Tag Archives: Bernard Wright

Andre’s Amazon Archive: ‘Nard’ by Bernard Wright (1981)

'Nard

After hearing “‘Nard” the one definitive impression you’ll have is that New York pianist Bernard Wright has a large number of musical influences ranging from Herbie Hancock,George Duke,Lenny White and of course Dave Grusin (his producer) and Miles Davis.But one thing the 16 year old musician does very well is find unique and creative ways of gathering his influences into his own special kind of musical sound.

Released on vinyl in 1981 on GRP “‘Nard” is at it’s core a funk-jazz album,but all that means is that the backup has a rhythmic R&B style over which Wright plays very memorable and often improvised solo’s on his acoustic piano,Fender Rhodes and sometimes the occasional synthesizer.But only on the spiky funk of “Just Chillin’ Out” and “We’re Just The Band” do synths play that big a part.

“Master Rocker”,”Spinnin'”,”Firebolt Hustle” and the jamming “Bread Sandwiches” are all based on a chunky backup of guitars,rhythms and often sudden melodic exchanges,that plus the comically absurd vocals of “Haboglabotribin'” brings up the George Duke connection.The general sound (especially on the one ballad in Weldon Irvine’s “Music Is The Key” showcases Bernard Wright as an artist with a firmly established 1970’s-based sound..

The electronic and glossy sheen of 1980’s style jazz-funk an R&B in general are not to be found in huge doses on ‘Nard’.But thanks I’m sure to poor promotion on GRP’s part this album (and artist in general) have gone almost forgotten until this CD reissue.I brought it only on customer recommendation and I couldn’t be more pleased with what I heard.And despite it’s often hefty price tag ‘Nard’ will be more then worth the investment.I recommend it not only as an ear pleasing guidebook for other aspiring young musicians but to any fan of late 70’s/early 80’s transitional jazz-funk in general.

Originally Posted On November 15th,2004

Link To Original Review Here!

 

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Filed under 1980's, Amazon.com, Bernard Wright, Dave Grusin, Fender Rhodes, GRP Records, jazz funk, Music Reviewing, piano, synthesizer

Anatomy of THE Groove 9/5/2014 Andre’s Pick: “Bread Sandwiches” by Bernard Wright

Bernard Wright is probably one of the more significant instrumentalists in terms of my own musical progression. He is not only the first I discovered completely online,but also one of the first that I discovered without any word of mouth recommendation from family,friends,books or magazines. He still doesn’t have the hugest recorded catalog. But he was an important part of the early 80’s Jamaica,Queens jazz/funk scene alongside luminaries such as Lenny White,Tom Browne and the late Weldon Irvine. In addition to that he was also a youth prodigy-still high school age when he released his debut ‘Nard  for Dave Grusin’s then fairly new GRP label. This album was my first introduction to Bernard Wright-having been a recommendation on Amazon.com when it was available on CD as a Japanese import. Of the many exciting and lovable grooves on the album was an instrumental called “Bread Sandwiches”.

Starting off with a dramatic piano scale from ‘Nard himself,the song goes into some of the most pleasurable combination of highly melodic and percussive piano playing I’ve ever heard. Wright’s fingers can be clearly heard dancing and bouncing on the keys. During the song he plays a beautifully chorded,phat synthesizer harmony. On the bridge he plays what I’d call a jazz/funk version of stride piano,with a more spacey synthesizer accent. After this,before a break going back to the main theme Mike Flythe,one of two drummers on this album,plays an attention getting marching band type drum solo send off. After another complete round of this,there’s another bridge where in front of a buzzing bass synth bed,Wright plays a more bop style piano solo before the song fades out the same repeated melodic phrase right before Flythe’s drum solo before the second refrain of the song.

Musically speaking? This song brims over with a potent blend of learned instrumental ability and completely youthful enthusiasm of style. Bernard Wright himself is very much the embodiment of,as my blogging partner Henrique and I might describe it,of a super hip young black middle class man who might be driving to a gig where he’d be rehearsing Miles Davis or Thelonious Monk compositions while listening to the funk band Slave on his car stereo. This song is very much in the Crusaders /Stuff/ Steely Dan type studiocentric jazz-funk bands of the mid/late 70’s. And coming out in 1981,it was a very important time because a huge musical transition was occurring in NYC during this period. Hip-hop was beginning to emerge-partly of out the fact that aspiring musicians in Wright’s age group found themselves perhaps unable to have access to musical instruments and good instruction as the music scene was dividing up.

