Maurice White,one of the musical icons who passed away this year,it best known as the founder of Earth Wind & Fire-the most commercially successful of the 70’s funk bands in terms of crossover. On the other hand,the band broke up in 1984. And one of the many reasons brought up was that White had it in his mind that Columbia (the bands record label) were looking for him to do a solo album. This album got released in 1985. Its biggest single was with a (mostly) uptempo version of Ben E. King’s “Stand By Me”. But it still remains something of a footnote in EWF history.
When I first heard the album on vinyl album around 18-20 years ago,am not 100% sure it came off as anything all that exciting. Of course,that could’ve just been a case of seeking something different from it than what it was. And what Maurice White’s self titled (and sole) solo debut does is present a series of electronic,pan African rock/funk/soul fusions with a mild melodic pop new age vibe about them. The EWF message is still intact. Its just going more for an attitude than a sound by a large. The one song that always got my attention strongly was the opener “Switch On Your Radio”.
A totally electronic synth orchestration fades slowly on the intro. Than suddenly the song bursts with a bluesy funk melodic statement. And it has all the instrumental elements of the song itself. The drum machine and Paulinho Da Costa’s percussion play off the guitar,electronic hand clap and slap bass lines with this melodic electro funk wall of sound. This represents the choruses of the songs. On the refrains and the bridge,the mix is somewhat more stripped down to focus on the vocals a bit. An extended chorus with vocal ad lib’s finish out the song as it fades.
“Switch On Your Radio” has a sound that crosses a lot of musical bridges. The overall drum programming of the song has the bigness of sound that was very much of its time. Yet the live percussion accents along with Martin Page slap bass,Marlon McClain’s rock guitar and the ethereal synthesizers of Robbie Buchanan make for a powerful sound that basically amounts to a progressive dance/funk sound. And the melody has that strong song construction White and Page are so noted for. Its an extension of the EWF sound for sure. And it also pointed to a possible future solo direction for White which didn’t continue.
Filed under 1985, dance funk, drum machine, Earth Wind & Fire, elecro funk, Marlon McClain, Martin Page, Maurice White, Paulinho Da Costa, percussion, Robbie Buchanan, rock guitar, slap bass, synthesizer
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
Harlem born Patti Austin actually had a couple unique musical careers before her 70’s and 80’s breakthroughs. She was singing at the Apollo by age 4,and had a recording contract with RCA a year later. After her career as a child star,she became a teen queen of the commercial jingles during the mid to late 60’s. During the 70’s she began her career as a backup singer for Franki Valli and The Four Seasons as well as Japanese fusion artist Yutaka’s debut album in 1978. By then,she’d already recorded two solo albums of her own in End Of The Rainbow and Havana Candy.
First time I ever heard of her was through her work with Quincy Jones in the late 70’s and early 8o’s. Big examples would be songs like “Its The Falling Love” and “Baby,Come To Me” from 1979 and 81-duetting with Michael Jackson and James Ingram respectfully. Austin has a plaintive tone and elastic vocal range. This alternating voice makes her adept in jazz,funk and pop. One of the few versatile singers with a truly distinctive style to her that I know of. One of her shinning moments was on Quincy Jones 1981 album The Dude in 1981,where she sang frequently throughout. The name of the song is “Razzamatazz”.
Greg Phillinganes,Steve Lukather and Herbie Hancock start off the song with some viruosic electric piano/guitar interaction before Jerry Hey’s horn blasts get the song going. The refrain consists of Hancock’s electric piano,Lukather’s rhythm guitar and the drum/Moog bass of Rufus’s John Robinson and David Hawk Wolinski. On the choruses,Phillinganes adds his own melodic synthesizer touch. There are three different bridges here. One showcases the horns and Paulinho Da Costa’s percussion,the other reduces down to Phillinganes synth solo,and another is Lukather soloing over the refrain.
