Category Archives: trumpet

Anatomy of THE Groove: “Stepping Into Tomorrow” by Donald Byrd

Donald Byrd is one of my favorite musicians during the 70’s Blue Note era especially. The Detroit native replaced the late,great Clifford Brown in Art Blakey’s Jazz Messengers after a stint in the US Air Force. After launching his career as a band leader in the late 50’s,Byrd’s became Blue Notes equivalent of Miles Davis in terms of transitioning from acoustic bop jazz to fusion. Along the way,he also helped launch one of jazz-funk’s seminal bands in The Blackbyrds. His mid 70’s collaborations with the Mizell brothers Larry and Fonce are actually in a class by themselves too.

Around 12 years ago,I began to listen heavy to both the Blackbyrds and Donald Byrd’s mid 70’s jazz-funk recordings. This came from my dad playing the music of Madlib for me. Now this is a DJ/musician/producer/rapper who loved 70’s Blue Note. And focused a lot on Byrd’s music from that period. It was through DJ/musician Nigel Hall and his radio show at WMEB in Orono,Maine that I learned where to find one of my favorite pieces Madlib had used,since I wasn’t accustomed to first hearing classic funk songs via samples. Turning out that the song in question was the 1974 album title track “Stepping Into Tomorrow”.

A thunder-like sound opens into the song. The main groove is established right away. This is a slow,percussive drum from Harvey Mason,a melody setting bass line from Chuck Rainey,Larry Mizell’s ARP strings and Byrd’s trumpet. As the vocals of Byrd and a trio of female backup singers harmonize on the choruses,a minor chord intro then extends into a series of solos. First Byrd on trumpet,then Gary Bartz’s sax and finally Jerry Peters’ organ. The main chorus/intro/refrain parts repeat to,with a number of psychedelic,synthesized sonics until the song fades out.

“Stepping Into Tomorrow” is one of those truly democratic jazz/funk numbers. Instrumentally,it was a dream team of the finest of jazz/funk players in that area. And each one is performing at some of their finest on this groove. Its a strong enough groove to stand on its own. Yet it can be sampled all on its own in a way that doesn’t destroy its special musical qualities. Its the songs elasticity that represents its strongest quality. While I personally feel original funk songs should be searched for on their own rather than via samples,whatever method one uses to get to this funk will be its own reward.

 

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Filed under 1974, 70's Blue Note, ARP string ensemble, Chuck Rainey, Donald Byrd, drums, Fonce Mizell, Funk Bass, Gary Bartz, Harvey Mason, jazz funk, Jerry Peters, Larry Mizell, organ, Saxophone, trumpet

‘Word Up’@30: Cameo Tell Us What’s The Word!

Word Up!

Cameo and “Word Up” (as a song) in general have been a consistent point of discussion between myself and Henrique Hopkins over the years. At this point,my primary outlet for writing about music was through Amazon.com’s customer reviews. For a number of reasons,my forum or music based writing became based more around my WordPress blogs such as Andresmusictalk. So much of my opinion went into my currently unpublished Amazon.com review of the Word Up album itself. So over three months after its 30th anniversary,here’s my personal take on Cameo’s major funk crossover album from 1986.


Truth be told? This album probably represented the very first funk by a contemporary artist I ever heard. Keep in mind it was when it came out. And at the time I had no idea what a musical genre (let alone funk) even was. The music of Cameo has always had a strong attraction to me ever since-likely due to that core musical memory. Historically for Cameo,this was an interesting time. Starting with 1984’s She’s Strange,Cameo pared down to a trio of three members in bandleader/founder Larry Blackmon on lead vocals and bass with Nathan Leftenant and Tomi Jenkins as vocalists.

Charlie Singleton left the band functionally to start a solo career. Yet the deepest thing about that was that Charlie,along with other members of the band,didn’t leave completely. He,along with session musicians such as the Brecker brothers remained behind on this album which,as it were wound up being their iconic breakthrough album commercially-at least as far as pop char success was concerned.

The title song and “Candy” are of course the signature mid 80’s Cameo sound-stripped down funk sound,slap bass the texture of thick liquid. Another element that makes them stand out is the strong percussion breaks and Michael Brecker’s sax solo on “Candy”-making for one of the strongest rhythmic patterns of mid 80’s hard funk. “Back And Forth” is a straighter dance/funk groove that’s highly catchy and melodic. It seems like a naked funk number,but the arrangement is filled with layers of dreamy synthesizers as well.

