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
Chaka Khan’s very musical essence could be summed up through jazz. It was listening to Billie Holiday growing up in a family of visual artists that inspired her whole vocal approach. As a late 60’s counter culturally inclined teenager,she became involved with organizations such as the Black Panthers as well as Affro Arts out of her native Chicago. She encountered folks who’d later be members of both Sun Ra’s Arkestra and Earth Wind & Fire through Affro Arts. And this was all before she teamed up with a band known as Ask Rufus,and went on to enormous success as a leader singer and eventually a solo artist. So from jazz to rock to funk,Chaka never strayed from what inspired her.
Now in my late teens,there was one piece of vinyl of Chaka’s that I suppose would be referred to as a grail by the modern vinyl collecting community. It was her self titled 1982 album. While the least commercially potent of her early/mid 80’s Warner Bros. albums produced by Arif Mardin,it was known as being among the most unique and funkiest of her solo records.I personally found the vinyl in Boston. Eventually I managed to purchase the rare CD import offline. The album itself is a masterpiece of brittle yet cinematic electro funk. Chaka’s solo albums generally contained at least one musical tribute to her love for jazz. And on here it was perhaps her most defining one in”Be Bop Medley”.
A powerful drum kicks off with Chaka’s screaming vocalese before a chanking rhythm guitar strums along. A Vocoder kicks into a sturdy 4/4 dance rhythm with a synth bass scaling down. That’s the rhythmic element linking each part of the medley. The Hot House part of it has a metallic synth playing the chordal pattern whereas a Arabic style Fender Rhodes solo segues into “East Of Suez” along with some spirited percussion. An electric sitar begins the frantic synth bass take on Epistrophy whereas Yardbird Suite and has Chaka duetting with the Vocorder. Con Alma slows the song briefly to a swinging ballad tempo as a sax led Giant Steps finds Chaka scatting her way out of the song.
Having listened to this particular song over and over again for fourteen years now,this is one of the most instrumentally intricate and futurist examples of jazz/funk in the 80’s. It showcases once and for all that the electro funk movement did not represent a great to the funk genre. As Miles Davis-later a friend and collaborator of Chaka’s might’ve said, all quality music needs is the best caliber of instrumentalists. Steve Ferrone,Will Lee,Hiram Bullock and especially Robbie Buchanan’s rhythmic synth bass absolutely burn on this song musically. Plus her jumps from melody,harmony to chordal based singing-changing pitch and speed on a whim,make this perhaps Chaka’s most defining solo number.
Another significant musical element to this is how Chaka and the musicians playing with her on this showcase how much the instrumental innovations of be bop carry over into the funk era. It’s a stripped down,synthesizer derived naked funk that provides the main groove of this song that’s present throughout. It protects the beat much as Max Roach might’ve with Charlie Parker. Showcasing the evolution of bop from Bird,Dizzy and Monk on through John Coltrane is accomplished here by Chaka’s lead voice being the horn like voice,and her backups being much like string orchestrations. So also on a purely musical level,this paved the way for a possible whole new level of funk for the early 80’s.
Filed under 1980's, Arif Mardin, be bop, Chaka Khan, Charlie Parker, Dizzy Gillespie, drums, electro funk, Fender Rhodes, Hiram Bullock, Jazz, jazz funk, John Coltrane, Miles Davis, percussion, Robbie Buchanan, Saxophone, scat singing, Steve Ferrone, synth bass, Thelonious Monk, Uncategorized, Warner Bros., Will Lee