The song itself actually fades out on its second refrain. Patti Austin really gives her all on this song. This Rod Temperton composition is a very busy number,with a thick sophistifunk groove encompassing a number of powerful musical ideas. Especially its brittle,boogie funk juxtaposition of live horn arrangements,percussion and synth bass. On the second chorus,there’s an entire symphony of multi tracked Patti Austin’s singing the line “make it better with a little bit of razzamatazz”. Its a very melodic jazz/funk/post disco number whose energy level truly lives up to the exciting sound of its title.
Filed under 1980's, Boogie Funk, David Hawk Wolinski, electric piano, Greg Phillinganes, Herbie Hancock, horns, jazz funk, Jerry Hey, John Robinson, Patti Austin, Paulinho Da Costa, post disco, Quincy Jones, rhythm guitar, Rod Temperton, Steve Luckather, synth bass
Heatwave might be my personal favorite of the classic Dayton,Ohio funk bands. Difficult to be too objective about that. Interesting thing is,they represented a cross continental group-many of whom derived from Europe. The band sadly had very little recording longevity and a whole lot of bad breaks. But the five albums they recorded from 1977 to 1982 were all such well produced,well played on and well written funk/disco delights. The groups central composer was Rod Temperton. But the heart and soul of the band rose and fell along with their late lead singer/composer Johnnie Wilder Jr.
Wilder showed a great respect for good musicianship,good grooves and good melodies. It would also seem he ran Heatwave in a very paternalistic manner too. Apparently even deciding that members couldn’t get married-due to possible interference in the bands dynamic. With all the great funky dance hits Heatwave had, a 1979 car crash left Wilder a paraplegic and unable for perform for some time. While he began recuperating,Wilder was succeeded by future Commodore JD Nichols on the bands 1980 album Candles. Wilder composed one of my favorite jams on the album entitled “Goin’ Crazy”.
Heatwave’s keyboardist Calvin Duke begins the song with multi layered lead and bass Clavinet riffs-playing in staccato to three note riffs from the Fender Rhodes piano. On the choruses the drums kick in-ably accented by the highly prolific session master Paulinho Da Costa. Derek Bramble’s bass pops hard alongside Ernest Berger’s steady 4/4 beat and Duke’s high synth melody. On each refrain,the focus returns to Duke’s Clavinet solos. On the bridge,that Clainvet powers everything from climactic strings to the stop/start horn and Rhodes breaks that eventually bring the groove to a cold start.
This jam has that rare mix of professional studio sleekness and raw instrumental power. Heatwave are a tight unit on this song-with Calvin Duke,Da Costa and Johnnie’s brother Keith holding down the vocal fort on the refrains with his percussive “let’s clap,let’s clap”. The two types of electric piano used here are left the most raw-with the piano like tones of the Clavinet and melodic Rhodes really giving the song much of it’s instrumental power. It’s finely composed arrangement and funky danceability make this a fine example of why Heatwave threw down some of the most amazing disco era funk.
Filed under 1980's, Calvin Duke, clavinet, Derek Bramble, disco funk, drums, Ernest Berger, Fender Rhodes, Funk Bass, Heatwave, Johnnie Wilder Jr., Keith Wilder, Paulinho Da Costa, percussion, post disco, Rod Temperton, strings, synthesizer
Paulinho Da Costa has probably played on more albums than any other musician of the late 20th century. Possibly thousands. So chances are if you look in the notes of any pop,soul,R&B,funk or jazz record of the 70’s or 80’s, Da Costa’s name will probably be on it. The man began learning percussion as a child in Brazil-emerging from the samba genre to became one of the most regarded percussionists the world over. After playing with Sergio Mendes And The Brasil 77 in the early to mid 70’s, Da Costa got signed to Norman Granz’s Pablo label. This allowed him permanent residency in the US.
My first direct encounter with Da Costa’s sound was of course via his epic work with Michael Jackson on “Don’t Stop ‘Til You Get Enough”. All of a sudden his name appeared as the percussionist on album every bit of used vinyl I got my hands on. After browsing through a Fantasy Records CD catalog in the late 90’s,it listed a handful of solo albums Da Costa had recorded. One was from 1979 and called Happy People. It included some Earth Wind & Fire members along with Greg Phillinganes and Nathan Watts. One song I just heard from it really got my attention-called “Take It On Up”.