It was a full sound creeping up from behind rather than immediately out front. “She’s Mind” is the one slow jam here-really more mid tempo boogie with an appropriately jazzy pop sense of song craft showcasing what terrific songwriters Cameo were. “She’s Mine”,a drum beat oriented hip-hop/funk hybrid as well as the furious live band oriented funk of “Fast,Fierce & Funny” and “You Can Have The World” are all brightly composed and heavily rhythmic grooves-all focusing on the theme of materialistically demanding women that was a mainstay for Cameo throughout the years.

Many “jam fans” who have an intense dislike for the music of the first half of the 1980’s refer to the period in which this album came out as a rebirth of the funk. As soon as James Brown hit the airwaves with “Living In America”,music that was strongly linked with classic funk began to be innovated on. That also found itself spreading into the next generation of hip-hop as well-especially as the functional original funk bands who didn’t have the commercial success of Cameo abandoned the idea of radio play and musical commerce.

So the “nu funk” as it were,and the generation of hip-hop that both inspired it and was inspired by it was all part of the culture from which this album came. It would seem looking back that no one was particularly self conscious about this burst of funk creativity. It seemed to be a degree of life breathed into the “number one funk” aestetic of the 60’s and 70’s-where music that celebrated advanced rhythmic ideas and lyrical wit in a contemporary context could flourish. This album is one of the many that really captures that spirit. And reminds any cynic who thinks that funk is dead that,when it seems to begone,it can survive and (in cases such as this) be enormously successful as well.


One of the ideas I had that sprang up from writing this review was about the type of funk that is becoming successful today. Songs such as “Uptown Funk” (the “Word Up” of 2014/2015 in terms of commercial success in many ways) are generally inspired by the synth based style of 80’s funk. Word Up,as both a song and an album,was a whole other thing though. The slap bass and the slow,hard hitting beats that are seldom heard in modern funk really define this album through and through. Still,it not only represents a major crossover triumph for Cameo but hard funk in the 1980’s in general.

 

 

 

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Filed under 1986, Amazon.com, Cameo, Charlie Singleton, classic albums, Larry Blackmon, Michael Brecker, Music Reviewing, Nathan Leftenant, Randy Brecker, Saxophone, slap bass, synth funk, Tomi Jenkins, trumpet, Word Up

Prince Summer: “Housequake” (1987)

Sometimes,there are songs discussed on this Anatomy of THE Groove feature that have a little extra excitement in terms of me writing about them. Many of these are songs often discussed between myself and blog co-founder Henrique Hopkins on Facebook. So many of his ideas come across in them. Today is such an occasion. Its taken a long time for me to actually locate this particular content. As with any song from Prince,it has its share of rich history all on its own. And as usual before getting into my rundown of the song,wanted to share some of that history with you.

Following the release of his second motion picture Under The Cherry Moon,Prince embarked on a year long recording session throughout 1986 and early 1987. These songs were originally intended for three separate album projects. Seems Warner Bros weren’t keen on Prince’s prolific nature forcing his albums to actually compete with each other on the charts. One of these projects was to be released under a pseudonym known as Camille-sung in a sped up voice.. It was a very funky album,a handful of whose tracks appeared on 1987’s Sign O The Times. The one I’m talking about today is called “Housequake”.

A loud,halting screech beings the song. Then the drum intro kicks in-a nine beat drum machine rhythm with the four notes after the third in a faster cluster. A live drum and a breezy synth horns come in over the call and response vocals. Then the refrain takes over for most of the rest of the song. Its the basic live drum beat with a mid range rhythm guitar playing the changes. There is also an electric and synth bass both playing the same six note line. The horns of Eric Leeds and Atlanta Bliss come in to accent on the second part. Eric solos on the bridge before playing a jazzy unison with Bliss on the jam’s outro.

The key point that Henrique and I discussed so much is that if James Brown had continued innovating his 70’s era funk sound with 1980’s instrumental innovations,it would likely have sounded somewhat like “Housequake”. The horns are there,and the opening drum break was even used to open a song by Stevie Wonder in a concert during the same era. Still the production style still has Prince’s touches of instrumental subtlety. So even though the instrumentation and lyrical references to “green eggs and ham” are totally JB derived, Prince still managed to maintain his own touches on this driving funk groove.

