Tag Archives: fusion

Anatomy of THE Groove: “Candango” by Airto Moreira

Airto Moreira is someone whom I recently covered here. Since his official birthday is Saturday, decided to pay tribute to a song by him that I just couldn’t resist. The origins of the album the 1976 Airto album Promises Of The Sun in my collection comes from the budget vinyl crate digging days. Just learned about Airto from his work on Miles Davis’s album from the early 70’s. And his solo albums were popping up on a lot of these crate digging exercises. The cover art depicting Airto in the middle of a ritualistic chant drew me to thinking this album would have a tribal musical content. And it actually did.

During a period where I was still actually making a lot of mix tapes, there was one song from this particular album that got my attention. Its title was hard to translate. But it apparently refers to anyone who came from another state to participate in the development of the city of Brasilia, the federal capital of Brazil. So when it comes to increased knowledge of this songs place in Airto’s musical history, its good history on this song that ends the second side of the vinyl edition of Promises Of The Sun. The name of this particular song is “Candango”.

Airto starts off the song with swinging march-one that evolves into a percussion laden Brazilian swing with Airto chanting-likely in Portuguese. On the first part of the song it showcases Rhodes player Hugo Fattorusa,guitarist Toninho Horta and bassist Novelli playing to Airto’s melodically spirited scat singing. This breaks for a moment with Rhodes-before the second part of this verse goes into a much bluesier, psychedelic part of the song. Here Horta’s guitar plays a rockier solo with Airto’s chants and scatting blending together in this cavalcade of sound before the first verse closes the song out.

“Candango” is a song that,even after all these years, has an idiosyncratic air about it that still delights me to this day. Its a sandwiched type of song really. The middle is this psychedelic jazz/rock/blues explosion of Fender Rhodes,guitar and bass. But they are bookended with this swinging Brazilian jazz style melody that still retains Airto’s unique creative air throughout. Its a strong reminder of how much Airto and another fellow collaborator in the late George Duke had in common: both loving to compose music with abrupt changes in sound. For me at least, “Candango” is one of Airto’s top compositions.

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Anatomy of THE Groove: “One To One” by Jan Hammer Group

Jan Hammer is known by most American’s as a keyboardist who scored many films and TV shows-namely the iconic theme to Miami Vice. Interestingly,the unique sound of that particular theme song gave an indication just what sort of musician Hammer was. Starting his musical education at university in his home city of Prague,he migrated to US in 1968 with a scholarship at Boston’s Berklee following the Warsaw Pact’s invasion of Czechoslovakia. A couple of years after that,he was the keyboard player of the iconic fusion band Mahavishnu Orchestra-led by John McLaughlin.

After leaving the band in 1973, Hammer formed a new band called The Jan Hammer Group. This included violinist Steve Kindler,drummer and vocalist Tony Smith and bassist/vocalist Fernando Saunders. They released two masterful albums in 1976 and 77 with Oh Yeah? and Melodies. Both had a sound that foreshadowed the most industrial end of new wave influenced jazz funk. Especially with Hammer’s custom Oberheim/ Moog synthesizer combination which had a rock guitar like tone. One of my favorite songs form the first of these to albums is the tune “One To One”.

A 20 note bar of round toned Moog bass gets the song started. Tony Smith’s drums joins in after that-following up David Earle Johnson’s congas. When Smith’s lead vocals come on,Hammer’s Fender Rhodes plays a counter melody to the Moog bass. The Oberheim synth orchestration comes to play on the refrains and the little bridges leading up to them. On the main bridges of the song,Hammer solos on his guitar synthesizer. After a small instrumental part near the end of the song, the Oberheim string synths guide a totally new vocal segment from Smith before themselves closing out the song afterwards.

