Jean Paul “Bluey” Maunick decided to change things up in 2013. A long standing member of the flexible lineup oriented acid jazz/funk group Incognito, he began a solo career. Bluey’s sound has by now joined many of the jazz/funk greats such as Donald Fagen and the late Joe Sample in aging to near perfection much like fine vintage wine. Of course a lot of changes have come thick and fast during the years 2012 through 2015. His solo music had enormous potential to showcase the many bright shades of the musical rainbow.
Bluey has elected to expand his musical vision into something that represents the very core of what funk (as a thematic concept) can truly accomplish in terms of speaking directly to people’s souls. “Dance To My Drums” opens with applause,funky drums, popping slap bass and rhythmic backup singing right upfront. The title song has a bass and dripping rhythm guitar based uptempo post disco/boogie funk sunshine to it.”Hold On” keeps that same instrumental vibe-only stripping it down to emphasize the hand clap powered rhythm.
“Saints And Sinners” is a very stripped down electric piano led neo soul/acid jazz style rhythm while “Trippin’ On The Feelin'” features a melodic synthesized symphony in a thickly percussive Brazilian jazz rhythm. “I’ve Got A Weakness For Love” extends the spare instrumentation into a more rhythm guitar led mid tempo groove. “Tomorrow Never Lies” is a stomping Brazilian tinged jazz funk melody while “Columbus Avenue” has a swinging rhythm accompanied by big heavy piano chords for an acoustic vocal jazz oriented number.
“Caught Up In The Grey” has a sleek contemporary jazz flavor based on the piano. “Been There Before” has a melodically bright groove about its thick rhythm. “More Than Getting By” and “The Poetry Of Life” are both stripped down acid jazz mid tempo numbers while ‘Sunships On The Shores Of Mars” takes on an acoustic bossa with cosmic lyrical poetry concluding the album. On every level, this astounding album is a fluid journey that references jazz/funk’s past,present and future as one expansive musical continuum. Very happily? Bluey accomplishes that beautifully with this album.
A Celebratory Album For Incognito!
When I first discovered Incognito when my own mother purchased their 1999 album No Time Like the Future album in a budget bin at the now defunct Wild Rufus records on Coastal Maine,who could’ve guessed that by that time there would be a decade or more of catching up to do with them. There was no internet in our household at that time. So all there was to pay attention to was the music. Since then I’ve been able to learn what a journeyman musicians career Bluey has had since he first recorded as Incognito in the early 80’s and reformed the outfit a decade later. I call them that because its never been a totally formalized band. Many members have come in and out over the years. Yet since 1991 they’ve maintained a very consistent schedule of album releases,touring and appearances on other artists records. They represent not only a modern day jazz-funk band,but a similar spirit to the originals in the sense that much of the “acid jazz” genre,which encompasses that ethic,seems to revolve around them in some kind of way. And here we are,its 2014 and Incognito are celebrating 35 years as an entity. And this album represents part of that big celebration.
Normally I’d start such a review discussing the pluses. However,just to get it out of the way “I Couldn’t Love You More”,”Rapture”,”Day Or Night”,”Another Way”,”I See The Sun” and “The Hands Of Time” are not only highly repetitive of one another,but also of the sort of major/minor chorded horn based mid-tempo grooves that seem to comprise the bulk of much of Incognito’s albums since the beginning of the millennium. That being said,they are all wonderfully played and performed. “Hands Up If You Want To Be Loved” mixes it up with a rhythmic lilt and a bit of a slick gospel drenched juke joint type piano. “Hats (Makes Me Wanna Holler)”,with its 60’s era Crusaders/Ramsey Lewis/Young Holt uptempo hand clap-powered gospel soul/funk just cannot help but bring to mind a musical response to Pharrell Williams newly iconic hit Happy. “Silver Shadow” is my favorite song on the album,with its powerfully melodic chorus and glistening,high pitched dyno’d electric piano chords right out of the early 80’s sophistifunk school the band themselves came out of to begin with.
“Day Or Night” has a jazzy neo soul flavor very much in the vein of a Jill Scott or Erykah Badu. “Something ‘Bout July” gets into a Stevie Wonder style Latin soul/funk samba type groove while “Wind Sorceress” again provides that hyper melodic stop/start sophistifunk groove on a more instrumental end of things. “Never Known A Love Like This Before” is one of their always strong disco friendly uptempo dance/funk scorchers “Stop Running Away” is a cinematic type groove with Bluey singing in a captivating (at least to me) choked Curtis Mayfield style falsetto. The title song,presented in two parts,also continues in the cinematic funk vein. This would’ve been a near perfect album in every way since there is an overriding Chitlin’ Circuit style of chunky,gospel drenched funky soul-jazz about some of these songs that showcase a new instrumental direction with Incognito. Not to mention the uptempo Afro-Latin style percussion dance/funk numbers are among their best. Maysa,while an asset,is not present here however this I have no trouble with. The only thing that detracts from this album is something they’ve tended to do a lot: rely too much of minor chorded mid-tempo grooves that sound similar and make the album go on somewhat longer than it may need to. Still that doesn’t take away too much from the fact they are still here. And make it clear they have intentions on innovating their music and perhaps learning from their creative missteps in their bright looking future to come.
*Here is a link to the original review on Amazon.com. Please view and comment on site as well. Thank you!
Filed under Acid Jazz, Disco, Funk, Incognito, Jazz, Memphis Soul, Music Reviewing, Neo Soul, Pharrell Willaims, Soul, Stevie Wonder