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.