Tag Archives: Donny Hathaway

Anatomy of THE Groove For The Brothers And Sisters Who Aren’t Here: “Little Ghetto Boy” by Donny Hathaway

Donny Hathaway was one of the earliest musical figures I remember hearing by name. Though at that time,it was seven years late to the party that was his musical life. He committed suicide over a year before I was born-apparently after suffering with paranoid schizophrenia during what would’ve normally been the peak of his career. An alumni of Howard University,the Chicago native first took up with Curtis Mayfield’s Curtom label. He began producing and doing session playing for the likes of Aretha Franklin,the Staple Singers and The Impressions before embarking on a music career of his own.

Hathaway only recorded three studio solo albums in his lifetime. There were also a pair of live albums as well. Another project that Hathaway was involved with was a 1972 film score recorded with Quincy Jones entitled Come Back,Charleston Blue.  The album was brought to my attention by DJ,musician and Donny Hathaway admirer Nigel Hall. He encouraged me to seek the record out. And I finally discovered a vinyl copy online. It sat in my collection until several months ago when I dug it out for a vinyl based segment on this blog. And the song that stood out for me was called “Little Ghetto Boy”.

A funky conga drum shuffle begins the song with Hathaway’s bluesy,heavily reverbed Fender Rhodes piano serves as the intro to the song. As his vocal comes in,so do the climactic string arrangements and the stirring bass line. This essentially provides the choruses of the song-which provides the bed for the vocal narrative. Woodwinds come more into play for the refrains of the song-which lyrically serve to ask rhetorical questions of what was illustrated in the choruses. And its on this extended refrain that the song finally fades itself out.

Donny Hathaway has recorded some of the most amazing soul/funk standards over the years. Among them “Everything Is Everything” and the holiday favorite “This Christmas”. This song,with its Afro-Latin soul jazz shuffle is somewhat reminiscent of Marvin Gaye’s “Inner City Blues”. Hathaway really set two different modes on this song too. He starts off talking about the title character with low expectations and opportunities. Then asks those ever important questions as to what will become of the “little ghetto boy” in the future. Its one of Hathaway’s finest message songs consequently.

 

 

 

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Filed under 1970's, Chicago, Donny Hathaway, Fender Rhodes, Funk Bass, funky soul, message songs, percussion, Quincy Jones, Soundtracks, strings, woodwinds

Grooves On Wax: Summer Madness ’16

Ray Charles

Ray Charle’s early 50’s sides,recorded before his Atlantic years, were reissued by the Coronet label in 1963. They find the future Genius Of Soul finding his own voice through his earlier influences. These song sound a lot closer to Charles Brown and earlier jump blues/R&B songs than the gospel and country influenced soul sound Ray would become an icon with. It’s still wonderful to hear a very youthful Ray croon some blues here though.

Key Jam: “Misery In My Heart”

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My father gave me his vinyl copies of several of his mid 60’s Rolling Stones albums. This one is a classic album of spicy,bluesy rock ‘n’ soul that showcased the Stones really reaching their commercial and creative peak. Mick Jagger’s vocal personality,Keith Richard’s down ‘n dirty guitar and Charlie Watts’ righteous rhythm make the punchy sound of the original Mono mix of this 1965 album something not to be missed out on!

Key Jams: “Mercy Mercy”,“Hitch Hike” and “Satisfaction”

Love Child

Berry Gordy himself was part of a writing team he called The Clan,who came up with much of this matter following the iconic Holland/Dozier/Holland team left Motown. The title song of this album felt very different for the Supremes alone-it had a grittier cinematic funky/soul flavor. Even if most of the album,especially the second side followed the groups iconic Motown girl group sound,this 1968 release sure began with a bang.

Key Jams: “Love Child” and “Keep An Eye”

Spiral Starecase

Always enjoyed the horn heavy,soulful shuffle for the title song of this 1968 album whenever it came on oldies radio. I eventually found their full length debut album. With the reliance on interpretations, they do sound very much like an R&B/soul cover band from the time period. One thing they do with them,especially when the source material was a ballad,is add their uptempo horn based approach to it. That makes this a very satisfying listen overall.

