Eric Gale started to teach himself guitar in his native Brooklyn at the age of 12. He played on the R&B circuit with acts such as King Curtis, Maxine Brown and Little Anthony & The Imperials. This laid the ground work for his future as a session great. While at Niagra University, he studied chemistry. The music bug never left Gale however. His major claim to fame was as a session ace during the 60’s and 70’s. As a member of the instrumental jazz funk outfit Stuff, Gale played with Paul Simon in 1980 for his One Trick Pony soundtrack. He was also part of Aretha Franklin’s stage band for a time.
He began a concurrent career as a leader with 1973’s Forecast, on the Kudu label. He recorded the bulk of his late 70’s albums on Columbia however. His first two albums on the label were Ginseng Woman in 1977 and Multiplication the following year. Both albums have been combined together at least twice during the CD era. And were recommended to me by my dad while crate digging. Revisiting some of the songs via YouTube, the song that really stood out uppermost in my head with the title song to the Multiplication album.
Andrew Smith’s jazzy march on drums starts out the groove-with Gale’s ringing guitar improvising along with Bob James’ synths and Alphonso Johnson’s exploratory bass line-starting the groove in a dreamy fashion. Then the horns kick into the groove with Gale playing an ever evolving, down home blues type solo while Richard Tee’s piano and organ join the rhythm section in holding up a soulful groove. All with the horns accenting the changes in key on virtually every chorus and refrain. Its on the closing extended chorus that Gale scales down on his guitar solo as the song itself fades out.
“Multiplication” is an excellent example of ace jazz/funk/rock/fusion session musicians bring a wonderful feeling to their grooves. Sometimes, albums made by session players are thought to be too technical and less human. Gale, Johnson, Jackson, James and Tee’s years of experience playing together really give this groove a great late 70’s jazz/funk version of the uptown, bluesy/soul nightclub musical ethic. And its Gale’s fluid playing style and rich, ballsy tone that lead the way with grooves of this particular type. Basically a theme he’d always variate on as a band leader.
Bob James is actually an artist whom I discovered within the last decade and a half. A Missouri native whose music was informed by (and on) the city of New York,his sound drew a great deal of inspiration of theatrical Broadway musicals and film scores. This goes into James’ talents as a pianist,composer and arranger. His jazz bass and embrace of the 70’s funk sound led him to being one of the progenitors of the production style referred to as smooth jazz. His solo career has carried on for over four decades. And he was also a founding member of the smooth jazz group Fourplay.
It was actually due to another conversation with my parents that got me into first hearing Bob James music. The question posed to them was that,as a choreographer,had my mother ever done a piece based on a popular song. While the exact information was somewhat vague,she did remember that sometime in 1976 she had heard the Bob James song “Westchester Lady”. And something about it’s progression made it sound like it would be a good song for all the members of her troupe to choreograph as a group piece. So today,I’m going to endeavor to overview this song on a musical level.
Harvey Mason’s hi hat drum swing hugs Will Lee’s upscaling 7 note bass line on the intro,as Hugh McCracken’s mutron filtered electric guitar rhythmically plucks away. This is the entire rhythmic base of the entire song. The main melody of the song finds James’ electric piano playing a very riff filled with blue notes. That’s when the strings come in-at first playing along with the bass line. On the choruses,a huge horn ensemble comes in playing a very cinematic melody-accompanied by ringing bell like percussion along with the sweeping strings that grow in intensity.
The second refrain of the song features a bluesy sax solo from Grover Washington Jr. as the main instrumental part. The second chorus of string actually extends for a much longer time-adding more fluttering violins on the second turn of it. On the final refrain of the song,James’ electric piano and Eric Gale’s guitar play some bluesy call and response solos duets with the darting horn charts. As this bridge continues,their playing grows more intense and dramatic. Then the song simply goes back into the quiet groove of the first refrain as it proceeds to fade out entirely.
Considering the emergence of Isaac Hayes and Barry White during the first half of the 1970’s,it was no surprise that Bob James and the productions he did at CTI and on his forthcoming solo career would become part of the evolving jazz/funk fusion genre. The nature of this groove,with funkiness being the supporting element and the orchestration accenting it,indeed makes it ideal for a contemporary modern dance piece of it’s day for an ensemble of dancers. Each musician brings something important to this song’s funky dramatics. And that’s what brings this instrumentally danceable funk to life.
Filed under 1970's, Bob James, choreography, cinematic soul, drums, electric piano, Eric Gale, Funk Bass, Grover Washington Jr., Harvey Mason, horns, Hugh McCracken, jazz funk, New York, rhythm guitar, strings, Uncategorized, Will Lee
For the past six months? Have been debating with myself as to how to reintroduce this blog. There were some personal matters involved. Yet I was continually discouraged by saturation news about one act of gun violence and other forms of terrorism right after another. And over and over people defending the right for this to keep happening-rather than striving to do something about it.
For over a decade since my own family started playing a vinyl to cassette dub of Kenny Loggins’ 1977 solo debut album Celebrate Me Home? There were a number of songs on it that made an impact me-especially with former partner in the famous singer/songwriter (itself a soul based sub genre of course) duo with John Messina creating such a soul/R&B oriented debut album with his strong lyrical and melodic sensibility. One of those songs has been ringing through my mind all month long. And it’s called “I Believe In Love”.
The song opens with the spirited,uptempo percussion of Sergio Mendes alumni Laudier de Oliveira and Steve Foreman. This is accompanied a melodically jazzy soprano recorder solo from Jon Clarke. Loggins ethereal falsetto rings in at this point over a short instrumental break to introduce the refrain-again sung in a whisper over Steve Gadd’s drums. Loggins drops into the lower end of his vocal range.
On the second chorus? Album producer Bob James kicks in for a spirited synthesizer accompaniment. This leads into the bridge of the song being lead by the lyrically narrative chorus-wherein Clarke’s recorder ,Lee Ritenour’s rhythm guitar and James’ synthesizer are both in strong harmony with Gadd’s drumming and Loggins spirited vocal inflections. At the conclusion of the song? There’s an alternately phrased variation of the chorus that concludes the song.
Instrumentally speaking,this song is absolutely phenomenal and happy spirited funky soul. It’s also from that mid/late 70’s period where this variation on of the genre was thriving and prevalent. And not only on the radio, but in private record collections from all sections of the record stores of the day just about. The participation of the most talented and prolific jazz/funk session players of the day of course really helped to give the song it’s driving,positive energy.
Considering contemporary fears,anxiety and often near inability of people to show affection to one another, as well as the tendency to feel blood lust in protecting the most violent and inhumane aspects of religion? Drawing on a late 70’s take on the 60’s era gospel/soul concepts of humanity such as the potential loss of soul runs very deep to me right now. Especially coming to the conclusion that believing in love as a broader concept is far healthier then people being guarded and “believin’ in gods that never knew them”. Perhaps it’s music such as this seemingly simple song that might hold the answers to major problems so many are refusing to deal with today.