’s transitional jazz-funk in general.
Originally Posted On November 15th,2004
Link To Original Review Here!
Minnie Riperton is one of my favorite female vocalists of the 1970’s. It went far beyond her 5 octave vocal range. The choices of musical setting she and her collaborating husband Richard Randolph made for this voice always operated on different ends of the soul/funk idiom. That meant the songs were not going to be simplistic. Nor could they merely rely on Riperton’s voice as the sole draw for the songs. Especially as that ethic of showcasing a strong singer with less then stellar music is almost a given today,this really spoke to the level of musical artistry that went into Riperton’s work.
In 1975,Riperton’s label Epic were interesting in a follow up to the massive success of the Perfect Angel and its single “Loving You” after its run was over. Since Stevie Wonder,who’d helmed that album,was busy producing his own Songs In The Key of Life at the time,Stewart Levine ended up helping out with the production on the 1975 album Adventures In Paradise. Working with musicians such as Crusaders’ Joe Sample and Larry Carlton,this albums jazz funk flavor was epitomized extremely well by the Sample co-penned title song that opened its flip side on the original vinyl.
Dean Parks’ deep 10 note rhythm guitar riff opens the song along with Jim Gordon’s funky drum and Sample’s bluesy Fender Rhodes piano licks. Along with Sample’s thick roadhouse style acoustic piano chords on the vocal refrains,this is the main body of the song. Ascending yet subtle strings show up on the chorus,where Riperton soars into her trademarked high F-sustaining across several chords. This refrain/chorus refrain sequence is repeated for one more round. Riperton improvises a bit on the high F aspect of the song as the song fades out on its main instrumental refrain.
“Adventures in Paradise” is a terrific example of Minnie Riperton really riding a strong jazz/funk groove for all that it could offer her. Even though not strictly so,this song has a heavy Crusaders vibe about it. Found over the years that whenever Joe Sample is in a leadership position instrumentally and compositionally,the other musicians involved tend to feel right at home instantly. And that happened with the rhythmically thick and melodically strong nature of this song. Minnie Riperton recorded some amazing music in the funk genre. But for me personally,this would probably top that list.
Patrice Rushen is an artist I’ve been wanting to write about for some time. And one of the key reasons behind starting Andresmusictalk. She is best known for her hits in 1979’s “Haven’t You Heard” and 1982’s “Forget Me Nots”. The LA native is turning 62 today. Earning her music degree from the University Of California. By the age of 20,her debut album Prelusion had been released-presenting her as an instrumental jazz artist. By the time she signed to Elektra in 1978, Rushen was already a major player in the jazz-funk genre which was deep in its peak period during that time.
A gifted multi instrumentalist,Rushen began singing on her albums after 1975’s Before The Dawn. By the early 80’s,she’d made the transition into a soul/funk singer who still maintained her high quality jazz/funk instrumental backing. Her 1982 album Straight From The Heart is perhaps her most famous album-containing one of her biggest hits in “Forget Me Nots” and showcasing some of her most creatively satisfying and funky music. Being a lover of the Fender Rhodes piano,which is one of Rushen’s passions,one of my very favorite songs from this album is entitled “All We Need”.
This is a song that just starts right off ready for action. The beat maintains a consistent post disco stomp while the rhythm section maintains its fatness throughout. Paul Jackson’s guitar is snapping throughout this song with a hard punchy sound. And the slap bass line of Freddie Washington is popping just as heavy with the dramatic chordal modulations Rushen’s Rhodes and her vocal duet with Roy Galloway provide. The change in melody on the changes of the song add a glistening high tone on the roads before the basic chorus of the song fades it right out.
One thing that strikes me about this song is that instrumentally,its mostly chorus. And its one of the funkiest choruses of the post disco era-with a phat funky bass/guitar interaction and Rushen’s Fender Rhodes carrying the Stevie Wonder like jazz/funk chord modulations. In that way,its probably the ideal jazz/funk song for the post disco era. The instrumentation is very live sounding,the melody is very singable and the composition is full of Rushen’s signature jazz phrasings. So on those levels,its just the type of song that really epitomizes her approach to jazzy pop/funk.
