Tag Archives: Afrocentrism

Anatomy of THE Groove: “Zeebop” by Zoe Zawinul

Joe Zawinul had moved from Cannonball Adderley onto Miles Davis. Than straight into founding the iconic fusion band Weather Report. He began a solo career in 1959. And during the same time as Weather Report,he released a fourth solo album entitled  Zawinul. Weather Report broke up in 1986. And Zawinul was completely devoted to that group from its very beginning to its very end. In the same year he released his fifth solo album and first one in 16 years. It had a pan ethnic conceptual arc that was similar to Duke Ellington’s Afro Eurasian Eclipse. The album was called Dialects. 

Zawinul stated on the CD reissue of Dialects that it was his favorite album because he felt (unlike a lot of musicians) that his concept for tone poems based on his world travel over the decades left itself better to him playing everything on it. That made Zawinul a non conformist in the jazz world of the time-celebrating electronics and new compositions at a time when the more neo conservative jazz movement of the Young Lions had taken a stronghold. When I got the CD during my days hanging out with musician/DJ Nigel Hall,the song  that caught my attention most on the album was called “Zeebop”.

The song gets a complete cold start. That consists of what amounts to three heavily industrialized sounds. One is a pounding,percussive drum machine. The other is a flat,constant synthesizer tone. And all are topped of with a layer of white noise static that is mixed just as high as the drum machine. At first Zawinul’s melodic improvisations are on a steel drum sounding synth that is buried fairly deep in the mix. As the song goes along,several layers of synth brass accompany each other in call and response harmony. And it is that aspect of the song that continues right into its fade out.

“Zeebop” is the only song I’ve heard whose sound could be likened to a full electrical charge of sound through the body. Its not noisy rock theatrics or an ambient type atmosphere. Its meditative,tribal and highly Afrocentric. The sound of it all may be a bit frightening with its sonic intensity at first. Especially since its the only fusion number I’ve heard with pure static as a main element of its sound. This goes right along with the world fusion sound of the mid/late 80’s very well. It just happens to be,perhaps,the most intense and driving examples in terms of its sound sonic’s.

 

 

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Anatomy of THE Groove: “The Greatest” by King

King are an LA female trio who seem to be getting a lot “magazine time” in Rolling Stone, The Fader, Spin and The New York Times. The core of the trio are the Strother sisters Paris and Amber as well as Anita Bias. This gives the group roots in Minneapolis as their late uncle was twin city bluesman Percy Strother. Its the sister Paris who produces the music,while the songwriting is a collaborative effort between all the members. There sound is a mixture of dreamy,funkified 80’s style “Afr0-Chill” as it were-with a strong Afro Caribbean influence in their heavily rhythmic electronic approach to music.

Since the release of their debut EP The Story in 2011,they appeared on the HIV/AIDS benefit tribute album Red Hot+Fela a couple of years later-doing the song “Go Slow”. Right in between that,they collaborated with contemporary jazz maestro Robert Glasper on the song “Move Love” from his Black Radio. Their 2016 debut album We Are King was nominated for best urban contemporary album at this years Grammy’s. That inspired me to seek out and purchase the CD of it. So far in my listening,the song that speaks and sings to me most is the Muhammad Ali tribute entitled “The Greatest”.

An electronic Afro Latin conga drum percussion stomp opens the album,as the main rhythm of the entire song. A synth riser brings the vocals in on its sonic wave. This is accompanied on the ethereal vocal harmonies on the song with song tingling,high pitched melodic synthesizers. There’s also a more brittle synth spike right in the middle of the arrangement-which solos right before the second refrain. As the song progresses,further stabs of arpeggiated synthesizers rise up to the same aural level as the lead vocal before the song fades out.

“The Greatest” is an amazing tribute to late champion Ali. It talks about the man being a fighter both in and out of the boxing ring. Have to congratulate the Strother sisters and Anita Bias for focusing on such a strong African American hero at a time when anti black racism continues to rear its ugly head. The music of the song never loses focus of its strong Afrofuturism. The rhythm is full on Afro Caribbean. And its complex, jazzy melodies are sung in meditative,chant like harmonies. King prove on this, and what I’ve heard of their debut album,to be a strong contemporary African American musical voice.