The sunny,melodic horn charts play festively over Da Costa’s intense percussion. A rhythmic electric piano,a revving high pitched rhythm guitar and an elaborately scaling bass line keep the rhythm steady throughout the song. Bill Champlin sings the lead vocal-accompanied on the chorus by a group of female backup singers. On the bridge of the song,all of this instrumentation comes to a high key pitched-with the fanfare of the horn charts filled with as much joy as funk can muster. One replay of this bridge comes into play before the chorus of the song fades it right out.
“Take It On Up” is one of those high energy Brazilian funk numbers that maintains a super high level of joyous musicality all the way. Surrounded by a group of A-1 session players from the jazz and funk scenes of the day,this is also some of the most well recorded (and generally presented) uptempo jams of it’s time. Da Costa’s percussion is mixed right up as the star of the show-right up with the blaring horns and Champlin’s tough, aggressive lead vocal. Happy People isn’t an easy album to locate these days. But with online video streaming,songs like this incredible melodic funk groove can be enjoyed by more people.
Filed under 1970's, Bill Champlin, Brazil, Brazilian Jazz, Funk Bass, Greg Philinganes, horns, Latin Funk, Nathan Watts, Paulinho Da Costa, percussion, rhythm guitar, samba funk, session musicians
Herbie Hancock’s four pre Future Shock albums in the early 80’s albums have always been very special to me personally. They may not have been massively successful commercially, but were some of his most potent jazz/funk masterpieces of his electric period. One of my favorite albums of this period was his third released from the 1981’s entitled Magic Windows. The album was by and large a heavy funk set including heavy participation from Ray Parker Jr.,who’d been working with Hancock for six years and for whom Hancock composed the song “Tonight’s The Night” for his Raydio project a year before-during which Hancock released two albums of his own in Monster and Mr.Hands.
This album was recorded at David Rubinson’s Automat studio’s in San Francisco,a studio known for it’s early embrace of automatic mixing technology as well as some of the biggest producers and musicians who recorded there. Perhaps realizing how his using synthesizers to play horn charts was influences the oncoming 80’s boogie/electro funk sound,Hancock touted this album as having no strings,brass or other orchestral elements on this album outside his electronics. Having been inspired by Talking Head’s electronic Afro-Funk explosions on their Remain In Light album,Hancock bought in Adrian Belew from their band for the his new albums finale entitled “The Twilight Clone”.
The song builds from the funky shuffle of Hancock’s drums and Paulinho da Costa’s percussion (along with a host of others) accents. Louis Johnson chimes in with one of his thickest slap bass lines before Hancock comes back in with a brittle LinnDrum beat and bubbling,mechanical and percussive synths. George Johnson joins in for chugging rhythm guitar,and all of this is accented by Hancock’s own synth bass line. Belew’s trademark “zoo guitar” sound plays the lead line with a very Arabic style melody. Shortly after the song goes up in pitch melodically,the bridge showcases a guitar/percussive breakdown between Da Costa, Johnson and Belew before fading out on it’s own main chorus.
On many levels,this is my favorite Herbie Hancock song of the 1980’s. It’s a perfect example of the electro funk process functioning strongly on the rhythm of the one. Hancock sets the pass as the drummer on this song,as well as providing his synthesizers as a percussive element in much the same way as he had on “Nobu” eight years earlier. He brings in the Arabic melodic tones of Adrian Belew’s horn-like guitar into the Afrocentric percussion Paulinho Da Costa brings to it. Of course the heavy funk element is locked down tight by the Brothers Johnson. So this song essentially acts as the total nucleus of what Hancock’s mid/late 80’s sound would be on a technological and structural level.
