David Fathead Newman is a name that I’ve been aware of for a long time. In fact it was hearing the name spoken by my father that introduced me to the music of Ray Charles-rather than the other way around as one might expect. A native Texan who, Newman came right out the jump blues R&B school to be one of the key musical figures to evolve the saxophone during the formation of soul music in the 1975’s. As part of Ray Charles band,he was iconic. During his years after leaving Ray,Newman did session work for people such as Aretha Franklin and BB King. Not to mentioning carrying on a successful solo career as a bandleader.
Recording for a series of different labels during the decade,Newman eventually landed at Prestige at the end of the disco era. With a musical pallet that painting it’s brushstrokes from soul to jazz,Newman had developed a strong funkiness that allowed him to find a way to put his horn into the key of the hottest dance music of the late 70’s. He bought in members of Herbie Hancock’s Headhunters in Harvey Mason and Bill Summers. Stuff’s Eric Gale and Cornell Dupree-strong session musicians in their own right also came in for the 1979 album Scratch My Back-Newman’s one album for the label. The song that caught my ear most hear was “Rock Me,Baby (Like My Back Ain’t Got No Bone)”.
Summer’s percussion get’s the groove started out,while Mason comes in with a phat 4/4 beat shortly after. Newman’s sax plays a popping tone along with the thick slap bass line. The deeply voiced strings dart over the main rhythm like musical shooting stars. Vocalist Flame Braithwaite comes in and sings several different choruses of the songs title-with party sounds from Newman and the other musicians moving right along with the rhythm of the song itself. On the refrains of this mostly chorus based song, the bass line begins popping up and down in the classic disco bass style as the melody follows suit. The main chorus of the song maintains itself until the song fades out.
My friend and inspiration Henrique has referenced this song on a couple of occasions as an example of “funk functioning as disco”. And in every way,it’s a hot jam for sure. With Harvey Mason playing away at around 110BPM,this is relatively slow in tempo compared to the majority of disco records from the late 70’s. This fives the song an extra funkiness. Not to mention the thick slap bass thumping of Wilbur Bascomb,Jr. Newman’s sax takes on the same rhythmic character of the bass on this song too-popping along percussively rather than playing the melody. So this wonderful reworking of the BB King classic takes the blues straight into the disco funk territory wonderfully.
Filed under 1970's, BB King, Bill Summers, blues funk, David Fathead Newman, disco funk, drums, Eric Gale, Harvey Mason, percussion, Saxophone, slap bass, strings, Stuff, Uncategorized
With now over four decades in the music business? Melissa Manchester has taken her soulfully theatrical wail of a voice and heavy melodicism as a songwriter from the singer/songwriter,blue eyed soul,new wave and synth pop genres of music. Since she comes from the pop music scene,having had her biggest hit album produced by one time Marvin Gaye producer and fine singer/songwriter in his own right Leon Ware? It’s no surprise that through it all,Manchester would maintain a strong jazziness about her sound as well.
After a decade as an adjunct professor at the USC Thornton musical school,Manchester was encouraged by some of her students to independently raise money for a new album she wanted to record. The album was released in February of 2015 along with a series of club dates to promote it,including a guest appearance on Tavis Smiley’s talk show on PBS. Including a bevy of powerful guests,including the the late Joe Sample,Bronx native Manchester’s title song to her brand new album You Gotta Love The Life really bought her back with a serious musical bang!
Starting off with a persistent kick drum from Mister Abraham Laboriel,the horn section of Tom Evans.Steve Baxter and arranger/trumpet/flugelhorn player Lee Thornburg make a serious rapid fire funky horn proclamation before a groove assisted ably by the bluesy piano of John Proulax,Hammond organ player Steve Welch-all led along by the percussion of Lenny Castro on a pumping dance floor friendly jazzy funk rhythm. On the bridge the rhythm,the piano breaks down to a cymbal based beat after which guitarist Peter Hume takes a fiery jazz/rock solo. After this Manchester’s toughly vocalized chorus kicks right back in and stays there until it comes right into the end with the songs title frankly sung.
With a guest of crackerjack musicians along with backup singers Vangie Gunn and Susan Holder? This song is of the sort that most professional musicians would want to begin their album with. The melody is bold,the rhythm is righteous and the band are absolutely on fire along with the performance of Manchester herself. She sings about devotion to the love of creating and performing music,even through all of the outside struggles that are put upon artists. Stating in the end that it’s all worthwhile since “you’ve gotta love the life”. The uptempo,hard horn packed jazzy funk vibe and the style of choruses,instrumental harmonies and rhythms are also right out of the Crusaders/Stuff/Steely Dan school as well-which also helps matters for the lover of a good groove. An excellent way for Melissa Manchester to launch her comeback album!
Filed under Abraham Laboriel, Bronx, Jazz, Jazz-Funk, Joe Sample, John Proulax, Lee Thromburg, Lenny Castro, Leon Ware, Melissa Manchester, PBS, Steely Dan, Steve Baxter, Steve Welch, Stuff, Susan Holder, The Crusaders, Tom Evans, USC Thornton, Vangie Gunn