Larry Young is a jazz organist who I didn’t know anything about until meeting Henrique a decade ago. He introduced me to his 1975 album Fuel when discussing the many acoustic jazz artists doing different tributaries of funk. Young came to prominence during the early 1960’s. In terms of innovation,he did with the Hammond B-3 organ for modal jazz what Jimmy Smith did for the hard pop and soul jazz sub genres. He worked with many jazz greats from that era including Lou Donaldson,Elvin Jones and Hank Mobley. He also became one of the architects of fusion as a member of Tony William’s Lifetime.
In the final few years of his life,Larry Young formed his own fusion group called Fuel-titled after his 1975 album. These group leaned heavily towards the funky end of the genre. Because Young died mysteriously in 1978 at the age of 37,this project was sadly cut short with only two albums released. One of them was an album entitled Spaceball,released in 1976. I just learned about this album writing this. And wound up exploring many of its songs on YouTube. It was the opener of this album that made the strongest impact on me in terms of funkiness. Its entitled “Moonwalk”.
Jim Allington’s fast paced Brazilian drum swing opens the album. Shortly thereafter,Dave Eubanks three on four note bass line kicks in. This represents the entire rhythm body of the song. As for the melodies of the song,there are many provided from Larry Young himself. There’s a high and low pitched sustained organ roll playing call and response with itself. He also adds in some spacey electronic synthesizers almost as percussion accents-in particular towards the last minute or so of the song. On the bridge,Larry Coryell plays a rolling guitar solo before a final refrain closes the entire song out.
“Moonwalk” is a really amazing jam. Its basis is thoroughly Brazilian funk. On the other hand,the harmonic complication of the soloing is almost beyond belief. The female backup singings “doo doo wopp”-ing throughout the early parts of the song adds a certain verbal encouragement to the entire musical movement. With the sometimes atonal electronics, this has some of the spacey,ethereal free jazz elements of people such as Sun Ra’s Arkestra mixed into the otherwise funky grooves. It really shows just what an innovative jazz musician could do in terms of soloing with a strong funk rhythm accompanying them.
Filed under 1976, Brazilian Jazz, Dave Eubanks, drums, Funk Bass, Hammond B-3, Jazz, jazz funk, jazz guitar, Jim Allington, Larry Coryell, Larry Young, organ, synthesizers
Jimmy Smith helped redefine the vocabulary of jazz organ during the hard bop/soul jazz era. With his heavily blues and gospel based approach,his use of the Leslie speaker on his Hammond B-3 organ became defined by distinct clicking tones between each key stroke. This idea of instrumental technique combined with personal finger touch has made Smith’s sound extremely influential among jazz style organists for the remainder of the 20th century. And with bands such as England’s James Taylor Quartet utilizing this approach on the Hammond organ, Smith is along with Roy Ayers one of the main instrumental pioneers of the 1990’s acid jazz sound.
As of today,it’s been five days since Earth Wind & Fire bandleader Maurice White passed away. When I think about it,Maurice and Jimmy Smith were both members of America’s Silent Generation-only on earlier and later ends of it. During the mid 1970’s,Smith’s musical style made yet another transition. This one towards a hard funk oriented sound. Because of his blues roots and love of placing his organ soloing in the context of heavy rhythm,the funk genre was an ideal for Smith to deal with during the late 70’s. Recording both bop and funk for the Mercury label at the time,Smith and Maurice White’s music dovetailed beautifully in 1978 when Smith interpreted the EWF number “Serpentine Fire”.
The lightly fan faring intro of percussionist Stephanie Spruill introduces this groove,over which Smith plays a smooth version of the songs initial melody on his B-3. John Phillips tenor sax and and Nolan Smith’s trumpet play the role of a stripped back Phenix Horns going into Abraham Laboriel’s bass line-itself similar to the bluesy melodic line of Herbie Hancock’s “Cantaloupe Island”. On the central refrains,Smith plays the chords of the melody very much in classic bop style-with later variations showcasing call and response dialog with the two horns. On the choral links with the scaled up horns,Smith accompanies his own organ with a beautiful round Moog synthesizer bass tone.
Of course EWF had a strong jazz basis at the very core of their sound. When jazz soloists began covering their huge hits during the 70’s,that element really came out a lot more. Jimmy Smith’s take on “Serpentine Fire” from his 1978 album Unfinished Business is a superb example. Not only is he rounding heavily on his bop approach of playing chords, but on many of his solos he’s hammering on the organ in a very aggressively rhythmic sustain. The rhythmic sound of the song is a bit smaller,more live oriented than studiocentric. Of course that allows for Smith’s soloing to take center stage. It also allows for his to be a fantastically funky re-imagining of an Earth Wind & Fire classic.
Filed under 1970's, 1990s, Abraham Laboriel, Acid Jazz, blues funk, Earth Wind & Fire, Funk Bass, Hammond B-3, hard bop, jazz funk, Jimmy Smith, Maurice White, Moog, organ, Phenix Horns, Silent Generation, Uncategorized