Filed under 1980's, Adrian Belew, Boogie Funk, Brothers Johnson, David Rubinson, drums, elecro funk, George Johnson, guitar, Herbie Hancock, Linn Drum, Louis Johnson, Paulinho Da Costa, percussion, rhythm guitar, San Francisco, synth bass, synth brass, Synth Pop, synthesizer, The Automat, Uncategorized
George Benson is one of my favorite overall musicians. Both my friend Henrique and I both agree on this. For the last couple of years,one major topic between us is how much of a virtuoso player Benson is. Over years of playing and singing,the man developed a technique of scatting over his guitar playing that became part of his signature sound. When thinking about paying tribute to this man’s rich and full musical legacy,it seemed right to showcase his talents on two levels: as a singer and as an instrumentalist. And considering Benson’s vast body of recorded music,that is no easy task. There was one song that bounced right into my head however.
Growing up,I always spoke of Benson’s hit “Give Me The Night” and Michael Jackson’s “Rock With You” in the same sentence. It wasn’t for years that I learned that both were in fact recorded with the same group of musicians. And both were produced by Quincy Jones. Give Me The Night is also Benson’s album from 1980. And a huge commercial success too on the strength of the title song and “Love X Love”. Taken as a whole it was a wonderful and diverse album. And there is one song on it that really catches my ear on a strictly musical level. It’s title is something an extension off another of Benson’s big hits from four years earlier and is called “Off Broadway”.
Rufus’s John Robinson’s drum kick gets the song rolling with Jerry Hey’s melodic horns, the late Louis Johnson’s bass thump and a duet between Benson’s bluesy guitar horn with Lee Ritenour’s more ticklish accessory line . Greg Phillinganes adds in blipping,chiming synthesizers along with a bass one. This goes into before Paulinho da Costa’s high every percussion comes in for the Brazilian style chorus where Benson plays the melodic solo. Hey’s horns and strings scale out of this-on two occasions within the song. The final refrains find Benson taking one of his chordally thick solos-vocalizing with it in his classic style on the final bars of the song.
Composed by Rod Temperton,one of my favorite jazzy funk/dance songwriters. The musicianship on this song is pretty close to amazing. Everyone involved is at their melodic and rhythmic best on this song. Although these are most of LA’s finest and most prolific session musicians of the day,Benson sounds as if he’s playing with a self contained jazz/funk band who’ve been playing for years like The Crusaders. Benson plays both a very basic melodic line on this song-one that’s very open and vocal in tone. That virtuoso style of soloing really lets go on those final refrains. And this song therefore gives you a groove that jams along by virtue of two different approaches of George Benson’s boss of a guitar.
Filed under 1980's, Afro-Latin jazz, drums, Funk Bass, George Benson, Greg Philinganes, guitar, horns, jazz funk, Jerry Hey, John Robinson, Lee Ritenour, Louis Johnson, Paulinho Da Costa, percussion, Quincy Jones, Rod Temperton, strings, synth bass, Uncategorized
Quincy Jones has been on my mind a lot lately when thinking about music. Last week in fact,my friend Henrique pointed out something he read on the back of a vinyl album about how important Quincy was to the jazz world in general. And this was at the height of his career no less. From being mentored by Clark Terry in the 1940’s up to helping shape up and coming hip-hoppers 60 years later,the evolutionary nature of Quincy’s career had me wondering how to present his music here today. The question was would it be good to express that musical arc by overviewing several songs from several decades,or focus on one song that might tell it’s own kind of story about Quincy Jones.
Last year at this time,I posted up an older review I had done for the 1981 Quincy Jones release of The Dude. Albums released under his own name always had a specific flavor to them. For example,his early albums showcased him largely as an instrumental band leader. His releases since the 70’s have generally been showcases not only for his evolving production approach,but also with the different musicians and vocalists he was involved with or mentoring at the given time. In the case of this early 80’s album,the spotlight was on James Ingram and Patti Austin. And the title track of the album said so much about where the classic Quincy Jones sound was going to be at that time.
A pulsing,nasal synthesizer starts off the song before the drums and horns kick in. This is accompanied by opening backup that includes Syreeta Wright and Michael Jackson among a massive chorus. The horns lead into a stripped down percussion break that’s accented by a slow crawling drum beat-over which a bluesy Fender Rhodes plays the lead keyboard line accented by Louis Johnson’s slap bass lines. The refrains start off with Austin and Ingram trading off vocals along. with Michael Boddicker’s Vocoder. Quincy himself provides a rap as the title character on several choruses after which the horns the male backup singers provide an accompanying chorus.