 

 

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Betty Davis-They Say She’s Different

Betty Davis

Betty Davis,nee’ Mabry was one of the few women deeply involved in the late 60’s/early 70’s funk process. This was both on a professional and personal level. She recorded her first single in 1964,and her work with the Chambers Brothers in 1967 prompted her to take the focus off her successful modelling career because she felt singing/songwriting challenged her mind more,stating “its only going to last as long as you look good”. She also had a relationship with Hugh Masakela and a marriage to Miles Davis. By these associations she was a key figure for helping launch the jazz/funk fusion genre.

She introduced Miles Davis to the music of Jimi Hendrix and Sly Stone-as well as to the people themselves. She was also as much of a fashion icon as Davis was. He produced her second major recording sessions (her first being in 1964) in the late 60’s before they divorced. Just about every liberated Afrocentric female artist from Chaka Khan,Grace Jones to Rihanna owe their persona’s to hers. Her second solo was called They Say I’m Different. Aside from the medium tempo tempo closer “Special People”,the rest of this 1974 album is hardcore uptempo funk/rock. Here’s my Amazon.com review of the album:


Betty Davis is an artist I’ve been hearing a lot of hype about for years.’They Say I’m Different’ is an album I’ve been hearing about forever as well.I was almost entirely certain there was no way that this album could possibly live up to the hype.Well when Light In The Attic records decided to put this out on CD,…..well to put it mildly this MORE then lived up to it’s long held mystique and hype.The best way to describe this music is unhinged and unpolished funk.EVERY song on it fits that description.As for Betty Davis’s singing,it lays somewhere between the the styles of Tina Turner,Sly Stone and Janis Joplin.

All of the songs celebrate her liberated spirit but there’s one that just blows you away in less then a second.”He Was A Big Freak”…….I don’t know WHAT MAN she was referring to but she really paints herself as a wild,wild funky diva BIG TIME here;she wails out about her “man” who enjoys being tied up.The Ohio Players did a lot of S&M based album art at the this time but TALKING OPENLY ABOUT IT,A FEMALE FUNK SINGER?And it never seems like a gimmick either because you actually believe she lived a lot of the “wild style” she speaks about.And the grooves on that and every other song here are as raw a funk as you’re probably ever going to hear.


With  the likes of Azteca’s Pete Escovedo on percussion and Graham Central Station’s Hershall Happiness Kennedy on keyboards and trumpet,this album turned out to be the second of only a trio of albums Davis released during the 1970’s. With the  documentary ‘Nasty Gal-The Many Lives Of Funk Queen Betty Davis” currently in production, the life of this influential and captivating personality may come to the fore. As it stands, Davis is a key reference point in the jazz/funk music that this blog stands for. And am happy to wish Davis a very funky 71st birthday today!

 

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Filed under 1960's, 1970's, Afrocentrism, Amazon.com, Betty Davis, Betty Mabry, funk rock, Hershall Happiness Kennedy, jazz funk, Miles Davis, Music Reviewing, Pete Escovedo, Uncategorized

Anatomy Of THE Groove: “Let Me Talk” by Earth Wind & Fire

Earth Wind & Fire are one of those funk bands who included two guitarists and two drummers. In terms of the latter,there was Maurice White’s brother Fred and their main drummer Ralph Johnson. Johnson for his part is still an active part of EWF to this very day. Upon seeing him interviewed,he discussed his close instrumental relationship with the bands bassist (also still actively involved) Verdine White. He stated that if he didn’t play drums,he’d have been a bass player due to his close musical relationship with rhythm. And rhythm remains one of the key elements of the Earth Wind & Fire sound.

After an enormous run of successful hits from 1975-1979,Earth Wind & Fire were likely the most popular band of that time period. At the strong encouragement of Maurice White,the band traveled to Egypt among other locations the world over. When they returned to record their next album,music and not sales figures was foremost on their mind. So they cut a musically elaborate double album in 1980 entitled Faces. While it had their signature melodic sound,the rhythms were major game changers for them. The opening song really emphasized this,and it was one that Ralph Johnson co-wrote: “Let Me Talk?

Larry Dunn’s deep bass synth tone begins this song. What accompanies it are the Phenix horns riffing at hyper-speed through the musical magic of a sped up tape loop. The rhythm behind this is the same as  the refrains: a danceable Afro-Brazilian samba deep in the Latin clave. As the rhythm guitar and glistening synth accents play along with the horns and vocals,the bass hugs the rhythm tightly. On the choruses,the beat becomes more conventionally funky/pop-with synth bass taking a strong roll. That musical pattern continues throughout  this song until a quirky bit of recorded conversation concludes it.