Key Jams: “More Today Than Yesterday”,“Our Day Will Come” and “No One For Me To Turn To”

Come Back Charleston Blue

Donny Hathaway and Quincy Jones coming together to record a film score/soundtrack was a masterstroke for its time. It was musician Nigel Hall who recommended this albumf or me to seek out over a decade ago. It definitely has Quincy exploring his long of jazz history-from dixieland through modal on the scoring elements. Hathaway on the other hand delivers some of his most expansive funky soul on this album as well.

Key Jam: “Little Ghetto Boy”

Nuff Said

This 1971 album found Ike & Tina Turner in their prime period of creativity. Ike Turner had an approach similar to James Brown where earlier songs spun off into new ones-with at least one of these songs baring a strong resemblance to the then recent hit “Proud Mary”. Even though they duo were seeming to tire a bit creatively at this point,they could still rock up some heavy funky soul with their guitar and vocal might.

Key Jams: “What You Don’t See (Is Better Yet) and “Moving Into Hip Style-A Trip Child”

I Wrote A Simple Song

Billy Preston really came into his own on this 1971 debut album for A&M. It brought out the versitility across soul,blues,rock and hard funk that this organ virtuoso and vocalist brought to his music. Especially when adding the guitar like effects of the Clavinet electric piano to his renowned organ work as he did here-not to mention his abilities to deliver message music that could really stick. Billy Preston albums used to be pretty easy to come by in used vinyl crates in my late teens/early 20’s. Saw this over and over before finally picking it up. And wondered why I didn’t sooner.

Key Jams: “The Bus” and “Outta Space”

Nightbirds

In 1974,the song “Lady Marmalade” from this record really helped to bring the talents of Patti LaBelle and future new wave funk/Talking Head member Nona Hendryx firmly into the public eye. Producer/musician/songwriter Allen Toussaint really helped bring the high stepping and stomping New Orleans funky soul sound and gospel soul drenched ballads to this revived Philly trio on this album.

Key Jams: “Lady Marmalade” and “Don’t Bring Me Down”

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Perhaps it was due to personal problems that made this Carpenters album from 1975 so depressing in parts. Richard and Karen Carpenter both came out of a jazz back-round. So on this album of finely crafted balladry as they did best,there’s a reality based soulfulness that would begin to influence their more complex later work together. Even though this has it’s flaws,notably in the cover material,at least one of it’s two uptempo numbers has it’s moments. Again as it points to it’s Brazilian flavored jazz orientation of some of their later 70’s faster songs.

Key Jam: “Happy”

T-Connection-On-Fire-524801

T-Connection reveal themselves to be a highly underrated band. This 1978 found the groups stylistic versatility keeping up the soul and funk through journey’s into disco,West Coast pop,some scorching rockers and even a couple country inflected numbers.

Key Jams: “Lady Of The Night”,“Groove To Get Down” and “Playing Games”

I Love My Music

Even in 1979 when this album came out,this Pittsburgh band were known for their 1976 hit “Play That Funky Music,White Boy”. And during the height of the disco era,the bands focus was still on hefty funk grooves and harmony driven soul ballads. So this album was more than a pleasant surprise for me.

Key Jams: “Lana” and “If You Want My Love”

Off The Wall

Michael Jackson and Quincy Jones’ work on this 1979 masterpiece resulted in so many strong musical performance,listening to this vinyl passed down to me from my parents turned me onto the instrumentalists here. People such as Greg Phillinganes,Jerry Hey,Louis Johnson and Paulinho Da Costa. Which…in turn led me to starting this blog really. Bringing out this old vinyl to check out was mainly based on nostalgia. But also brought out that with songs such as “Rock With You” and “Get On The Floor”,very different mixed were used on the mid 90’s CD reissue I have. So it was fascinating to hear those differences come alive again through vinyl on this iconic album classic from the late MJ.

Key Jams: ALL of the first side. Plus “I Can’t Help It” on the flip side.