“One To One” is a very strong mid 70’s entry for the Jan Hammer Group,and they had many such songs during this time. Compositionally, this song could easily stand up to the sound and melodies in Stevie Wonder’s funk numbers during that era. Also the type of progressive,cinematic orchestration of Hammer’s 80’s TV scoring work is very much present here. This also served as a prototype for the sound Hammer and this group would bring to Jeff Beck over the next few years. So its a song that showcases extremely strong writing and composing on one of the most elaborate jazz/funk numbers of its day.

 

 

 

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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”

out-of-our-heads-us-600x600

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”

Horizon_(Carpenters_Album)

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: “Overnight Sensation” by Jerry Night

Jerry Knight is a name I’ve been hearing about for quite sometime. There seems to have been a number of funk/soul musicians who had one or two major songs. But didn’t have a long term career as solo artists. That appears to have been what happened to Knight. Online research on this artist was really sketchy. According to two separate sources he was born today in either 1952 or 1955. And according to another he died 19 years ago. What is known about the man is that he was born in LA. And was a founding member of Raydio with Ray Parker Jr. Most of the information on this man came courtesy of Allmusic.com columnist and personal Facebook friend Ron Wynn. So wanted to thank him indirectly.

One thing that is known about Knight is that as a bass player/singer/songwriter/producer he worked with many artists in the soul/funk spectrum during the early 80’s-many of whom were once members of major 70’s funk acts now seeking solo careers. Among them were Phillip Bailey and Howard Hewett. Upon leaving radio after their first album, Knight decided to pursue a solo career. He eventually landed on A&M Records where he recorded three solo albums between 1980 and 1982. The first of these was a self titled effort that featured some co-writing contributions from Raydio’s Arnell Carmichael. The biggest song on this album was a groove called “Overnight Sensation”.

Guitarist Skip Adams begins the song playing a very Larry Carlton styled jazz-fusion type riff along with Knights thumping,round bass and rhythm Fender Rhodes on the intro. All the while Quintin Dennard keeps the beat steady on drums. The Rhodes takes the main solo until Adam’s rocking guitar takes over for the rest of the song. On the choruses, Knight sings lead with his  backup vocalists. On the refrain’s,Dennard’s drums have a more skipping rhythm while the Rhodes scales up in pitch. This chorus/refrain pattern repeats itself for most of the song-with a bridge where the P-Funk like backup singers take the lead vocal again. This pattern continues on the chorus that closes out the song.

Instrumentally this is a pretty bold song. The funk percolates pretty heavy,and a lot of the notes used have a distinctly jazz fusion styled flavor about it. Knight’s bubbling bass soloing throughout the song allows for Adam’s guitar solo to flourish. By taking a hard,steely funk rhythm and throwing down a hard rocking guitar solo this song takes the funk/rock hybrid the Isley Brothers had been pursuing around this time and adds those heavier fusion notations. That gives it a sense of transcending the sound of one decade’s groove onto another. Whole Jerry Knight may not have a massively available personal biography,his funk certainly spoke for itself.

 

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Filed under 1980's, A&M Records, drums, Fender Rhodes, Funk Bass, funk rock, jazz funk, Jerry Knight, Los Angeles, Quintin Dennard, rock guitar, Ron Wynn, Skip Adams, Uncategorized

Andre’s Amazon Archive for 6/13/2015: ‘Amandla’ by Miles Davis

Amandla

Cannot tell you why I spent almost a quarter of my life as an admirer of Miles Davis’s music and passed over this CD over and over again. No reason but,well the wait it over. Seems this album titled is based on a Zulu word meaning “power”. And Miles must’ve been feeling a lot of that musically. His body was swiftly deteriortating by the time this came out. But what mattered is that his 1986 Warner Bros. debut Tutu was triumph,for him and producer/writer/collaborator Marcus Miller. This album was to be the follow up to that. And essentially follow the same format: Miles would play his horn while Marcus did almost everything else. However Miles’ own personality was given somewhat more of a kick by the presense of Joe Sample,Omar Hakim and Joey DeFrancesco here. It may not have been the approach that many might’ve viewed as Miles’ own cup of tea,being as confident as he was creatively. But at this point putting his dwindling physical energy into his playing was paramount.