“Let Me Talk” begins an album that Verdine White describes as them thinking “let’s cut something we wanna cut”. It was actually one of Maurice White’s personal favorite albums by EWF. And this song begins the album with a bang. With it’s Afro-Brazilian/Cuban rhythms and percussion,it’s structurally somewhat closer to the type of song EWF would’ve done in 1973-74. It still has their melodic pop craft that developed later further later in the decade though. Ralph Johnson and Al McKay wrote a song together here. And the rhythms of the song really showcase their instrumental interactions.

Thematically, Maurice and Philip Bailey make this song a lyrical dialog  about America’s escape from the beauty of and attention to blackness as the 1980’s began. Maurice is saying that a message burns within him everyday,while Philip’s part has him countering with a request to “play your role just as you’ve been told. As I write this,America is still embroiled more than ever in this attempt to deny the potency of black culture within and without it. And for both Independence Day and Ralph Johnson’s 65th birthday,its just the right funky “people music” to project for this time and place.

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Filed under 1980's, Afro Funk, Afro-Cuban rhythm, Afro-Latin jazz, Afrocentrism, Al McKay, clave, drums, Earth Wind & Fire, Funk Bass, horns, Larry Dunn, Maurice White, message songs, percussion, Philip Bailey, Ralph Johnson, rhythm guitar, synth bass, synthesizer, tape loops, Verdine White

Andre’s Amazon Archive: ‘Afrodeezia’ by Marcus Miller

Marcus Miller Afrodeezia

Much as I hate to admit it? As much of a Marcus Miller admirer as I am? Still don’t even come close to personally owning every single one of his albums over the years. It’s actually something on my musical bucket list though. Because Marcus is one of the bass players I admire most now because of his total involvement in any whole musical process he gets involved with. It’s not just that he’s a multi talented DIY artist.

Though he is that…multi talented DIY artist. But this album’s subtext represents what I appreciate most about him. Having recently became a spokesmen for UNESCO’s Slave Route Project? He has taken the Quincy Jones-style approach of using the connective thread of black American music to illustrate the struggles up from slavery. And this album actually reflects that ambition on a musical level as well.

One of the most interesting aspects of this particular album is that a good chunk of it follows an extremely specific rhythmic pattern,provided by a group of African and Caribbean instrumentalists whom I’ve never heard of before. “Hylife” begins the album on the funkiest end of this with Marcus’s slap bass leading the way alongside the percussion and accompanying melodic piano and vocalese. “We Were There” has a similar approach with more of a Brazilian jazz rhythmic twist.

The song also includes vocal scatting from Layla Hathaway and melodic horns in beautiful festive unison. “Papa Was A Rolling Stone” brings in Keb Mo for a very bluesy style take on the Norman Whitfield/Temptations funk classic. Same sound applies to the steel drum/rock guitar fueled “Son Of MacBeth”.”Preachers Kid” and “I Still Believe I Hear” are both somewhat more meditative numbers featuring vocal choirs and more Egyptian/Arabic style Afrocentric modalities.

The psychedelic electronica of the interlude “Prism” leads into the probing and expansively jazzy ballad “Xtraordinary” while “Water Dancer” has a bluesy jazz/fusion flavor with a great sax solo on the bridge. “I Can’t Breathe” ends the album with Marcus and Mocean Worker playing a thickly swinging funk showcasing bass clarinet and layers of guitar and keyboard with Chuck D rapping in fine form (as is typical) about the messiness of today’s revived racism.

First thing that can be said about this album is that it is political. Not in the lyrical sense as most of it is totally instrumental. But in the thoroughly musical statement it makes. With it’s basic percussive funk,fusion and blues approach? This albums brings African America and Africa itself both into clear creative focus with each other. It’s ever present sense of melody is alternately joyous,confused,sly,uneasy,romantic and sometimes even confrontational. Yet overall the general mood of the music is super relaxed and at ease with itself. It’s never just one sound. It’s a lot of different sounds meeting at their middles and harmonizing deeply. Of course,this is highly recommended as a meaningful new musical endeavor for Marcus Miller!

Originally Posted On March 17th,2015

LINK TO ORIGINAL REVIEW HERE

Read more about the Slave Route Project through UNESCO by clicking this link.