Sweat Band

Bootsy Collins came out of the lawsuit that barred him from using the Rubber Band name on George Clinton’s Uncle Jam label with this 1980 album of 100% P-Funk power! Having some of the bands finest players such as Mike Hampton,Garry Shider and Maceo Parker aboard allowed Bootsy’s iconic funksmanship to shine through in a way that…well actually impacted heavier on me by the second listen.

Key Jams: “Body Shop” and “Hyper Space”

Hiroshima Odori

Hiroshima are among the most fascinating jazz fusion groups to emerge from the late 70’s. This sophomore album of theirs from 1980 showcases their Sansei Japanese founder/woodwind player Dan Kuramoto,along with his Koto virtuoso wife June,creating a pan ethnic jazz/rock sound that blended many Japanese instrumental approaches into that fusion framework. And while their 1979 was extremely strong,this second album made an even bigger musical statement.

Key Jams: “Crusin J-Town” and “Echoes”

Pieces Of A Dream

Pieces Of A Dream’s early albums extend very well on the late 70’s/early 80’s proto smooth jazz and latter day jazz/funk scene of Philadelphia. Grover Washington Jr. did a lot of work with this trio on this 1983 album. It even adds in a hip-hop styled turntable scratching synth effect on one of it’s songs as well.

Key Jams: “For The Fun Of It”,“It’s Getting Hot In Here” and “Fo Fi Fo”

1-style-cameo-album

Cameo didn’t have just one transitional album-they had a whole transitional period. This underrated 1983 album is a major part of it. As the mid 80’s came in,Cameo’s lineup seemed to get smaller and smaller. On this album,it was a stripped down quartet. But through the many scratches on my vinyl copy,it was clear that Cameo knew how to hit the groove loud and hard during their stripped down,early 80’s new wave funk period

Key Jams: “This Life Is Not For Me” and “Cameo’s Dance”

 

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Filed under 1960's, 1970's, 1980's, Billy Preston, Bootsy Collins, Cameo, Dan Kuramoto, Donny Hathaway, Funk, Fusion, Hiroshima, Ike & Tina Turner, Labelle, Michael Jackson, Pieces Of A Dream, Quincy Jones, Ray Charles, record collecting, rock 'n' roll, Rolling Stones, Soul, Spiral Starcase, Sweat Band, T-Connection, The Carpenters, The Supremes, Vinyl, Wild Cherry

Anatomy of THE Groove: “Rock Steady” by Aretha Franklin

Aretha Franklin,having turned 74 today,has been alive during one of the most significant musical periods in terms of soul’s transition towards rhythm-towards funk.Her signature song at Atlantic was a version of Otis Redding’s “Respect”,which really showcased how the Southern soul style she embraced was edging towards that funky timing. Now Aretha has had some amazing uptempo songs,many of which were major hits,over her time as a recording artist. And they’ve all showcased how despite understandings to the contrary, that uptempo music can be just as timeless as balladry. Of course as with any artist,there were peaks and valleys for her. Some of those peaks were also pretty high ones.

Focusing to a degree on gospel soul/R&B ballads during the early 70’s,Aretha was becoming very well aware that the musical tide was shifting towards the more uptempo sound she’d pioneered in the late 60’s. So at some point in 1970-early 71 Aretha had a basic piano sketch of a groove that she presented to some of the new musicians she was working with. They were drummer Bernard “Pretty” Purdie,future Stuff guitarist Cornell Duperee and electric bass extraordinaire Chuckrh Rainey. This trio allowed for this song to be built directly from the rhythm up and become huge early 70’s hit for her. The name of the groove was “Rock Steady”.

Pops Popwell and Dr.John provide a hot Brazilian percussion accent to the bluesy organ of Donny Hathaway. From here Purdie’s drums really get going within this bed of percussion shaking along. Cornell get’s his James Brown rhythm guitar going on in a serious way in the center of this groove while Rainey’s bass is patted in with the sound of a deep, pulsating heart. On the choruses,Aretha’s vocals are echoed along with the backup harmonies from the Sweethearts Of Soul. Each refrain is buffeted by the very jazzy Afro pop charts from The Memphis horns. On the bridge,Purdie provides a percussive drum back that’s now one of the most famous in history before the song fades out.