 

 

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Filed under 'Sign 'O The Times', 1987, Atlanta Bliss, call and response, drum machines, drums, Eric Leeds, Funk, Funk Bass, James Brown, Prince, Saxophone, synth bass, synthesizers, trumpet, Warner Bros.

Anatomy of THE Groove: “Let Love Enter” by Michael Henderson

Michael Henderson is right up alongside Larry Graham in terms of cracker jack bass player/composers with his baritone singing voices. As a Detroit native,he was most influenced by  Motown Funk Brother (and bass guitar icon) James Jamerson. Jamerson played a lot of jazzy riffs-especially backing up Stevie Wonder. So it made sense that Henderson,a pioneer fusion jazz bassist,would bring his own bass complexity to Wonder’s music in the late 60’s/early 70’s along with session work for Marvin Gaye,Aretha Franklin, The Dramatics and Dr. By then,Henderson was moving further into his jazz chops.

Henderson transitioned from a soul session player into a jazz one during the early/mid 70’s. Working with drummer/talent scout Norman Connors and jazz pioneer Miles Davis found Henderson helping both artists transition into a soul and funk based approach-especially with  Miles’ On The Corner in 1972 and Connors You Are Starship in 1976. That same year Henderson inked a solo deal with Buddah records. His solo debut Solid is a masterpiece of his multiple talent-with its strongly funky title song. For me,another song that pulls together Henderson’s talents on the album is “Let Love Enter”.

Muruga Booker’s conga drum roll and percussion introduces the the song. It features the acoustic piano,Henderson’s bass and the ongoing percussion playing a funky variation of the Brazilian samba rhythm. The melody of it all,as illustrated by Henderson’s scaling voice and lyricism,is based in Brazilian jazz with it’s major and minor chord changes. A straight up percussion part bridges the similarly themed refrain and choruses together. On the bridge,trumpeter Marcus Belgrave delivers a succinct accompanying horn solo as Henderson’s backup singers improvise the melody with him to the songs fade out.

This  song reveals itself as having taken a lot of influence from both Norman Connors and Miles Davis. Most of the playing has Miles and Norman’s  light musical touch. It also  celebrates that Brazilian flavor that Stevie Wonder often had. What bridges these influences is that jazzy funk/soul attitude. It has a strong,melodic groove to it, and its not a simple song either. The chord progressions can be sung and hummed. Yet they offer a lot of challenge for musicians and vocalists who wish to do so. As such,its something of a defining musical moment for Michael Henderson from the beginning of his solo years.

 

 

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Filed under 1970's, Brazilian Jazz, Funk Bass, jazz funk, Marcus Belgrave, Michael Henderson, Miles Davis, Muruga Booker, Norman Connors, percussion, piano, samba funk, session musicians, Stevie Wonder, trumpet, vocal jazz

Miles Again: Don Cheadle and Robert Glasper Being Very Musical About Selim Sivad

Miles Again!

Miles Davis was possessed of a character that was elusive to biographical translation. When Don Cheadle began work on his largely crowd funded motion picture Miles Ahead,the best approach to Miles’ story would be more a personal ambiance than informational. Cheadle imagine Miles Davis as he would like to have seen himself. Along with bits of half remembered personal history and playing witness to fragmented pieces of himself.

Robert Glasper is a modern day pianist who feels exactly the same as Miles did about music in general. That the improvisational art of jazz consistently has to be re-invented with new themes,new standards all the time. And that’s it’s the musician, not the writers/ critics, who sets that tone. Since Cheadle worked with Glapser on  the music surrounding the film,it seemed appropriate to explore the full spectrum of this musical project.

Miles Ahead-Original Motion Picture Soundtrack

Over the years,I’ve generally avoided soundtrack albums. It seems all too easy for someone to simply pile a series of songs onto the CD and call it a soundtrack. Don Cheadle’s film Miles Ahead takes a more cinematic approach to the Miles Davis attitude as opposed to being a straight biographical narrative. Cheadle was joined by 80’s era Miles alumni in drummer Vince Wilburn and the defiant pianist Robert Glasper in terms of producing this album. The selection of songs for the project could’ve been exhaustive-considering the breadth of Miles’s recorded catalog of music. So instead of going with the traditional method of soundtracks that keeps me away from most,this takes another sort of approach.