Filed under 1980's, drums, Fender Rhodes, Freddie Washington, jazz funk, LA, Patrice Rushen, Paul Jackson, post disco, rhythm guitar, Roy Galloway, slap bass
Earl Klugh is an artist who really changed my perception of the acoustic guitar. Growing up,I saw it as sounding a somewhat trite sound. Primarily a folk instrument to accompany singers doing verse upon verse type songs. That changed a bit when hearing my dad play records by the classical guitarist Julian Bream. But Klugh blew it out the box for me. He really brought out the gutbucket blues and jazzy licks on his guitar. And got me closer to the understanding that the earliest blues numbers were written and played on acoustic guitar.
A Detroit native,Klugh was inspired to play guitar by first hearing Chet Atkins play on TV. As he grew as a player Wes Montgomery,Ray Parker Jr. and pianist Bob James (with whom he’d later collaborate) became huge influences on him. Not just his sound,but his smooth jazz/funk rhythm section. This ethic bought him multiple Grammy nominations and wins over the years. One of my favorite grooves of his came…from his 1981 album Crazy For You-given to me on a cassette a janitor at my dad’s old job saved from the dumpster. The song on this album that keeps my attention up to this very day is called “Twinkle”.
Greg Phillinganes and Pauliho Da Costa start the song off with a percussion/Fender Rhodes melody before Raymond Pounds’ drums kick in over Phillinganes synth solo and the slap bass of Louis Johnson. The refrain adds Pounds drums to the opening melody as Klugh’s guitar is playing and improvising off the bluesy main melody. On the choruses,the same rhythm section play closer to Klugh’s melody. On the second refrain,Philliganes Rhodes takes a bit more presidents. On the bridge,Johnson’s slap bass solo is accompanied by Da Costa’s percussion Phillinganes’ synth brass and Klugh’s guitar riffs fade out the song.
With 16 years to live with this song across the tape,vinyl and CD formats,this represents as close to sheer musical perfection in the sophistifunk end of the jazz funk/fusion genre. The Westlake studio musicians bring to this song the same level of production sheen,razor sharp instrumental chops that Quincy Jones would’ve brought to his productions at the same time. Klugh’s guitar solos had a somewhat old timey blues/jazz flavor in the melodic department. Yet the modernistic early 80’s instrumental production gave the song a sparkling blend of old and new.
Filed under 1980's, acoustic guitar, drums, Earl Klugh, Fender Rhodes, Greg Philinganes, jazz funk, Louis Johnson, Paulinho Da Costa, percussion, Raymond Pounds, slap bass, synth brass, synthesizers, West Coast
The Crusaders are a huge part of the nervous system for the anatomy of the funk groove. Especially when it comes to it’s jazziest end. Now its 2016,I turn around and only one member of the original Crusaders lineup is still alive in Stix Hooper. Of course this year,there’s been so many other musicians (mostly those born in America’s “silent generation”) who’ve passed away. At the same time,its recently come to my attention that the Crusaders groove is truly immortal beyond its individual members. So in terms of profiling their songs,it seemed best to put the spotlight specifically on them.
Today,I’ll be showcasing Wayne Henderson. The Texas trombonist was a founding member of the group when the were called The Jazz Crusaders. This group were hard bop/soul jazz pioneers. And wrote some of that jazz tributary’s most defining numbers. By 1972,the band had dropped the adjective “jazz” from their name. And their concentration was squarely on the funk. In 1974 they signed to MCA. And brought in guitarist Larry Carlton as a member. One excellent example of this is the opening song off their 1974 album Southern Comfort entitled “Stomp And Buck Dance”.
This jam is one I’d describe as a superb example of unison soloing. Stix keeps the rhythm sturdy with a 6 beat funky beat accented with percussive cymbals. Wilton’s bass line and Larry’s growling guitar bursts are right there with that bottom. Joe Sample meanwhile provides ascending/descending chords with a processed Fender Rhodes piano. On the choral parts,Sample comes in with even more acoustic/electric piano parts as Wayne and Wilton come in with wonderfully harmonic sax/trumpet solos and accents. The song itself pares right down to its initial base before fading out.