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Filed under 2015, Afro Funk, Afrocentrism, Amazon.com, blues funk, Brazilian Jazz, Chuck D, Keb Mo, Lalah Hathaway, Marcus Miller, message music, Mocean Worker, Music Reviewing, slap bass, Slave Route Project, UNESCO

Anatomy of THE Groove: “My Jamaican Guy” by Grace Jones

Grace Jones is someone who feels a bit like a creative soul sister to me. Despite the 32 year age difference,we were both born on the same day of the year. As Tauruses, both of us very much contradict our supposed astrological traits. It’s kind of fun to think about the fact that both Grace Jones and myself revel in being somewhat daring. Yet both of us exact  strong control over how said daring is projected. So far,she’s really made her controlled sense of performance art really function well for her. That’s made her something of a cultural icon for Afrocentricity from the beginning to the middle of the 1980’s.

Jones recorded three albums during between 1980 and 1982 for Chris Blackwell’s Compass Point studios. All would feature the production and instrumental talents of dub reggae pioneers Sly Dunbar and Robbie Shakespeare. These albums  all fashioned a funky,pan ethnic type of new wave dance/rock music. Her final album of this triad was called Living My Life. In many ways,it was the most fully realized of her albums in terms embracing different strains of Afrocentric musicality. And it all started off with a song that really summed this sound up in “My Jamaican Guy”.

Wally Badarou starts out with a synthesizer solo deep in the Asiatic pentatonic scale. Dunbar then comes in with the 8 beat,break heavy jazzy funk/reggae skank throughout the song. On the refrain there are two more layers of keyboard-one is a lower and more bluesy one,the other of is a higher pitched synth brass/horn chart type riff.  Shakespeare’s bass and guitarists Barry Reynonds stay in chunky,syncopated interplay throughout-all the while a round,hiccuping electronic pulse adds a percussive thump. After a bridge that reduces the song back to the drum,the chorus lets the song come to a hand clapping stop.

Instrumentally speaking,this might be the most thoroughly pan ethnic funk jam of 1982. It’s got the Asian style melody,the stripped down dub funk drumming as well as the equally drum like bass/guitar interplay. Everything from Grace and Sly & Robbie’s grunts and calls to the electronic hiccups make this song one big sea of rhythm and movement along with it’s deep reggae melody and lyrics. The “laid back,not layed back” Jamaican guy Jones sings about turned out to be Tyrone Downie of Bob Marley’s Wailers. And this all makes up for one of the best examples of where the funky groove took Miss Grace Jones.

 

 

 

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Filed under 1980's, Afrocentrism, Barry Reynolds, Chris Blackwell, Compass Point, drums, Funk Bass, Grace Jones, naked funk, pentatonic scale, rhythm guitar, Robbie Shakespeare, Sly & Robbie, Sly Dunbar, synthesizers, Uncategorized

Anatomy of THE Groove: “Nobu” by Herbie Hancock (1974)

Han

Herbie Hancock’s 1973 number “Chameleon”was not only some of the first funk I ever heard. It was one of the very first songs I remember hearing at all. With each passing year,Hancock’s music has always been representative to me of new musical discoveries. From funk to disco to electro. After listening to him for years,it became clear fairly early that Hancock shared one creative quality with his mid/late 60’s musical boss Miles Davis. And that was that Hancock has had a number of distinctly different musical periods in his now 54 year strong recording career. In terms of over-viewing his career here,it seemed fitting to explore some of these periods’ lesser known innovations he helped to spearhead.

On July 29th,1974 Herbie Hancock recorded his sixteenth studio album live at Koseinekin Hall in Tokyo,Japan. The album was released only in Japan on the countries’ CBS affiliate. The album was divided  between four songs. The first two were performed acoustically and the final two would be performed electrically. Being this album would be sandwiched between Hancock’s two major funk breakthrough’s in 1973’s Headhunters and it’s followup Thrust from later this same year,this album entitled  Dedication received little attention at the time of it’s release. But one song on the album was one Hancock had never performed previously. It was called “Nobu”.

The song opens with a brittle,staccato Arp Odyssey provided the songs central rhythm. Then the ARP String Ensamble fades in with it’s otherworldly orchestral tones. Hancock provides to different musical lines with his Fender Rhodes on this song. One is a bluesy bass line that pumps hard up under the song. The other is a mid to high toned solo that plays some often spiraling melodic improvisations. Towards the middle of the song,this Rhodes solo becomes more rhythmic in tone. As the melody again becomes a prominent part,the ARP strings returns as Hancock’s Rhodes turn to an echoing dewdrop sound before the song reaches it’s end with a bang from the string ensemble and the Rhodes.