Songs that represent Miles’ modal period such as “So What” flow along into “Solea”,the uptempo “Seven Steps To Heaven” and “Nefertiti”. These represent his acoustic period on this collection It goes from there into what Miles referred to as his “directions in music” with songs like “Frelon Brun” and the 6th take of “Duran”. His full blow fusion sound is represented by “Go Ahead,John”,an edit of “Black Satin” and “Back Seat Betty” from 1981. Glasper provides the sax heavy jazz-funk of “Juniors Jam”,the orchestral electric piano heavy ballad “Francessence”. “What’s Wrong With That?” is a flowing fusion/funk jam with Cheadle actually playing trumpet with the surviving members of Miles second quintet of the 1960’s.”Gone 2015″ ends the album with an big horn fanfare of a jazz/hip-hop number from Glasper and rapper Pharoahe Monich.

This album traces the musical legacy of Miles Davis from 1959 through his early 80’s comeback-the time period dealt with in the film. What really makes it a standout motion picture soundtrack is that it takes the Spike Lee approach in telling a story through the full album format. Moments of Cheadle portraying Miles’s famous quotes and statements are put into the mix as interludes between songs. This allows for the soundtrack to feel like a journey one is taking through the mind of Miles. Which essentially reduces down to an audio version of the films intent. Ending with Miles inspired new numbers from Robert Glasper makes this perhaps the sonic film soundtrack experience of 2016.

Everything’s Beautiful/Miles Davis & Robert Glasper 

Over the last several years,Robert Glasper has been seeking to change the vocabulary of jazz. His approach has always seemed to me very similar in that regard to the late Miles Davis. He often has made similar references that jazz needed to look outside itself for new standards on which to create new improvised art. From what I’ve heard of Glasper,he’s largely looked to hip-hop as a musical medium for the nu jazz sound of which he’s a major player. He ended up being the musical directer behind the new Don Cheadle film Miles Ahead. So it was very exciting for me to see Glasper create an entire project based on the man whose musical ethnic most shaped his own.

“Talking Shit” opens the album with a rhythmic sample of Miles’ 1969 discussion with drummer Joe Chambers that sets up the album title-the trumpet players view on music itself basically. “Ghetto Talk” features the soaring vocals of longtime Glasper collaborator Bilal and while “They Can’t Hold Me Down” brings in rapper Illa J. These songs all have blunted hip-hop beats with jazzy funk atmospherics. “Violets” brings in the Foreign Exchanges’ Phonte in for a brooding,slow swinging piano based groove. “Maiyshia (So Long)” has Erykah Badu dealing with an electronic bossa nova with a sassy rhythm. “Little Church” and “Silence Is The Key” deal with a modern electronica reboot of Miles’ classic modal sound.

“Song For Selim” takes on the same effect of re-imagining modality in a current context while Georgia Anne Muldrow sizzles up the electro swing big time for a makeover of “Milestones”. “I’m Leaving You” is one of my favorites here-thick bluesy funk sampling Miles himself with Ledisi’s vocal leads and John Scofield’s guitar. Stevie Wonder comes in for the closer “Right On Brother”-looking Miles’ solo from “Right Off” into a synth bass heavy funk/house context. Glasper didn’t want a trumpet based tribute to Miles here. He knew the man wouldn’t have wanted that. Instead,he showcased Miles Davis’s influence on musicians as a whole. And did so by again re-inventing the nu jazz sound in the most funky possible manner.

Everyone involved in both of these projects understood very well the creative daring and self absurdness that defined Miles Davis’s music during his lifetime. When it came to Robert Glasper creating his own music based on the Miles attitude and musical school,he did so with the maximum amount of strong,extended melody and funkiness wherever it was needed. So for what would’ve been Miles’ 90th year of life,this is a special occasion.

 

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Filed under 2016, Amazon.com, Don Cheadle, hip-hop/jazz, Jazz, jazz funk, jazz fusion, Miles Ahead, Miles Davis, Music Reviewing, nu jazz, Robert Glasper, Soundtracks, trumpet

Anatomy of THE Groove: “Full Nelson” by Miles Davis

Miles Davis’s chief musical inspiration during the 80’s was Prince. He even referred to the late Minneapolis music icon as a “genius” in an interview with Bill Boggs. In 1986,Miles left Columbia after a decades long relationship and signed with Warner Bros.-the label Prince happened to be recording on. Prince did compose one song with Miles for a planned album session between them. The song was called “Can I Play With U”. As the story goes,Prince pulled the song because he felt the song didn’t fit with the other material Miles had planned for the album,which he named for the Bishop Desmond Tutu.