In one sense,”Bread Sandwiches” represents the end of an era. But also would eventually open the door to a new beginning. I have my issues with what some commercial hip-hop has ended up doing conceptually. But during the sample heavy era,it did serve as an important archive for music just like this. The ‘Nard album came out during what Henrique and myself refer to as the post disco radio freeze out. Basically any uptempo,danceable music made by black artists (funk in particular) went unheard and heatedly debated in literature due to the anti disco backlash of 1979. However a decade later? This album,which might’ve been rather unnoticed in its time emerged as being among the many albums whose grooves and breaks become the bedrock for the sampedelic end of the jazz hip-hop sub-genre of the mid 90’s into the early aughts. Today many musicians and funkateers likely celebrate Bernard Wright for his own merits either through hip-hop or the online music world-which is how I discovered him. So especially in the sense of songs such as thing? Progressions in in both music and technology have surely been a good friend to Bernard Wright!

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Filed under 1980's, Amazon.com, Bernard Wright, Funk, Hip-Hop, Jazz, Jazz-Funk, Late 70's Funk, Sampling

The Inspiration Information of Shuggie at the Turning of the Millennium: Andre’s Outlook

Shuggie

Looking back on when the century and also the millennium turned,the year 2000 was felt very much like a huge temporal pain reliever for me. No Y2K,could buy anything in a record store without being constantly questioned as to the “credibility of my musical tastes and overall? The futurist mentality that most science fiction/Star Trek admirers such as myself had been pining for seemed to at last be on the horizon. One memory was on a dark,snowy January first playing the O’Jay’s song “The Year 2000” in my room and having similar thoughts as to what Eddie Levert was singing about-all that wonder and promise. It would be sometime towards the middle of this year that another millennial milestones of my musical development occurred: my own introduction to Shuggie Otis’s Inspiration Information.

First of all I wanted to say that during the 2000/2001 period? I wouldn’t have sought out Shuggie Otis on my own because I still couldn’t stand the blues. It had nothing to do with tuning into any cliches of self pitying lyrics or anything. It was more a cultural misunderstanding of intent. Growing up in 1990’s central/Northern Maine? All any music lover would hear was how much the blues was part of every popular music. Outside the Top 10 radio? Most non commercial radio at the time was obsessed with the blues. And with such a sense of seriousness. From what I saw? No one ever danced or clapped their hands to chase their blues away. Just listened,frowned and sometimes even drank a lot. Because those were not qualities I felt boded well with music,itself a motivating factor in life? I did flatly reject any connection that the music (which I loved with my heart and soul) and it’s connection with the blues.

So on one warm and welcoming day in the summer of 2001? My father and I were about to go for a cruise to take in the beauty of nature. As well as some always vital father/son bonding time. On our way we stopped at Bull Moose records,the local music store chain in the state of Maine,and my father came out very excited. He had a CD in his hand with this bright orange 70’s art deco style about it. He told me that Talking Heads’ David Byrne had declared this album the big unsung 70’s masterpiece and re-released it on his Luaka Bop record label. The album of course was Inspiration Information by this man I vaguely knew about named Shuggie Otis. When I asked my father who he was,he told me Shuggie was the son of the blues icon Johnny Otis.

What was I hearing here? Johnny Otis? The BLUES? Well I actually recalling rolling my eyes and tisking lightly to myself. Had a feeling of “here we go-someone trying to up-sell me on the blues again. Like it’s the only music in the world”. It was likely I wanted to hear a Stevie Wonder,Curtis Mayfield or Miles Davis record I’d bought with me at that time. It was my dad’s car of course,and I wanted to understand why he’d be so gleeful about this music. So my father put the record in the CD player of our used 1992 Toyota Corolla. The first thing that came out of the speaker was this beautiful swell of male falsetto vocal parts-harmonizing with each other over an upbeat wah wah bass/guitar and a sunny organ solo.

By the time the sweetly monotone voice of Shuggie himself came in with the lyrics “we had a rainy day/I’m in a sneak back situation/Here’s a pencil pad/I’m gonna spread some information/You, making me happier/Now I am snappier, while I’m with you”?How was this music blues? The only blues I’d heard thus far related mainly to unemployment,romantic distress and death. I wasn’t hearing any of that with Shuggie Otis. There was this realization I was indeed hearing that meaningful,bright funk/soul music I loved. But it was a totally different sound on that level. Through “Island Letter”,”Aht Uh Mi Hed”,”Happy House” and this amazing percussive instrumental called “XL-30” that I asked my father to repeat over and over again that afternoon? There was a hollow,dreamy sound about this album that I’d really never heard before.