Southern Comfort is a CD I picked up about twelve years ago at the now defunct Common Sense Pawn Shop. The moment my dad and I put this in the car CD player,we were both entranced in this songs thick world of funkiness. The idea of combining sharp solos with clean unison playing made “Stomp And Buck Dance” one of my very favorite Wayne Henderson compositions written for The Crusaders. All the members talents just shine like the sun on this song. And among the Crusaders many songs and albums,this one stands out as one of their finest overall funk jams.
Filed under 1974, drums, Fender Rhodes, Funk Bass, jazz funk, Joe Sample, Larry Carlton, piano, rhythm guitar, Saxophone, Stix Hooper, The Crusaders, trombone, Wayne Henderson, Wilton Felder
Dexter Wansel first became known to me as one of the Philly PIR team who worked on the 1976 debut album by the Jacksons. Being more broadly aware of the Philly soul sound now,Wansel seems to have a very different approach to music than Gamble & Huff and Thom Bell did. With disco era classics such as the Jones Girls “Nights Over Egypt” and “Keep On Dancing”,one of my favorite Jacksons’ songs off that Epic label debut,Dexter Wansel’s arrangements were based in his keyboard and guitar playing. Therefore his productions seem to have some of the funkiest bottoms of 70’s Phily funk and soul.
One thing Wansel also did was maintain a solo presence on PIR concurrent to his productions. One of these albums,which I never managed to pick up on vinyl despite seeing it all the time,was 1978’s Voyager. The album cover always stood out to me as a Trekker/sci fi admirer because of the prominent Star Trek model kit bash featured as some sort of robot riding through the desert. Through MP3 and YouTube,I’ve been fortunate enough to hear this album all the way through.And its an album that starts out with a funky bang with the jam “All Night Long”.
An otherworldly space funk Moog bass starts the song off. Then the drums come in playing a disco era friendly dance/funk beat. This is accompanied by a mid toned rhythm guitar sustain,accenting horns and a SERIOUS slap bass thump. With the addition of an accompanying Fender Rhodes piano and Wansel’s falsetto/tenor vocal leaps this represents the choruses and refrains of the song. On the last part of the song,a major horn chart segues into a percussive,jumping beat over which a sassy,rocking blues guitar riffs with the phat slap bass and keyboard lines before scratching hard as the song closes out.
Without any hesitation, this is one of the hardest straight up funk jams to come out of the PIR camp. The beat has a swaggering,percussive shuffle. The keyboard/synthesizer parts are layered in a manner that lays somewhere between early 70’s “united funk” and mid/late 70’s space funk. And Wansel’s vocals (I’m pretty sure they’re his) have some of the slyly sexy attitude of his particular musical camp. Honestly I tend to think of Philly soul as the breezy,string laden proto disco sound of the 70’s. This helps showcase Dexter Wansel as a major player in the harder groove based element of the Philly sound.
Filed under 1970's, dance funk, Dexter Wansel, drums, Fender Rhodes, horns, Moog bass, Philadelphia, Philly funk, Philly Soul, rhythm guitar, rock guitar, slap bass, synthesizers
Maysa Leak is an artist who came to my attention after first hearing her expert,smokey alto in the early aughts. The Baltimore native graduated from Morgan State University with a degree in classical performance. She performed in the Morgan State Choir. It was there she met Stevie Wonder,who brought her in to be a backup singer in his late 80’s/early 90’s edition of Wonderlove. She was most prominent on his soundtrack for the 1991 Spike Lee Joint Jungle Fever. She released her solo debut in 1995 as well. While performing with different groups over the years,its a clear memory where I first heard her.
During the same time I was deep into bands like Jamiroquai,discovering Rufus/Chaka Khan,Miles Davis and the jazzy side of funk my mom picked up a CD called No Time Like The Future by Incognito. This is the first time I ever heard Maysa singing on songs such as “Get Into My Groove”,which I’ve already covered here. Her jazzy style permeates much of her life,so much so that she named her daughter Jazz. And that jazzy groove attracted me to more and more Incognito albums over the years. Their 2008 album Tales From The Beach contained one of my favorite songs sung by her on “I’ve Been Waiting”.