Miles ended up working with the multi instrumentalist /composer/arranger/ producer Marcus Miller. Miller had been part of Miles band since the beginning of his comeback in 1980. The album Tutu finally came out in September of 1986. While the album was largely reviewed in the same snide manner as much as anything of Miles’ electric period,it did totally bring his sound into the electro funk era. The impropriety of South African apartheid seemed to be on Miles’ mind while making this album as well. And therefore it ended with a very powerful groove entitled “Full Nelson”.

Starting out with a bit of trumpet practice,Miles mutters “go ahead” before the song breaks in. The song has a stomping,Cameo style drum machine beat. A pulsing,ultrasound type electronic bass sound bubbles into the back-round. Miller starts out playing a thick rhythm guitar. Than when his slap bass comes in,Miles improvise across the bass lines. Those lines descend into Miles on trumpet and Miller on sax playing the strong choral melody over an ethereal,orchestral synthesizer. After several rounds of Miles soloing across thick bass and synth pops,the song fades out again on it’s chorus.

Miles Davis really perfected his understanding of the full bodied funk song on “Full Nelson”. Marcus Miller totally embodies the Prince approach of multi layering digital horn synthesizers,melody and bass/guitar interaction with Miles trademark trumpet soloing style. Miller also lends that distinctive style of his own to the Minneapolis style groove here-including a somewhat thicker rhythmic stomp. Miles gets all the space and accents he needs to do his own thing as well. Tutu is a strong mid 80’s rebirth for Miles as it stands. And that it ends on possibly it’s most funky note says a lot.

 

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Filed under 1986, drum machine, elecro funk, jazz funk, Marcus Miller, Miles Davis, Prince, rhythm guitar, Saxophone, slap bass, synth brass, synthesizers, trumpet, Warner Bros.

Anatomy of THE Groove: “Shout” by Miles Davis

Miles Davis late 70’s retirement period was the basis of the main plot in Don Cheadle’s semi fictitious biopic Miles Ahead this year. While he recorded some  unreleased sessions with Gil Evans during this period,Miles made what he admits to be the one crucial mistake of his career. He stopped practicing trumpet. As a beginner level alto sax player as a child,I understand how lack of practice can lead to losing ones embrasure-the key to playing any horn instrument. When his nephew,the drummer Vince Wilburn convinced Miles to start recording again,regaining that embrasure was Miles’ biggest challenge musically.

When Miles got back in the Columbia studio in 1980,he was working with a group of younger musicians. The then 54 year old trumpet icon once said of his approach to music overall was to keep creating and changing. To would keep  from getting stale and safe. One of the new musicians was the bass player/composer Marcus Miller. Miller as also a multi instrumentalist. He understood along with the other players such as  Bill Evans, Al Foster and Robert Irving III how to bring Miles into the 1980’s. His 80’s debut The Man With The Horn contains a superb example of this in the song “Shout”.

Thick sheets of up scaling synthesizers bring in the song over rolling percussion. After that the drums kick into place. Along with a six note bass line which equals out with the instruments lowest and highest tones. Miles himself plays a succinct, indeed shouting main melody on the choruses. Each trumpet solo is accompanied by Randy Hall’s chicken scratch guitar that plays throughout the song. After the refrain where Miles’s solo becomes more rhythmic in tone,he takes an improvised solo that extends right into higher pitched soaring before the song fades out on the chorus.

Composed with Randy Hall and Robert Irving III,”Shout” might be the finest funk SONG Miles Davis had done up to this point. Rhythmically it’s very structured.  Miles s keeps the melody strong on the main themes and improvised soloing. Hall and Irving also seem to have had the same early understanding of Prince’s Minneapolis sound. The horns are soloing elements while the synths and guitar lines play orchestral roles. With the rhythm locked in tight,yet the sound so full this song sets an important standard with Miles for more electronic orchestrated jazz funk for the remainder of the 1980’s.