Many people (including myself) think of Herbie Hancock’s fully electro funk period at beginning with his work with Grand Mixer DST and “Rockit” in 1983. Even though it wasn’t heard stateside at the time,Hancock’s electro funk revolution actually got it’s start right here on “Nobu” in 1974. And it’s electro Afro-Funk at that. The ARP Odyssey Hancock uses for the rhythm of this song has a more percussive than a drum like tone. And therefore the flavor it creates is of a far more tribal nature than any early drum machine could create. So by fashioning futurist Afrocentric electro funk,Herbie Hancock was at this point already a decade ahead of his time.

 

 

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Filed under 1974, Afro Funk, Afro-Futurism, Afrocentrism, ARP synthesier, electric jazz, electro funk, Fender Rhodes, Herbie Hancock, jazz fusion, Uncategorized

Anatomy Of THE Groove For The Brothers And Sisters Who Aren’t Here: “Movin'” by Brass Construction

Just over ten days ago Larry Payton,the drummer for the Brooklyn based band Brass Construction passed away at the age of 62. The man was considered in the funk community as one of the major drummers of the day. Especially as danceable rhythms became a major musical priority in the disco era. Being that my mother was working in the modern dance field in mid 70’s NYC and was herself a Brooklyn native,it amazes me to think of all the powerful funk bands from Brass Construction to the Fatback Band having their days in the sun during that era. The story of this band and their musical breakthrough also runs very deep as well.

One of the bands founders Guyanese born Randy Muller. Originally founded as Dynamic Soul in Muller’s adopted home of  Bedford-Stuyvesant (also my mom’s origin point),Brass Construction came out of an area blanketed by music as the funk era developed. A huge fan of the Afro-Latin percussion strains of Mongo Santamaria,the intellectually minded Muller turned down an offer for the band to sign to Motown’s Rare Earth imprint and signed the band to United Artists. Their self titled debut dropped in 1975. And it began with a song that would not only launch the band success wise,but also change the face of the funk for the rest of the decade. It was entitled “Movin'”.

The song begins with one of the heaviest horn blasts in funk before going into a quiet Fender Rhodes solo that launches into the main song. It is a hard hitting,percussive drum groove driven by hand-claps right on every beat. The rhythm guitar and a pumping, chordally jazz phrased bass line holds the groove steady as the horns play the main melody. A series of scaling chimes create a dream like atmosphere on top. On the refrains of the songs brittle wah wah guitar,sci fi synthesizers and the horns themselves each take on upfront soloing time. As the song goes on,these many combinations of rhythm and melody work with each other in funky unison until song fades out.

In terms of bringing the Afro Funk sound with it’s tight melodic horn charts and percussive drumming to the American public,”Movin'” really can’t be beat. With the emphasis on the basic 4/4 dance beat at the core,it was the nucleus of the New York disco sound that emphasized heavy funkiness. Payton’s drumming on this song echoed on through what would be heard on jams like “Running Away” from the Roy Ayers Ubiquity a couple of years after this. And this song was also kept funk’s Afrocentric identification intact in order to get people to really dance to their tune. This has made it one of the most enduring and important uptempo funk numbers of the mid 1970’s.

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Filed under 1970's, Afro Funk, Afro-Cuban rhythm, Afrocentrism, Brass Construction, Brooklyn, disco funk, drums, Fender Rhodes, Funk, Funk Bass, horns, Larry Payton, New York, percussion, Randy Muller, rhythm guitar, synthesizer, Uncategorized

Anatomy of THE Groove: “Walking On Sunshine” by Eddy Grant

Eddy Grant first came to my attention in the same manner as he did most people around the world. And that was through his massively successful 1982 new wave funk/rock hit “Electric Avenue”. Actually that’s an excellent introduction to this artist. Fact is,Eddy Grant is a pretty amazing artist. This Afro-Briton multi instrumentalist was born British Guiana. He recorded his first album on his own Ice House label. And that label has since developed the largest catalog of Caribbean music in the world.. In addition to providing a wonderful business model for black DIY artists,Grant was also someone who absorbed a great deal from the 70’s funk/soul  groove aestetic.