On the first two numbers,”Catembe” and the George Duke collaboration on “Cobra” that afrocentric polyrhythmic percussion flavor is continued on from where Miles left off on the previous album. Duke had the good sense to take some notes from Miller’s approach in that regard. “Big Time”,the more brooding “Jo-Jo” and of course “Jili” take a step forward. With the strong surge of success of go-go and it’s more commercialized cousin new jack swing Marcus Miller began to integrate those digitized funky shuffing beats into those songs,all of which have strong melodies and look ahead to the possibility of more hip-hop type music in Miles’ future. “Hannibal” is a very thick jazz-rock similar again to some of the music on the previous album. The title song is the slower number here with a melody teeter tottering between reflective and sunny. The closer “Mr.Pastorious”,a tribute to the than recently befallen Jaco is a strong song compositionally on the jazzier end.

Interesting thing about this album to me is that it was the final album Miles’ released in his lifetime. His final album Doo Bop was released a year following his passing in 1991. And even here with Marcus Miller you can hear the strong groundwork laid for some of the jazz/hip-hop fusions Miles would go for on his final recordings. Of course this is a fully instrumental album so he was not making the full change over to anything overtly hip-hop here. Just Marcus’ passing nods to the go-go and new jack swing sounds he was probably pretty interested in at the time. And likely had appeal to Miles because of their relation to the funk he’d fallen in love with. So it was great to see Miles,even as he was at the twilight of his career by this poing,still being two steps ahead of what else was happening in the jazz world of the time. Innovating all of ones life time is amazing. But being able to do that pretty much near your death bed? Well…maybe that’s just Miles for you.

Originally posted on June 20th,2012

*Link to original review here

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Filed under 1980's, Amazon.com, Fusion, go-go funk, Jaco Pastorius, Jazz-Funk, Joe Sample, Joey DeFrancesco, Marcus Miller, Miles Davis, Music Reviewing, Omar Hakim

Anatomy of THE Groove for 6/12/2015: “Tomorrow” by Nicolay

It was through his collaboration with Phonte on the latest album by The Foreign Exchange that got me interested in the music of Matthjis “Nicolay” Rook. Now this is a Dutch native who has been creating both solo albums and different collaborations within the funkiest side of the electronica/hip-hop/soul spectrum of music. His emphasis on live musicianship with his acumen as a multi instrumentalist is a big part of his artistic appeal for me personally.

Over the past decade,Nicolay has released a series of solo records in his City Lights series. Generally weaving them directly in between his released as a member of The Foreign Exchange. I’ve never had one of these albums. Yet the newest volume of this was subtitled ‘Soweto’-as a tribute to the South African township of the same name. And through online streaming? It was it’s opening song “Tomorrow” which caught my ear the most.

Beginning and ending with the voice of what is perhaps Bantu language conversation in the back-round? The song begins with a round bass synthesizer chord-accompanied by breezy orchestral electronics. Suddenly a burst of intense percussion kicks in for the main rhythm of the song-with congas,high hat and other Afro-Latin percussive sounds. On the bridge of the song a high pitch,and still round toned series of synthesizers play a horn like jazzy riff before gearing down into a higher pitched synth scaling up and down. All before the song ends with a light Ebonic vocalese.

One of the things I enjoy about this song is some of the same quality I heard on “If I Knew Then” from The Foreign Exchange. This song is of course far faster and electronic in straight up instrumental tone. That being said? Nicolay borrows a lot of his technique from early/mid 80’s Prince. In the sense that he is a master programmer and creator of live rhythmic and warmer,brittle bass lines with electronic drums and keyboards. It also helps greatly that he’s also an electric bassist and guitarist as well. He therefore understands the importance of a fat,rhythmic groove. Whether or not it’s produced organically. Along with it’s similarity to 1980’s Miles Davis and Weather Report? This song brings out the link between funk and contemporary electronica very strongly.