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Filed under 1980's, chicken scratch guitar, Columbia Records, drums, Funk Bass, instrumental, jazz funk, Miles Davis, percussion, Randy Hall, Robert Irving III, synthesizers, trumpet, Vince Wilburn

Anatomy of THE Groove: “Black Satin” by Miles Davis

Miles Davis seemed to record a lot of his electric music of the early 70’s with his noted sense of spontaneity. He had his producer Teo Macero just record whatever he and his players were doing-all of it. And than have individual songs cut for albums later on. He did this on his fusion breakthrough Bitches Brew. And it’s a strong possibility he approached his 1972 album On The Corner in much the same way. That accounts for why there have been so many “complete sessions” box sets during the CD era for Miles. And it also points to the general approach Miles came at the whole idea of grooves and rhythm.

Miles said of On The Corner that he recorded the album as a way to “reach the kids” as he put it. Henrique and myself had a very meaningful discussion on this recently. And he bought out an excellent point. Miles was a member of America’s silent generation. Musically,this was a generation who championed melody. His own mother had advised him to “always play something you can hum”. As an innovator of modal jazz in the late 1950’s, Miles tended to view funk’s rhythmic base as solely for a dancing mindset. However ,he was able to fuse rhythm and melody here on the song “Black Satin”.

Badal Roy’s tabla drums and Khalil Balakrishna’s electric sitar washes introduce the album. After that Mtume’s percussion and Michael Henderson’s up-scaling three note bass line kick in to fatten up the groove. Miles plays a high medium pitched,processed trumpet fanfare. He punctuates with single note,percussive hits throughout the song. All between bursts of wah wah guitar,Herbie Hancock’s tweeting synthesizer and manic hand claps. On the last section of the song,Miles’ solo fives way to the cinematic organ of Harold I. Williams before the tabla/sitar intro that opened the song fades it out.

Miles’s On The Corner album is almost like one 54 minute jam sliced into four pieces. “Black Satin” would function as the second segment of that jam. But it has the most melodic content of the entire album. And it comes from Miles’ solo too-that aspect of the song you can hum. In terms of harmonic atonality, Miles was inspired by the experimental composer Karlheinz Stockhausen. Henderson’s bass line and the fast,percussive tempo tell another story. It’s based very much on the chase scene music of the blacksploitation films of the day. And this song was used as such in Don Cheadle’s film Miles Ahead.

The very first time I heard On The Corner,it was like being transported into a funky utopia. Part of the appeal was that the melodies were so minor or absent. It was like music where every aspect of it was doing it’s own dance. As time as passed,this song with it’s budding melody epidermises Miles’ extending on James Brown’s concept of turning his whole band into a drum. Also with the poly rhythms of this groove and the psychedelic sitar soloing, “Black Satin” also blends Afro-Caribbean and Indian flavors for pan ethnic funk delight. It brings Miles’ sound into the early forefront of the world fusion jazz/funk sound.

 

 

 

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Filed under 'On The Corner', 1970's, Afro-Cuban rhythm, Badal Roy, blacksploitation, electric sitar, Funk Bass, Harold I. Williams, Herbie Hancock, jazz funk, Karlheinz Stockhausen, Khalil Balakrishna, Michael Henderson, Miles Davis, Mtume, organ, percussion, Psychedelia, synthesizer, tabla drums, Teo Macero, trumpet, wah wah guitar, world fusion

Miles Davis 1968: ‘Filles De Kilimanjaro’-The Road To Funk From Andre’s Amazon Archive

Filles De Kilimanjaro

While I am sure Larry Coryell deserves a lot of credit for his innovations in fusion the concept of jazz-funk fusion probably starts with this album. Basically what Miles and his quintet are dealing with here is transitions of both a musical and personal nature. Herbie Hancock and Chick Corea alternate (on various cuts) on electric piano and the same goes for Ron Carter and Dave Holland. I’ve heard it said that had to do with the fact that while he had nothing against fusion jazz,Ron Carter wasn’t as comfortable playing electric bass as he was an acoustic one.

But no matter who is playing what this album is,as they might’ve said in the late 60’s,”now”. For the past several album Miles and his Quintet created a unique type of jazz that blended be-bop with avant garde techniques and on this album,Miles’s strong influence from soul and R&B (from listening to Sly Stone and James Brown and perhaps his wife Betty Mabry) has had an impact on the music as well. For one Tony Williams,always a rock and R&B fan himself was still improvising on drums as only he could but his general rhythm has a funkier,more syncopated tone here…at times.