On the third of these choruses, the backup chorus led along by Austin sings a swinging variation of the chorus. Steve Luckather comes in to play a wah wah pedal heavy guitar line that mimics the low volume,bluesy solo on the Yamaha CS-80 synthesizer that comes out of Stevie Wonder on the bridge,which basically repeats the melodic theme of the refrain. After this the fanfarring horns that generally introduce Quincy raps instead segues into Austin’s swinging vocal choruses. There’s a repeat of the refrain after this. And the song fades out on a repeat of the chorus. Only on this one,Ingram accentuates the lyrics vocally before the song comes to an end.
Getting back to Quincy’s varied musical career,there are many qualities in this song that sum up everything he had done in his then nearly four decades of creative activity. The classic Westlake studio crew including drummer John Robinson,percussionist Paulinho Da Costa,trumpeter/arranger Jerry Hey and of course Louis Johnson play on this number. On the surface,this song written with Patti Austin and Rod Temperton has that sleek west coast production matched with the deep funk groove Quincy had been perfecting over much of the 1970’s. On that level,it’s alternately stripped down and boisterous depending on the mood the song is trying to project at a given time.
On the broader level,this song totally epitomizes the musical evolution of Quincy thus far. The accessory vocal harmonies on the chorus reflect the big band swing era as do the horns. And Stevie Wonder’s synth solo additionally brings the flavor of the blusiness that came from jazz to rock ‘n roll and onto funk and soul as well. The character of “The Dude”,represented as a stone sculpture on the cover and later to become Quincy’d mascot for his media production company,is basically an elder statesmen whose philosophy could be summed up by him stating “don’t put your moth around a check that your body can’t cash”. In this instance for me,this is Quincy’s most defining song overall up to this point.
Filed under 1980's, big band swing, blues funk, Fender Rhodes, horns, James Ingram, Jerry Hey, John Robinson, Louis Johnson, Michael Jackson, Patti Austin, Paulinho Da Costa, percussion, Quincy Jones, QWest, rap, Rod Temperton, slap bass, Steve Luckather, Stevie Wonder, synthesizer, Uncategorized, vocoder, wah wah guitar, West Coast
Larry Carlton has already shown up on this blog a year ago. In that case,it was talking about his 2001 solo remake of the Crusaders classic “Put It Where You Want It”,the original of course on which he played on as well. With eight years of recording with such vital instrumental luminaries behind him,Carlton signed with Warner Bros. records in 1977 and began recording his third solo album in his Room 335 studio. There he recorded with fellow session greats such as Paulinho Da Costa and Abraham Laboriel. The this self titled Warner Bros debut finally came out in 1978. It wouldn’t be for another seventeen years that I would pick up a copy on CD and get a chance to hear it.
The album began with a song named after Carlton’s studio. The song had the same basic rhythm and a faster tempo as Steely Dan’s “Peg”. Considering Carlton played on their Aja album the year before,it wasn’t surprising. Much of the album focused on replicating the sounds of many of the people he’d done session work for already. So the album had a very familiar approach to it all. In addition to a stripped down version of the Crusaders classic “Night Crawler”,one song on this album stood out to me for it’s own funky distinction. It was one of those songs I’d go back to over and over upon first picking up this album. It’s called “I Apologize”.
A deep piano chord opens up with the slow paced percussion grooving along. Laboriel’s slap bass plays on those percussive accents. Carlton sings the songs main melody while playing an amp’d up 12 bar blues solo right behind it. On the chorus of the song,the tempo slows into a peddle based,slow swinging jazzy melody featuring the backing harmony vocals of the Canadian rock band Motherlode’s William “Smitty” Smith. On the second verse,an electric piano adds it’s own accents. On the third there’s a full on guitar solo from Carlton before the song cycles up in pitch for the following chorus. The backing vocals of Smith plus Carlton’s guitar soloing close the song out until fade out.