There are times where the funkiness of a groove has to be discovered by listening closely. “Rock Steady” is not one of those grooves. It’s a song that demands moving and heavy booty shaking. With it’s strong Afro-Latin horn and percussion vibe,this is actually one of the songs that help inaugurate the “united funk” era of the early/mid 70’s.  Everyone playing in on this song act in the manner of JB as one rhythm machine. The song construction is so advanced,it thickens the whole sound. Aretha even lets us know to “call this song exactly what it is” before declaring it “a funky and lowdown feeling”. So as with Wilson Pickett’s “Funky Broadway”,this  groove really assumes it’s funkiness proudly.

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Filed under 1970's, Aretha Franklin, Atlantic Records, Bernard Pretty Purdie, Chuck Rainey, Cornell Dupree, Donny Hathaway, Dr.John, drum breaks, drums, Funk, Funk Bass, horns, Memphis Horns, organ, percussion, Pops Powell, rhythm guitar, Uncategorized

Anatomy of THE Groove: “Nature Boy” by George Benson (1977)-Vocal

George Benson’s vocal style always reminded me a great deal of a higher pitched Donny Hathaway,with just a touch of Stevie Wonder’s melisma for good measure. His vocal tone had such a general strumming quality,his technique of scatting with his guitar became a signature technique. So it was no surprise for me to find out that Benson was in fact someone who knew personally. And they had a musical connection with Phil Upchurch as Benson later covered Hathaway’s “The Ghetto”. Also important is that Benson had always sang AND played throughout his career-long before his 70’s commercial peak. So he is very accessible to appreciate on a purely vocal level as well as instrumental.

In 1976 Benson had a humongous bit of luck with his album Breezin’-produced by Tommy Lipuma and featuring the Bobby Womack penned title hit and his iconic cover of the Leon Russell ballad “This Masquerade”. Also being his debut for Warner Bros. records,Benson was now firmly positioned as a singer/musician who’d have a strong ear as an interpreter. Especially with his back round as a viruosic jazz guitar improviser. His second Warner Bros. release came out in 1977 and was called In Flight. It featured the same lineup of musicians as it predecessor. My personal favorite song from this album is a version of the Nat King Cole standard “Nature Boy”.

Cinematic strings sweep through the beginning of the song. These strings literally segue into Harvey Mason’s drums clipping along at roughly 96 bpm along with Stanley Banks’s two note popping bass,while Jorge Dalto’s Clavinet drives right in the groove along with it. Ralph McDonald’s percussion takes that rhythmic stroll along the way as Ronnie Foster’s electric piano plays along with bell like beauty. This basic groove is the musical atmosphere of the entire song-with the strings moving to the forefront for every other chorus. Benson’s lead vocal carries the first half of the song. On the final minute or two, the melodic focus is on Benson’s guitar/scatting hybrid technique he is so well known for.

When I first heard this,I had no idea Nat Cole wrote  it. Benson sings the original melody very faithfully. At the same time,his timing along with the slow crawling, percussive romantic funk called to mind Marvin Gaye’s musical sound of the same period. Gaye had already done a version of this song in 1965. His interpretation was very close to the original. What Benson bought to the song vocally was not only a more modern gospel/soul flavor,but also that more contemporary Brazilian style jazz/funk instrumental atmosphere. It did an excellent job showcasing the evolution of black American music and to me represents an important milestone for George Benson the singer.

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Filed under 1970's, bass guitar, clavinet, drums, electric piano, George Benson, Harvey Mason, jazz funk, Jorge Dalto, Marvin Gaye, Nat King Cole, percussion, Phil Upchurch, Ralph McDonald, rhythm guitar, Ronnie Foster, Stanley Banks, strings, Tommy Lipuma, Uncategorized, Warner Bros.