Maysa begins the song by saying “if my heart should betray my emotions,I hope you understand just what it is I’ve been feeling”. Following that,a VERY Stevie Wonder like major/minor jazz chord progression played on a high and bass toned Oberheim synthesizer begins the musical end of the song. This consists of a flutter wah wah guiter and light cymbal/bass drums kicking off a thick slap bass line playing along three chords. After a couple bars of that the slow,funky drums come in along with the Fender Rhodes electric piano and Bluey’s liquid rhythm guitar.
In between this refrain,there’s a brief musical bridge which brings in the tight horn charts-which play call and response to Maysa’s vocals. The Rhodes also plays a strong counter melody to this as well. When the chorus comes in,Maysa is multi tracked within a sea of percussive drums,wah wah guitar,dancing horn charts and the even snakier slap bass line. Just before the second round of choruses and refrains,the keyboards take over for yet another short bridge on the outro. The music strips down to its most percussive elements on the final choruses as the song closes out on a breezy Rhodes coda.
One day,I’m hoping Incognito will be somewhat more recognized worldwide for their often ingenious continuation of 70’s jazz funk in the modern age. Again as has been a continuing theme with me lately,this is a complexly arranged composition. The chord progressions and melodic changes,along with the changes in instrumental soloing throughout,make this one of the most sleekly arranged jazz-funk jams of the new millennium. Maysa’s strong personality and determined “grown folks” outlook on sensuality really make this one of 2008’s major jams of the year for me,anyway.
Filed under 2008, Baltimore, drums, Fender Rhodes, horns, Incognito, jazz funk, Maysa, Morgan State Choir, Morgan State University, rhythm guitar, slap bass, Stevie Wonder, synthesizers, wah wah guitar, Wonderlove
Verdine White was just 19 when he took up his brother Maurice’s offer to join his then new band Earth,Wind & Fire in LA. It may have very well been the best choice Verdine ever made in retrospect. He once discussed feeling he’d make it big for sure having met Richard Roundtree and Jimi Hendrix upon arrival. The next six year’s found the band paying their dues for the massive crossover success their funk got in 1975 with “Shining Star and the That’s The Way Of The World album. Verdine is 65 today,and sadly his brother Maurice isn’t here for the event. Still whoever lives or dies,the funk is its own reward.
During this period of working closely with Charles Stepney,EWF were on the road constantly on their first massive tour-one that included visual illusions from Doug Henning and David Copperfield. They didn’t have time to record a full studio album so they released a double album-consisting mostly of the best live renditions of their songs up to that point from their touring. There were also five new studio tracks-the two most successful being “Singasong” and “Can’t Hide Love”. The album was another major smash hit too. One track Verdine participated in as a writer was the title song ‘Gratitude”.
Larry Dunn and Verdine start off the song with a close walk down on Fender Rhodes and bass,until a muted horn breaks into the full horn charts that begin the main song. The drums have a slinky,rather slow tempo with the Rhodes,slap bass and the horn charts accenting Maurice White and Philip Bailey’s vocal turns. Al McKay plays some occasional rhythm guitar licks and,as the song progresses Johnny Graham takes turns with his amplified blues licks.Before the song fades out, the melodic pitch goes up for it’s last couple of choruses.
Musically speaking,this song is a heavy stripped down funk relative to the more filled out “Shining Star” and 1976’s “Saturday Night”. This makes sense as it was made exactly between the two. It epitomizes EWF’s funk sound while Charles Stepney was involved in their production. It had the slickest studio based variant of that ultra bluesy Chicago style funk. With the studio hits off this generally live album were huge successes,this title song seems to be a bit neglected. And that’s interesting because it’s the heaviest funk among the albums five studio tracks. Any way around it,Verdine’s bass is a major star of the show.
Filed under 1970's, Charles Stepney, drums, Earth Wind & Fire, Fender Rhodes, Funk, Funk Bass, guitar, horns, Johnny Graham, Larry Dunn, Maurice White, Phenix Horns, Philip Bailey, Verdine White