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Filed under 2015, Afro-Latin jazz, electro funk, Electronica, Fusion, Jazz-Funk, new music, Nicolay, Nu Funk, percussion, Phonte, South Africa, Soweto, synth funk, The Foreign Exchange

Herbie Hancock: A Tribute To The Electronic Headhunter

Herbie Hancock Secrets

Celebrating the 75th birthday today? I began to realize the breadth and variety of the fantastic musical career of Mister Herbert Jeffrey Hancock.  From working with Donald Byrd very early on to his recent work with nu jazz artist Flying Lotus? Herbie has been much like his former employer Miles Davis in the sense that he has taken his own style as a pianist/keyboardist through a number of distinctly different musical periods.

Realizing that my knowledge of Herbie’s music lays mainly in his electric period? It became quickly apparent that there are actually a number of musical period’s in and of themselves during this one particular period. So I am going to present to you album reviews I’ve done for his music. With one album representing each different period of Herbie Hancock’s electric period which extended over three decades. Hope you all enjoy it!

The Blue Note Years

The Prisoner (1969)-Blue Note

Well,there’s no doubt that the last couple of years of the 60’s certainly provided a fertile musical ground for a jazz musician to create in. There were so many culturally/sociological transitions occurring at the same it,the importance of improvisation in general was paramount. Herbie Hancock himself was in a similar state of transition during 1969. He was easing himself out of Miles Davis’s 60’s era Quintet. And both he and Miles were about to about to enter into the world of electric jazz-making inroads into that area that were similar songs with a different tune-to extend on that little metaphor. For this album Herbie was playing with a 10 piece big band that included the likes of bassist Buster Williams,flutist Huber Laws,drummer Tootie Heath and saxophone extraordinaire Joe Henderson for an album that marked both the end of an era for him as well as the beginning of a new one.

“I Have A Dream”,a tribute to the recently slain MLK is a beautiful ten minute+ tone samba during which Henderson,Heath and Hancock expresses extremely conversational harmonies with themselves and each other that are bound to engender some emotional response. The title song as well as “Firewater” (the only non Hancock composition here” and “He Who Lives” are all a bit instrumentally cooler-focusing on swinging bop style numbers where the rhythm section takes presidents. And on which Herbie himself engages in plenty of his trademark bravely scaling piano arpeggios-harmonizing with himself between both bass and higher tenor tonalities. “Promise Of The Sun” seems to be indicate a similar rhythm section based bop number at first. Yet by the songs end? The melodic horn harmonics of the septet of horn players on this album provides a gently orchestral coda to the album itself.

This album doesn’t tend to rate as either great or terrible among Herbie’s many albums. And it isn’t 100% instrumentally groundbreaking exactly to be said. What does make this album rank so high to me was the feeling of it,which is key to jazz music anyway. The mixture of Herbie’s bluesy electric piano and virtuosic harmony style on the acoustic upright combine with the big band featured on this album to create a very probing musical atmosphere. The musicians are all searching. Not searching for a sound. But for a future that is yet to come for the nation and the world. Recorded in the spring of 1969,this albums looks ahead in its instrumental conceptions towards what the 1970’s would bring. For Herbie himself? It would bring a change in music completely opposite to this-as he was about to leave Blue Note for Warner Brothers after this album. His personal life and identity would soon make a change that would showcase that new evolution in his music. For a coda to the first phase of his career? It would be pretty hard pressed to find a more instrumentally fulfilling way to go about that than this!

Mwandishi

Fat Albert Rotunda (1969)-Warner Bros. 

Counting about 99.8 % of the music on this album ‘Fat Albert Rotunda’ is Herbie Hancock’s first dive into the world of funk-jazz,a just blooming genre in 1969 when this was recorded and a style he wouldn’t return to for another five years or so.As for the jazz side of his personality only “Tell Me A Bedtime Story”,with it’s gentle theatrics,works in this arena.Otherwise this album is pretty much instrumental funk,upbeat and well made but probably not quite as thrilling and DEFINITELY not as innovative as later such efforts as ‘Thrust’, “Man-Child’,’Secrets’ and of course ‘Headhunters’.But once fans of Herbie’s funkier style have purchased those recordings (which are essential) this album is the next logical step to walk in.