Grant’s musical grounding is so strong that he actually invented a specific genre himself called ringbang. It functions as a combination of different Caribbean musical styles. Grant himself describes this genre in very Afrocentric terms-that is as a music that’s totally oriented around using rhythm to communicate messages between those listening. As his music progressed,it took on a great deal of sociopolitical messages within the lyrics. Specifically focused on ending Apartheid in South Africa.  At the end of the 70’s as the disco era was coming to a close,Grant spun his own take on futurist dance music with his 1979 hit song entitled “Waling On Sunshine”.

An uptempo percussive beat begins the song right off and keeps itself going throughout the song. A bassy Clavinet plays a purely rhythmic role throughout the song right along with the main percussive fueling the groove. On each chorus and refrain,the Afro Beat/reggae styled horns pulse and play away. When the song reaches a bridge,there’s a round wah wah guitar playing an extremely funky riff that keeps on going through some sweaty vocal call and responses. On the next instrumental section,a popping early drum machine pulses up and down before the horns come back into play for some heavy charts. The song fades out with Grant harmonizing with himself on some jazzy falsetto vocals.

Having listened to this song several times all the way through online over the past couple of years,something important about it really occurred to me tonight. This song might very well come as close as the planet Earth can come to perfecting  late 70’s pan African funk. Even though it would be well over a decade before Grant would coin his ringbang genre, songs such as this made it clear that funk played a huge part in it. The combination of African style horn charts and percussion with electric piano would resonate onto other Afro Funk classics in the coming years such as Rim & Kasa’s “Love Me For Real” four years later. And this song is a prime example of Eddy Grant at his most fully funky.

 

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Filed under 1970's, Afro Funk, Afrocentrism, Caribbean Funk, clavinet, drum machine, Eddy Grant, horns, Ice House Records, percussion, ringbang music, Uncategorized, wah wah guitar

Anatomy of THE Groove: “Mozambique” by Sergio Mendes & The New Brazil 77

Sergio Mendes has in some form or other been a huge part of my core appreciation for music. And the knowledge of his continuing musical journey only continues to grow with the me over the passage of time. Equally adept at coming out with some of the greatest Brazilian jazz instrumentals around to interpretations of American pop hits, Sergio’s Brazil 66 and Brazil 77 carried his music from the swinging 60’s on into the funky 70’s. The songs of Burt Bacharach gave way to the songs of Stevie Wonder in terms of their interpretations. And with a whole new generation of new,musically inventive songwriters coming out in the mid/late 70’s,the landscape only grew more fertile for Sergio.

It was musician/DJ Nigel Hall who turned me onto the music of Sergio Mendes & The New Brazil 77. This lineup included jazz/funk greats such as Nathan East,former Mothers Of Invention keyboardist Ian Understood and guitarist Michael Sembello-at the time fresh from working on Stevie Wonder’s iconic Songs In The Key Of Life. The 1977 self titled debut for the New Brazil 77 turned out to be the first and final release from this particular lineup of Sergio’s band. It included the participation of Wonder himself and a couple of tracks he wrote specifically for this album. One song that stands out strongly for me is an instrumental entitled “Mozambique”.

A skipping,throbbing 4/4 rhythm accented by a descending Brazilian funk whistle gets the groove started. The one stays together very strong on this groove-holding down Watt’s phat slap bass bottom and the thick guitar and synthesizer harmony that defines the melodic core of the affair.  Co-composer Sebastian Neto’s percussion keeps keeps the beat progressive and strong the whole way. On the songs refrains,the slap bass is singled out a lot more while Sembello’s guitar and the synthesizer engage in some subtle call and response interaction. On the last of these refrains,the slap bass descends upward continually while reaching back to the main groove that plays until the song fades away.

One thing I’ve noticed in hearing music by people such as Flora Purim and Sergio Mendes here that was made in Brazil at the height of the disco era is how thoroughly funkified it is. This entire song is based completely on rhythm-emphasizing Brazilian music’s total Afrocentricity. The percussion and drum line behave every bit as one polyrhythmic pulse. The Afro-Brazilian vocal chant provided by the musicians also keeps the song in tune with full on rhythm. Every time I think about Sergio Mendes and his music, it’s this song that comes to mind as some of the most powerfully funky he made during his late 70’s period. And catches onto the Stevie Wonder vibe by virtue of spirit and participation.

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Filed under 1970's, Afro Funk, Brazilian Jazz, disco funk, funk guitar, Michael Sembello, Nathan East, percussion, Sebastian Neto, Sergio Mendes, Sergio Mendes New Brazil 77, slap bass, Stevie Wonder, synthesizer, Uncategorized