Chuck Mangione is likely the most commercially successful jazz flugelhorn players of the 20th century. After attending the Eastman School Of Music,Mangione filled the esteemed trumpet chair in the iconic Art Blakey’s Jazz Messengers. For at least two decades,Blakey’s Jazz Messengers had mentore many new generations of talented jazz soloists. And after forming his own group The Jazz Brothers with his keyboardist brother Gap,he went onto a hugely successful solo career-with his “Chase The Clouds Away” being used as an Olympic games theme song to the iconic pop smash “Feels So Good” that he’s best known for.
Those events occurred in the mid to late 1970’s. Having listened to more of his music at the recommendation of my friend Henry Cooper,it became clear that Mangione’s talents lay in him being a groove loving melody man. A lighter improviser similar to Herb Alpert,he also brought some of Miles Davis’s modal instrumental style into the pop end of the jazz fusion era-tending to record with smaller groups. This also extended into the 1980’s as well. One such example is from a song off his 1982 album entitled Love Notes. The name of that particular song is “No Problem”.
Gordon Johnson’s sustained bass line begins the song,and bops along with the main rhythm throughout the song. Playing the melodic counter to this is Peter Harris’s heavily filtered (and very processed electric piano like) electric guitar. Flutist Chris Vadala and Mangione play the same bugle call type melodic solo over this. And this makes up for the primary body of this 12+ minute song,save for one pitch heightening at the 7 minute mark. On two occasions,Vadala’s guitar and Johnson’s slap bass play a wah wah fueled “chase scene” style funk bridge with Magione blowing harder lines before the song finally fades.
“No Problem” is very stripped down for its length. It has Chuck Mangione’s love of minimalist cinematic grooves. Its also one of those grooves that sounds,in its entirety,like the intro to a song that doesn’t ever fully start. Therefore there is lots of drama about it. Everything playing around Everett Silver’s insistent beat on the drums give it a decidedly 70’s flavor for a song that comes out of the early 80’s. Because the rhythm and melody are defined by so many empty spaces,its the sort of groove that someone could actually tell a visual story too. And therefore a great example of dramatic mood funk.
Part II of “No Problem” to be heard here-courtesy of Henry Cooper
Filed under 1980's, Chris Vadala, Chuck Mangione, drums, Everett Silver, Flugelhorn, flute, Gordan Johnson, jazz funk, Peter Harris, pop jazz, rhythm guitar, slap bass, wah wah guitar
Hugh Masekela first came to my attention in the late 80’s/early 90’s. During that time,local oldies radio would often play his original instrumental version of “Grazing In The Grass”,complete with cowbell followed by the vocal version by Friends Of Distinction. Both versions were recorded only a year apart. And what caught my attention most was the fact that Masekela’s version was a lot slower-with a strong Latin/funk flavored soul jazz flavor about it. To this day,exploring Masekela’s rich and varied catalog of music hasn’t been nearly as a high a priority on my list as it should be. So today is the beginning of remedying that musical oversight to a degree.
The South African flugelhornist is turning 77 today. In the mid 90’s my father played for me the second song I heard of his-a heavy jazz/funk number from 1975 entitled “The Boy’s Doin’ It”. It was from an album of the same title,which marked the beginning of Masekela’s three album/two year stint on Casablanca Records. With Parliament being signed ot the label,P-Funk was entering it’s peak on the same record label during the same period. And Masekela gave up plenty of his own funk there as well. His final album for the label was 1977’s Melody Maker. And it contained one of these funk numbers he made entitled “Toejam”.
Yaw Opoku’s phasered ascending/descending bass line and Papa Frankie Todd’s slow,funky drumming starts out the song. Then Adaloja Gboyega’s electric piano comes in to play the bass accents. Throughout the song he also plays some bluesy synthesizer riffs as well. Percussionist Isaak Asante plays rhythmic chimes off the intro-as well as on the instrumental breakdown which showcases Masekela’s horn playing the descending melody. On the second refrain,Masekela plays a full flugelhorn solo thats full of sustained improvisations. Before the songs final chorus,the percussion rolls into the drum / bass/ keyboard intro before fading out entirely.
What really stands out about this song is how succinct the funk of it all is. A band consisting of a good bassist,drummer,keyboardist and horn soloist could almost take a school lesson based on how it’s construction. Most of the solos find each instrumental element taking their turns that are singled out whilst also playing in grooving unison. Also even with the presence of Afrocentric percussion,this song is straight out of the jazz-funk school of the Headhunters and Crusaders of the time. With a filtered bass line that also continues with P-Funk’s love of scaling melodic bass lines,this was also a good closeout jam of sorts of Masekela’s period on Casablanca.
Filed under 1970's, Casablanca Records, drums, Flugelhorn, Funk Bass, Hugh Masekela, instrumental, jazz funk, P-Funk, percussion, South Africa, synthesizer, Uncategorized