The Headhunters

Secrets (1976)-Columbia

It is from this album that I actually coined a whole definition for a certain kind of music from the 70’s,inspired by the title of a particularly funky song on this…particularly funky album. Herbie was on this huge musical winning streak in the mid 70’s and,even so this album really stands out very strong even for this period in his career! One of main reasons is the addition of Ray Parker Jr who,much as the Brothers Johnson had on the previous album Man-Child had really gone above and beyond in his ability to enhance and add great flavors to the already well established Headhunters sound. Not only is this one of Herbie’s most funky albums albums of this period but also his most thoroughly ear catching and….pretty melodic since Head Hunters and it’s also the most similar one they made to it. All their music from this period was that way but the previous two albums had gone after some more experimental type sounds. This one not only gets back to the basics but adapts on the sound in all kinds of different ways. In every measurable sense this is a funk album through and through but not every song is alike.

“Doin’ It” is…..well I’d say it was the best tune here but every one is so excellent that’s hard to say but it’s certainly one of the very strongest jams of 1976,a year full of ’em. The song starts from this Ray Parker riff that….builds into another riff until Herbie’s keyboards and synthesizers kick and and build on top of them unti Ray starts singing “just keep on doing it!”. This is a pointed reminder of the building nature of funk in it’s heyday. His remake of his own “Cantaloupe Island” adds a this Afro-Caribbean stomp,along with kind of this marching “big four” jazz beat to the funk and gives the tune some extra added bounce. “Spider” is just an amazing song;like the theme song to a kind of “techno-blacksploitation” movie never made with it’s bassy synth fanfare and that heavy chase scene rhythm. “Gentle Thoughts” is probably the most commercial sounding groove here as it sticks closest to the melody and sound fairly light for this type of album.

As for it’s overall atmospherics…well lets just say it’s most fittin that Lee Ritenour actually used this song as the title cut for his next album Gentle Thoughts. “Swamp Rat” is…among one of the most harmonically advanced tunes Herbie ever made with yet more fan-faring bass synths and,as for the second half of the song Paul Jackson’s bass and Bennie Maupin’s passionate work on sax and reeds carry that area. As for Maupin he gets a big kudos on his own “Sansho Shima” at the end of the album,which has this very strong Afro Cuban jazz flavor with the procrastination being bought to the forefront and the funk kind of riding along in the middle. This album is kind of ignored because it’s sandwiched after some well known classics and comes right before his disco-funk period-itself HIGHLY underrated. There is a progression from one to the other yet in terms of Herbie’s powers as a soloist,bandleader and composer in the 70’s,never-mind his funkiness this album is one of many that can’t be beat!

Funk/Disco Jazz

Feet’s Don’t Fail Me Now (1979)-Columbia

Often times I hear the late 70’s end of the funk era as being dismissed and harshly judged. Always chalked it up to the fact that the disco era,which came to an end in the year this particular album was released,attracted at least as many detractors as a genre as individual artists such as Beyonce do today. Aside from that music culture battle,nothing would keep funk,soul and dance artists from seeking new rhythmic ways with which to make their music as danceable and spirited as it could possibly be. I first heard this CD as part of my fathers collection. At the time I’d never heard any of the music Herbie Hancock had done between Head Hunters and Future Shock.

Nor was I aware that he even made any music between that time. So upon hearing this 1979 album for the first time? It was instantly exciting. Well at least tracks 1,3 and 4 were since they were the only ones I was fixated on for an unknown reason. Now over a decade and a half later I have the opportunity to view this album in the context of not only having heard Herbie’s other albums from the mid/late 70’s and early 80’s,but also other similar music from others artists made during this time period. So there is an understanding of the root of this sound that wasn’t present when I first heard this. So after so many years with this album,here are my current impressions of it.