My father told me Shuggie played almost all the instruments on the album the way Prince did. Later on as I listened and read the liner notes? It came to me where I’d seen Shuggie’s name before. During that era I was deeply into the music of the Brothers Johnson. Even more so when I fully realized their involvement with two musical icons in my life: Quincy Jones and Michael Jackson. One of their biggest songs “Strawberry Letter#23” was originally written and recorded by Shuggie Otis in 1971 for his Freedom Flight album. After hearing the album itself and the bonus songs on that CD? I was truly shocked. By no definition I’d ever dealt with was this the blues that I had been hearing. Shuggie’s music helped me see the depth and complexity of the blues. This music was reflective,thoughtful,poetic and very tender.

Recently I debated with myself whether to bring this up here. But about seven years later? I was playing a beat up CD of this album I’d gotten later from the Bull Moose free bin with my fiancee while driving through town during a visit to see his family. Upon hearing “Aht Uh Mi Hed”? He remarked how much he enjoyed the way Shuggie used organ in his music. Such an instrumentally inclined remark from a fellow Generation X’er was very much unknown to me even by that time. It was only a year ago that I ended up with the album again-released with Shuggie’s newest set of unreleased material called Wings Of Love. After playing it in the car? Even my musically persnickety mother fell under the spell Shuggie Otis set with Inspiration Information. Although he absent mindedly remarked just last week that she thought “XL-30” sounded like something from the score of the film Napoleon Dynamite? Even her respect for Shuggie’s musicality remains undiminished.

Part of my overall respect for Shuggie Otis also came from how his music helped me to better appreciate session musicians and the vital role they play in many a musical masterpiece. I was aware of his session playing for his father Johnny. But not necessarily in how his playing helped to revitalize the careers of Etta James,Louis Jordan and Bobby Blue Bland and “Louie Louie” composer Richard Berry. Growing up I’d tended to view musicians who played out front in bands as being the most musically important-either as soloists or as members of bands. Though already very aware and involved with listening to The Crusaders by this time? My admiration for the non session/solo music of people such as Greg Phillinganes, Paulinho Da Costa, Bernard Wright,Weldon Irvine and bands such as Stuff began to grow and increase follwing my exposure to Shuggie.

As for my father,the man who originally introduced me to Shuggie Otis? He is still broadening my appreciation of the man to this very day. Only earlier today,when discussing this blog with him,did he discuss Shuggie’s involvement with Frank Zappa. Shuggie in fact played electric bass on Zappa’s iconic instrumental “Peaches en Regalia” from his 1969 album Hot Rats. My dad is a long time admirer of Zappa,who was an individual who often elevated musicians considered to be sidemen into positions of prominence. One such musician was the violinist Don Sugarcane Harris. It was mentioned by my father this afternoon that he first heard about Shuggie Otis via his session playing on Harris’s 1970 LP release Sugarcane. So when Luaka Pop reissued the Inspiration Information album on CD? My father,being unfamiliar with Shuggie’s solo music,was very eager to hear it. So as I was writing my own story about this man and his album? My father was telling me about the first time he heard of Shuggie Otis.

One of the reasons I still find this album to be some of the most beautiful funk ever recorded is association. When I first heard it? That magical 21’st century had arrived. The future that everyone had been dreaming about in the century before had at last arrived. And considering the dark days of the post 9/11 world would arrive in only a seasons time? This introduction to Shuggie Otis to my life always reminds me of the importance of maintaining dreamy optimism. Especially in the hardest of times. Also,with some later help from Ken Burns’ Jazz documentary? Hearing Shuggie Otis completely altered my perception of the blues. He really put a sunshine funk filter inside of his musicality. And it helped me realize that broadness of the soul/funk/jazz/blues musical spectrum-outside of any locally based misconceptions. As Branford Marsalis said of blues music itself? To this very day,whenever I hear Shuggie Otis’s Inspiration Information,it makes me smile.

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Filed under 1970's, 1990s, Funk, Local Radio, Maine, Psychedelia, Radio, Shuggie Otis, Soul