That being said,perhaps that colliding with the Fender Rhodes soloing “Frelon Brun” is definitely in on the new jazz-funk style completely.Even though they wiggle and wobble between what Herbie Hancock calls “jazz and rock n roll back beats” jumping in and around each other “Petits Machins” and the title song both illustrate something of the same feeling.”Toute De Suite” and the alternate take of it presented here are as we see now yet another innovation:the beginnings of what we might call “acid jazz” now;mid-tempo funky rhythms,LOTS of Fender Rhodes solos and a bluesy jazz feel-amazing tune either way you cut it.

In dedication to his wife Davis also included “Mademoiselle Mabry”,a elongated blues showcasing,as the rest of these songs do a very pretty melody. One thing Miles managed to do on this album was maintain his melodic jazz flair and also cloth it in a brand new setting. This is definitely one of those albums where Miles begins to lean heavily into the style that would soon become known as fusion.Not too long after this Miles would release his landmark In a Silent Way and it was off to the races for him;his songs developed more concise grooves and became even longer in length. Nonetheless this will always hold a very special place in Miles’ vast musical legacy.

Originally posted on May 6th,2008

LINK TO ORIGINAL REVIEW HERE!

Listen to “Frelun Brun”,a key funk/jazz process number on YouTube here.

 

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Filed under 1960's, Betty Mabry, Chick Corea, Dave Holland, drums, electric jazz, Fender Rhodes, Fusion, Herbie Hancock, jazz funk, Miles Davis, Ron Carter, Tony Williams, trumpet, upright bass, Wayne Shorter

Miles Davis 1968: ‘Miles In The Sky’-The Road To Funk From Andre’s Amazon Archive

Miles In The Sky

Miles found himself in 1968 in a very new world of music. Psychedelic sounds were everywhere and different sorts of music were bleeding together into all kinds of combinations and ending up becoming a whole new form.Sly & The Family Stone and Hendrix were popularizing it and on one of his later album with his classic quintet Miles very obviously had his ears all the way open. On the majority of this album Miles,a musician who had been edging towards a kind of avant garde sound on his previous few albums such as Miles Smiles and now a new kind of rhythm was coming into the equation.

From “Paraphernalia” to “Black Comedy” onto “Country Son”,even with the presence of George Benson,Miles was putting everything happening musically here into the context of rhythm. Believe it or not this was part of the beginning of the jazz-funk movement of the 70’s. Recently a discussion I had with my good friend from Oakland (who I realize I name drop a lot in these reviews) bought up the point that much of jazz even at this point was not as on the stop as it seemed;that there was a deeper understanding among jazz musicians who were able to translate their musical traditions from a basic theme into something very original.

The themes here do seem to be buried somewhat if your not listening close enough.But the truth is it’s because their all based in some form of communal rhythm: Wayne’s sax,Ron’s bass and Tony?Well let’s just say that his drumming on everything here is far heavier-not necessarily loud but full of a weighty bottom that stands as more then steady support for Miles’ playing,itself usually associated with “tugging at you a little softer” by his own description. The tune that pulls everything together here is the opener “Stuff”. It opens it all up-EVERYTHING Miles would do on his breakthrough electric albums such as Bitches Brew and even to some extent On the Corner begins here.

Herbie’s newly found electric piano soloing,the bass leading the whole way from the bottom up and…….a rhythm that comes in and around the psychedelic stew to what is possibly Miles’ first released tune in the funk genre,then a fairly new genre to most people. Even though not psychedelic music in the traditional sense of the word,everything from the trippy album cover all the way down to the rhythms and instrumentation all bleeding together find the influence firmly in place. This is the kind of jazz and funk I can imagine having a lot of appeal to people who usually listened to things like Country Joe & The Fish or even the Grateful Dead. And even for them Miles and the kind of rooted,complex funky music his quintet were making on albums like this will hopefully bring them into a good place to begin grooving to rhythms that were at once communal,improvisations AND jamming!

Originally posted July 6th,2009

LINK TO ORIGINAL REVIEW HERE!

*Listen to “Stuff”,Miles’ second quintet presenting prototype jazz/funk fusion.

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Filed under 1960's, Columbia Records, drums, electric piano, funk process, Herbie Hancock, jazz funk, Miles Davis, Psychedelia, Ron Carter, Saxophone, Tony Williams, trumpet, upright bass, Wayne Shorter