The opener “You Bet You Love” is a glistening and rather enchanting disco friendly number with an extremely funky bass/guitar line that builds into Herbie’s swelling synthesizers-again married with a strong singalong melody that concludes with Herbie (as always during this time through his Vocoder) howling soulfully in the best manner of space-funk vocalizing. “Ready Or Not” is a Ray Parker Jr. penned funk groove filled with layered bass synthesizers along with Herbie’s melodic leads-featuring a choir of singers as opposed to Herbie and a sound very much out of the late 70’s Raydio type sound-only with a far more Afro-Latin oriented percussion break courtesy of Bill Summers.

“Tell Everybody” is a powerful,heavy bass/guitar led disco-funk jam with Herbie sharing vocals with the choir of singers on Vocoder-and again solid proof that Afro Latin percussion in the disco era did hold strong ethnic identification in the most instrumental oriented of hands. Now those are the numbers I was always most inclined towards here at the time of first hearing it. “Trust Me” is a slow,dripping samba type slow groove with a powerfully complex melody with Herbie vocoderizing a poignant lyric of romantic insecurity. “Honey From The Jar” is a slow crawling,bluesy and glassy dyno’d electric pinao driven slice of harder edged funk-showcasing a very chunky bass line. “Knee Deep” (not the Funkadelic classic of course) begins in a disco-funk oriented mode before descending deep into a heavily phased drum break/bass line for the deepest end of futurist funk.

Probably the most well know story of Herbie Hancock in the 1970’s was him always having to somehow justify his alternating between electric and acoustic playing throughout the decade. With that debate raging on among critics,he again ran into a similar musical syndrome to Miles that with all the controversy a lot of people missed out on the fact that,when playing funk oriented music,Herbie Hancock was helping to innovate even some unexplored tributaries of the funk-jazz genre. Because of Herbie’s assertion that funk’s strong roots in the Earth gave the music more room for rhythmic and melodic flight,he and Bill Summers in particular were able to use this music to fully explorer the percussively rhythmic possibilities that lay within the fact that the disco era funk music was extremely popular and even innovated on in Africa itself at the time.

And that is basically the spirit that comes from this particular album. It all the most shiny engineering and production gloss of any of Herbie’s 70’s funk-fusion albums. Yet at the same time,the rhythms that are colored by this effect are extremely strong and varied. The musical synergy that always seemed to exist between Herbie and Ray Parker Jr. is seen to enormous effect on this album. It showcases the strong instrumental compatibility that would show them collaborating so often during the years 1978-1981. So I must agree with writer Ricky Vincent that this was one of the strongest funk albums of the disco era. And one of Herbie’s strongest funk records as well.

Electro Funk/Hip-Hop

Sound-System (1984)-Columbia

With the success of Future Shock and its big hit “Rockit”,Herbie had made one significant musical contribution to the 80’s decade: he managed to put an instrumental dance record onto the pop charts and even the music video world. And opened up the door for other musicians such as contemporaries of his such as Jan Hammer to do the same. The following year Herbie was back in the studio with Bill Laswell to record the follow up to that album. As he was in the early 70’s,Herbie was continually fascinated by how to combine the modern electronic/hip-hop sample/scratch oriented effects that interested him with the heavily Afrocentric variety of funk. Again on the heels of another possible cultural innovation,Herbie bought in the Gambian musician Foday Musa Suso,who played an electrified African string instrument called the Kora,which produced a reverb laden Harp-like effect. This would have the effect of extending even further on the musical revelations he’d made on his previous album.

