Tag Archives: Chester Thompson

Funk Revelations Of 1987: ‘Freedom’ by Santana

Considering the revivalist creative spirit of the 80’s, it was still surprising that a musician as innovative and distinctive as Carlos Santana was not only still around but had never went away. Signed to Columbia,his music kept reaching the people. And thereby producing an audience-especially when one of his fusions of the contemporary sounds of the given time period impacted strongly on them. All the same, the Mexican American spirituality and Carlos’s 60’s type idealism hadn’t left him either.

During 1987, with social movements such as the ones to end Apartheid in Africa and even the AIDS activism of Act Up were showcasing that positive social protest was alas not dead during the last years of Reaganomics. On this album Santana expanded the hybrid band he was going for to include both Genesis’s Chester Thompson and Graham Lear (himself a Gino Vannelli alumbi) as drummers,along with bringing back keyboardist Tom Coster and bassist Alphonso Johnson into the mix.

In addition to guesting blues icons Buddy Guy and Junior Wells, this album also marked the return of another Santana alumni in Buddy Miles-lead vocalist for this potent album.  “Veracruz” opens this album on the note much of it maintains: heavy duty uptempo danceable funk with Minneapolis style synthesizer riffs and some mean bass lines. With the harmonica solo of Junior Welles here its clear that,outside the instrumentation this song is also squarely in the 12 bar electric blues tradition.  Never a surprise in any funk but it really sticks out strong on this one.

“Once It’s Gotcha” is right in the same heavy funk vein. “Songs Of Freedom”, “Deeper,Dig Deeper”and “Praise” are all right there too. And on them Santana has re-introduced something that the best of funk is always wise to embrace: a strong humanitarian consciousness in the lyrics. “She Can’t Let Go” is a slower tune with a chill styled aura about the moaning electronics and the dynamically intense melody of the chorus. “Love Is You” is a very pretty instrumental-with a strong contemporary jazz/pop flavor with Coster’s glassy synthesizer playing the dreamy melody with Santana’s spirited soloing.

“Before We Go” has a deep gospel/soul flavor about it while “Mandella” is a deeply fluid African inspired instrumental jam that gets everyone on board instrumentally. The album rounds out with the break rhythm oriented and brooding dance/rock of “Victim Of Circumstance”. Two things characterize this album from start to finish. For one, every song on the album are strongly based in soul/funk and are very danceable. This doesn’t have the typical bed of percussion that you’ll find on most Santana albums. Its more integrated into the steady rhythms,which always stay firmly on the one.

Yet Freedom still holds onto the funk era ethnic identification that Santana always held. The production is just as contemporary as it had been on Santana’s previous album Beyond Appearances. Difference is a more live instrumental flavor is strongly showcased here. Another important element of this album is that it truly lives up to its title both lyrically and conceptually. The focus is squarely on both romantic love and the love that humanity has (and should have) for one another as well.  Santana are respected both by musicians musicians and as “classic rock” survivors.

That well rounded respect of Santana’s musical ethic is why I’d highly recommend this album. Both in lyrical and instrumental terms. And to anyone who thought the entirety of the 1980’s represented musical soullessness. Its an album of the band that I personally discovered long after it came it. But it still felt extremely familiar. True, Santana didn’t have the capability of ever being soulless as far as I’m concerned. And in a way, that is a big reason as to why this album can effectively serve as such a high example of what it is.

 

 

Advertisements

Leave a comment

Filed under Carlos Santana

Anatomy Of THE Groove For The Brothers And Sisters Who Aren’t Here: “Spock Does The Bump At The Space Disco” by George Duke

In a lot of ways, the song being presented here today represents the passing of two great and different artists whom I admire. That was the actor Leonard Nimoy from Star Trek,who passed last year and the jazz pianist George Duke-who left us four years ago this coming august. It was about a dozen years ago now that I became very immersed in all things related to George Duke. This was thanks in part to my acquaintanceship with DJ/musician/Duke aficionado Nigel Hall. This led me to George Duke Online. It was on this site that George actually reviewed his own discography. This allowed people such as myself to get inside the man’s views on his own musical past.

In the early/mid 70’s during his tenure with Frank Zappa, Duke signed a solo deal with the German jazz label MPS. When he departed the label to sign with CBS/Epic in 1976, he recorded what amounted to a solo piano album where, with the help of Genesis drummer Chester Thompson, Duke played other instruments as well. It was released in America in a slightly altered form in 1982. But throughout most of Europe in 1978 as the now quite rare record entitled The Dream. The song I’m going to talk to you about today is one whose sound and title were originally quite different from the early 80’s variation. The name of the original song was “Spock Does The Bump At The Space Disco”.

Duke starts off the song with a lone funky drum-accented by a percussive bump on between the first and second beat. Starting with some of his own grunts and groans, Duke’s low piano than comes in playing the songs bluesy theme along with a distant, popping bass ARP synthesizer in the back round. A huge,deeply popping slap bass chimes in along with another theremin like synthesizer solo pipes up in the back round. Duke’s Fender Rhodes electric piano than comes in playing an accessory solo. By which time all the instrumentation that built up from the beginning of song all comes together beautifully before the song ends on a three note slap bass riff.

George Duke was the man behind some of the most potent and experienced funk that the jazz world had to offer from the early 70’s up until his death. And in every possible way? This song is among his very funkiest. It falls somewhere between the stripped down funk of Rufus and Prince. The one man band that is George Duke on this album does something fairly unique. Though multi tracked in creation? This groove showcases Duke’s experience as both a session player and band leader by being able to play off his own instrumental strengths and weakness. It does in fact sound like a band playing together-with the pianos and synthesizers creating a thick bed of funk one can always swim deeply within.

 

Leave a comment

Filed under 1970's, Chester Thompson, drums, Epic Records, Fender Rhodes, Frank Zappa, George Duke, George Duke Online, Jazz-Funk, Leonard Nimoy, piano, slap bass, Spock, Uncategorized