James Ingram is an artist whose contributions to the disco/post disco era musical continuum are ones that I’d totally neglected. Conversations with Henrique revealed the man to have started out as a guitar and keyboard player on the Dolemite movies. That while being a member of the band Revelation Funk as well. And that Motown funk band Switch’s Philip Ingram was in fact James’ younger brother. All I’d previously known about the man was as a man who’d duetted with Patti Austin and Linda Ronstadt. As well as his early 80’s songs such as “Just Once” and “One Hundred Ways”. The revelation of Ingram having a history with strong uptempo funk/soul was a very happy one for me.
Following session word for Leon Haywood and The Stylistics in the late 70’s and early 80’s,Ingram signed with Quincy Jones’ Qwest as a solo act. His debut set was called It’s Your Night. It featured many of the famous Westlake Studio session crew such as Jerry Hey,Paulinho Da Costa,Nathan East,Larry Carlton and David Foster. It had a big hit with the Westcoast inflected uptempo groove of “Ya Mo Be There” with Michael McDonald. Upon hearing the generally ballad themed album in it’s entirety,it was another uptempo song that actually caught my attention very heavily. It was written by Heatwave’s Rod Temperton and was called “One More Rhythm”.
A swinging cymbal heavy drum roll starts the groove off. Suddenly the equally swinging horn charts dramatically roll right in as the rest of the song sets off. The refrain of the song features a stride style honky tonk piano solo from Ingram-along with a brittle synth bass line. This is set up with a steady post disco rhythm accented with a clapping on each beat. On the choruses the horns start up again before the theme that starts out the song chimes back into another refrain. The bridge of the song the song finds Ingram vocally scaling upward towards an organ solo from the late,great Jimmy Smith. The chorus returns for the songs fade out in a slightly higher key.
In many ways this song presents itself musically as an early/mid 80’s variant of what Stevie Wonder did eight years earlier with “Sir Duke”. It comes out of the harmonic flavors and arranging style of big band swing and Kansas City jazz. Than it adds to that contemporary instrumental and production touches. In this case a synth bass line mainly. Ingram’s soulful wail of a voice,Jimmy Smith’s solo and Temperton’s good understanding of jazz styled melodies makes this an interesting retro futurist big band pop/jazz/funk number in it’s time. And both compositionally and rhythmically,it’s a song that might be difficult to get out of one’s brain and booty.
Filed under 1980's, big band swing, funky pop, horns, James Ingram, Jerry Hey, Jimmy Smith, Nathan East, Paulinho Da Costa, Quincy Jones, QWest, Rod Temperton, Uncategorized
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