Genesis began their career in the early 70’s as a progressive rock outfit,whose lead singer was the charismatic performer Peter Gabriel. Up until 1975,the bands sound was based in different forms of European classical music. Phil Collins succeeded Gabriel as a vocalist as well as being the drummer and one of the writers for the group with 1976’s Trick Of The Tail. Gradually, Genesis began to take on elements of jazz/rock fusion of a type Collins was playing in his other band Brand X. By the time of Genesis’s 1981 album Abacab,elements of modern funk and soul became an aspect of their sound as well.
That same year,Collins released his solo debut album Face Value. It was a very diverse album that’s now considered a classic. And also had its share modern funky/soul uptempo numbers. For both Collins’ solo effort and Genesis’s,Earth Wind & Fire’s Phenix Horns. They consisted of trumpeters Rahmlee Michael Davis and Michael Harris-along with the late,greats in sax player Don Myrick and trombonist/bassist Louis Satterfield. As a drummer,Collins musically related very well to the horn sections combination of melody and rhythm. This really showed in Genesis’s big hit from 1981 called “No Reply At All”.
The song starts out hot. The refrain consists of Collins’ percussive,fast paced rhythms with Tony Banks’ equally percussive synthesizer melody adding to Mike Rutherford’s phat,jazzy funk bass line. The Phenix Horns accent hard on every second beat. On the chorus,Collins’ drum roll brings in the refrain where the keyboard,guitars and bass line play along with a fuller horn chart-until another drum roll bridges each refrain/choral exchange. Banks on a solo piano with a Wall Of Sound style drum from Collins’ represents a bridge that leads into the choral/refrain exchange the closes out the song.
In terms of an English band mixing progressive pop/rock with Afrocentric,percussion/ horn based funk,”No Reply At All” is one of the finest examples at the beginning of the decade. The sound is not at all overcooked,which is a frequent aspect (and to some writers and critics,a complaint) about Phil Collins’ own solo combinations of the styles. Because this is coming as a collaborative writing effort from Genesis,a power trio band,each member deals with the combinations of rhythm,melody and arrangement extremely well. That makes this probably the funkiest moment Genesis had up to this point in time.
Don Myrick,the tenor saxophonist for Earth Wind & Fire’s Phenix Horns from 1975 to 1982,passed away over twelve years ago. Today would’ve been his birthday. He played solos on key songs such as Phillip Bailey’s vocal showcase on the live rendition of “Reasons” on the bands Gratitude album,as well their 1979 hit “After The Love Has Gone”. The mans way with jazzy harmonics was by no means limited to ballads. Myrick first met Maurice White as members of the Chicago band The Pharaohs-which also included future Phenix Horns trombonist Louis Satterfield. And it all came together for White and Myrick through the man that got Maurice’s career going to start with: Ramsey Lewis.
It was actually on EWF’s Gratitude album that I first heard the song “Sun Goddess”. It was a live version where Maurice announced that they were going to perform a song they’d done with Ramsey Lewis. I knew of this windy city soul jazz piano master from my father playing his Don’t It Feel Good album on vinyl for me around the same time. Just before I wrote this,Henrique Hopkins informed me that the studio version of “Sun Goddess” was basically an afterthought jam. And he and EWF felt the song off the album of that same title would be “Hot Dawgit”. But in the end this song ended up redefining Ramsey Lewis as a major player on the 70’s jazz funk scene.
Johnny Graham just strums away on a thick,rhythmic guitar on two chords-going up and down note wise. Verdine White supplies the thick yet metronome like bass.. Maurice himself kicks in the song on bass drum before Phillip Bailey’s conga’s kick in. Charles Stepney himself adds both the ARP string countering the rhythm guitar while adding a Fender Rhodes solo right along with it. On the choruses,Maurice and Phillip sing a beautifully melodic Brazilian style vocalese. On the second refrain of the song Don Myrick comes in with a sometimes squonking free-bop jazz style tenor sax solo. On the third,Ramsey comes in for his own Rhodes solo which closes out the song.
For all intents and purposes, this is an Earth Wind & Fire song instrumentally. Ramsey himself acted as an arranger and producer for it. As well as a soloist. It’s a musical showcase for the sonically beautiful tonality that funk rhythms and jazz harmonies can create when combined together by great musical talents. The sound of this jam creates such a visual impression in the mind. The guitar and keyboard orchestrations Stepney provided bring to mind the rising sun on a clear and hot summer morning,at least to me anyway. And with this combination of two talent’s (Ramsey’s and EWF’s) whom I’ve always respected,this is a reminder why funk is my main and favorite basis for music.
Filed under 1970's, ARP synthesizer, Charles Stepney, Chicago, Don Myrick, drums, Earth Wind & Fire, Fender Rhodes, Funk Bass, jazz funk, Johnny Graham, Maurice White, percussion, Philip Bailey, Ramsey Lewis, rhythm guitar, Saxophone, Uncategorized, Verdine White
Earth Wind & Fire had one of the most telling experiences with the post disco radio freeze out of the early 1980’s. Their inaugural album of the decade entitled Faces an alternately Afrocentric and idiosyncratic double album that was not as popular with audience as it’s sale figures indicated. Philip Bailey often mentioned he felt that when record label pressures began being put upon EWF to began courting their own classic sound, it actually began the downfall of that sound. Their subsequent album Raise! is actually among my favorites of theirs and got them a huge hit in “Let’s Groove”. The band indicate they felt that song signified them chasing success. Still this was a creative fertile period for EWF.
From their very first days at Columbia,EWF had always reserved some of their more experimental musical elements to linking interludes between songs. They were generally under a minute long. And the more pop oriented their sound became,the more anachronistic these interludes seemed to become. Still it was an excellent chance to showcase that they were still musicians. On vinyl the second side of the Raise! album began with such an interlude entitled “Kalimba Tree”. On the album it was under 30 seconds long. As featured in the 1982 EWF concert filmed in Oakland California,it was a lot longer. The new Funkytowngrooves reissue of the album features this longer version.
A round,space funk synthesizer wash opens up the groove. The percussion rings away as Verdine White’s bass line provides the most potent rhythmic element. As the higher key choral element comes in,brother Maurice’s Kalimba comes as Verdine’s bass scales down more. All along with one of Philip Bailey’s classic ebonic chants-later repeated on a second vocal course by Maurice. Roland Bautista plays a glassy guitar solo along with Don Myrick’s jazzy sax solo. On the final refrain,hand claps come deep into play with a more rocking solo from Bautista as the same space funk synth wash that opened the song closes it out.
Sometimes when I hear a song,the mind begins to wander in terms of what might’ve been. Earth Wind & Fire would only have two more albums out of their original Columbia run after 1981. Hearing what I only understood to be a brief interlude extended out in this fashion got me to think just how long numbers such as “Departure”,”Brazilian Rhyme” or even 1983’s “Mizar” might’ve actually been as originally recorded. In any case,this showcases that the mixture of Afro-Brazilian rhythm,funk and jazz that were at the core of EWF’s sound were still alive and well amid the technological changes during the 1980’s. And that the band were still thinking on that same level as well.
Filed under 1980's, Afro Funk, Afro-Latin jazz, Afrocentrism, Don Myrick, Earth Wind & Fire, Kalimba, Maurice White, Philip Bailey, post disco, Roland Bautista, Uncategorized, Verdine White