“Hard Rock”,”Metal Beat” and the closing title track are all very much in line with the approach of “Rockit”,but the instrumental sound is very different. The rhythmic patterns,keyboard parts and the addition of the Kora on the title song especially infuse these songs with an enormous Afro-Latin quality about them-which draws out the expansiveness of the groove and manage to make the electronics of it seem totally non-rigid. “Karabali” has almost no relation to these songs at all-its an almost totally African,almost Cameroonian Makossa beat type number built heavily around Suso’s Kora. “Junku” perfectly blends the tight and danceable electro-funk sound of Herbie’s with the same Kora sound. Bernard Fowler returns for another vocal number in the bluesy funk of “People Are Changing”,very much a generational cautionary take where Herbie delights on both synthesizer and acoustic piano alternately. The bonus track is an extended version of “Metal Beat”,which draws out the African percussion element even more.

Something tells me this album didn’t resonate with the public the same as its predecessor had. And it isn’t because the album is too repetitious of it. It actually isn’t at all. But the basis for all of the songs on this album are African oriented drum patters and different rhythmic ideas-with anything American blues based rarely being showcased. While this album is chocked full of massively grooving break dance friendly electro funk,the basis for it isn’t particularly American it all. It takes the heavy Afro-Latin influence of the previous album to a whole other level in fact. In many ways,that makes this one of Herbie’s best albums of the 80’s as the music is extremely close to his heart in the sense of being technically futurist yet rhythmically grounded in the tradition of the Earth itself. Manu DiBango himself could extend on the sound from his album in particular on his own release from the following year Electric Africa. As for this,Herbie may very well have sparked the public’s interest in Africa and African musical rhythms during the mid 1980’s. So again Herbie himself gained some success for himself while being a trailblazer.

Acid Jazz

Return Of The Headhunters (1998)-Universal

Herbie Hancock made a valiant but no altogether creatively vibrant comeback with Dis Is Da Drum. He began making acoustic records for the rest of the decade which,actually focused on reinventing songs that were originally done electrically. During this time there was a revival of funk in a more organic musical form. And later in a decade a particular focus on the jazz-funk side of things. New bands such as Brand New Heavies,Jamiroquai and a revived Incognito came out of the UK as part of this boom. The acid jazz boom. This was an excellent environment for Herbie to revive the band that got the ball rolling on the jazz-funk movement of the 70’s in the first place: The Headhunters. But would Paul Kackson,Bill Summers,Bennie Maupin and Mike Clark be interested in putting the band back together and…well doing “it” again? Looks like the did. This time to remain contemporary they bought in guests both old and new,from Patrice Rushen to BNH’s own N’Dea Davenport. And off the went!

“Funk Hunter” gets things off to an excellent start. All the old magic of Headhunters funk is fully intact from Herbie’s reverbed clavinets to the stop/start rhythms. “Skank It” actually ups the funk ante even more with some high octane rhythms and Bennie Maupin going right for it on saxes and reeds. “Watch Your Back” is the only number here featuring rapping. But the rap has jazz cultural value and the music around it is still the Headhunters funk. “Frankie And Kevin” is a more mellower recording with Davenport on lead vocals. She stretches out vocally even further on the catchy and jazzy funk piece “Tip Toe”,another of my favorites here. “Premonition” and “6/8-7/8” go right for the heavier jazz jugular with Bennie Maupin stretching out on the solos in a more abstract way he might’ve before his Headhunter years. Both are very strong again compositionally. “Kwanzaa” is another favorite of mine here. It has a long going on in it. There’s this polyrhythmic atmosphere, layered keyboard/synthesizer solos and some unusual but memorable melodic phrases.

Much more organic,better produced and featuring far far stronger compositions than Herbie’s previous album of all original material this actually served to re-introduce a musical collective/band that I still don’t feel is quite given the credit due them. The Headhunters cannot get the credit for out and out creating jazz-funk as a subgenre. But the sure pioneered it by really showcasing so many of it’s most important elements. There was the African rhythmic influence. That emphasis on stop/start rhythms on unexpected time signatures for another. And there was also that close and unique musical chemistry that all of these musicians had that made it all work. Truth be said this album has just a tad more vocals than the original Headhunter era albums ever had. Not to mention on that level how much more oriented it is around guests in that area. But it all functions very much as a complete musical unit rather than some example of one upsmanship. The Headhunters purpose as a band is ultimately fulfilled here as their strengths and weaknesses are complimented as well as they ever were. And this all makes this joyful,funky music to hear.