In a similar manner to George Harrison’s “Woman Don’t You Cry For Me”,this song takes a full on 12 bar blues number and gives it a heavy contemporary funk treatment. Considering that funk is every bit as blues based as rock ‘n’ roll, this song has the effect of grooving and rocking hard with a sleek instrumental prescription. Carlton’s singing style presents an easy going smoothness that,while not overtly soulful in attitude certainly allows the rhythmic thickness of this funk to stand out on it’s more instrumental terms. Larry Carlton has certainly recorded some amazing funk over the years-whether it be as a session man,on his own or as a Crusader. And this is one of his strongest grooves for me.
Filed under 1970's, Abraham Laboriel, blues funk, guitar, Larry Carlton, Paulinho Da Costa, session musicians, slap bass, The Crusaders, Uncategorized, William Smitty Smith
With the passing of Joe Sample in 2014 and Wilton Felder just last year, I had a plan to pay tribute to The Crusaders here in a major way. In a similar manner to Earth Wind & Fire and James Brown, the music of the Crusaders were a key reference point for everything Henrique Hopkins and myself have done as bloggers. Now today is the birthday of Randy Crawford. Her own solo body of work contains some strong funk,soul and jazzy pop on it’s own. But it was through the Crusaders that I even discovered that she existed. To goes back to listening to that double Crusaders cassette at age 14 in the car stereo with my father. One of those albums was 1979’s Street Life. And it’s title song.
A brushing cymbal opens the song-joined shortly by a soulful sax solo from Wilton. After that the strings come into play as the main melodic theme that Randy is singing-along with Sample’s accents on the Dyno-My-Piano Fender Rhodes. After the strings fade out,the song pauses for two seconds before the scaling horn charts and drums introduce the main body of the song. This main body of the song features Stix Hooper’s disco friendly funky shuffle that swings along at a thick 112 beats per minute. EWF’s Roland Bautista is one of the guitarists providing a liquid rhythm guitar in fine rhythmic harmony with Wilton’s popping bass line.
At the conclusion of each refrain,the strings come back into play as the rhythm increases in strength. The percussion and the horn charts accessorize the melody even further on the chorus of the song. After these,a second whole refrain chimes in. Here the liquid guitar pulses along with the low swing of the cymbal based percussive groove behind it while the strings scale over and around it. The next part of the song features the main body featuring Wilton improvising the vocal chorus on sax. After Randy comes in for another vocal chorus,the second refrain concludes the album. The percussion evolves into a marching drum in this section as the song fades out.
Over twenty years of listening to this song has engendered a huge growth process for my musical ear. At the time I first heard it,I was listening to a lot of late 70’s and early 80’s Jacksons/Michael Jackson. And heard a lot of sonic similarities while listening to this song. Of course with the participation of percussionist Paulinho Da Costa,plus the Crusaders participation on many early 70’s Jackson 5 records that comes as no surprise now. Instrumentally,it’s nearly 12 minute length blends the jazz orchestration of people such as Gil Evans with the band disco era jazz/funk rhythms. The addition of additional session musicians into the brew further beefs up the core Crusaders sound as well.
Another friend of mine named Calvin Lincoln hosts a TV program called Soul School in Vallejo,California on Saturday evenings. One time he and Henrique did an episode together following Joe Sample’s passing discussing how many records different Crusaders played on throughout the 70’s as session musicians. That really bought out what a clean,well oiled sound this song had. As Henrique also once pointed out to me, this song has the aural vibe of a slick OG walking down an urban downtown sidewalk after dark. It’s one of the finest,most multi faceted examples of funky jazz/pop/soul and a defining moment for both the Crusaders and Randy Crawford.
Filed under 1970's, Calvin Lincoln, disco funk, drums, Dyno-My-Piano, Fender Rhodes, jazz funk, Joe Sample, Paulinho Da Costa, percussion, Randy Crawford, Roland Bautista, Soul School TV, Stix Hooper, The Crusaders, Uncategorized, Wilton Felder