And there we have it: my own list of the Herbie Hancock albums that I feel represent the strongest of each period of his electronic jazz-funk oriented creations. The fact that the man has branched out so many tributaries as an electric player shows just the expansiveness not only of Herbie himself,but of the jazz/funk musical combination itself. And it’s an expansiveness that continues to develop here in the new millennium.

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Filed under 1970's, 1980's, 1990s, Acid Jazz, Bennie Maupin, Bernard Fowler, Bill Summers, Disco, electric jazz, Foday Musa Suso, Fusion, Harvey Mason, Headhunters, Herbie Hancock, Jazz-Funk, Mike Clark, Paul Jackson, Ray Parker Jr.

Anatomy of THE Groove 11/14/2014 Andre’s Pick: “Sign ‘O’ The Times” by Billy Cobham

                One of the challenges that has arisen for jazz musicians during the fusion era was the book of standards they had for interpretive purposes. While original compositions were always pretty sound? A melodic theme from a contemporary artist could be a wonderful musical launching pad from which said musician could take flight. As Miles Davis and recently Robert Glasper pointed out? Well basically how many times can a musician do a song like “My Funny Valentine” or “The Look Of Love”?  In the late 80’s,  Prince albums such as his musically iconic Sign ‘O’ The Times were not only getting serious reviews in jazz publications such as Downbeat. But musicians across the spectrum were discussing his instrumental and compositional ideas as well. One such musician was fusion veteran Billy Cobham. And he chose “Sign O’ The Times” as an interpretive theme for his 1987 album Picture This-his final release for GRP.

                   Cobham starts out with a fairly basic drum machine pulse much like the original. Than he comes in on live drums with a commanding,rolling march rhythm. This is accentuated by a simple Caribbean style percussion chime throughout. The late Grover Washington Jr. plays the vocal part on his sax with not only his typically high level of soulfulness,but also a foreboding tone to his solo. On what would’ve been the second refrain? Grover’s sax totally takes over as he improvises his own melody off of Cobham’s marching back-round. He starts off rather bluesy and almost crying out. Than he begins to sound progressively angrier and more emotionally intense. All before calming down to play the songs bass line,and then returning back to the original melodic theme. At the songs conclusion,Cobham and Grover both gradually evolve into playing an instrumentally testifying march together while Ron Carter provides the bass line on the upright.

                         It’s true that within the last couple of decades,Prince’s songs have become enormously successful in terms of being covered by jazz and blues instrumentalists and bands. The most exciting thing about Billy Cobham’s take on “Sign ‘O’ The Times” is how in tune he was with the song. He recorded his version and released it the same year that the original hit the public. Instrumentally speaking,Billy Cobham reaches into the lyrical theme of the song as a drummer for his take on it-almost more than he does the basic chords and melody. Adding a Caribbean style marching beat to the song lifted up the observing,questioning nature Prince originally evoked.  Grover Washington Jr. is also most impressive-again playing his solos as a tone poem based more on the lyrics to the song rather than the straight melody. Considering what Prince was doing with his jazz oriented Madhouse recordings at this time? Musicians like Billy Cobham were really doing a wonderful job cross pollinating the flowers of the possible new jazz standards of musicians like Prince.

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Filed under 1980's, Billy Cobham, drums, Fusion, Grover Washington Jr., Jazz, Prince, Robert Glasper

Andre’s Amazon Archive for March 29th,2014: The Foreign Exchange ‘Love In Flying Colors’

Love In Flying Colors

Just 24 hours prior to writing this review, a friend of mine named Thomas Carley recommended I seek out the latest release from The Foreign Exchange. Came into streaming some of their songs without knowing anything about the band members or their histories. Even now I still know very little. All I do know of them comes from another friend Henrique. He informed me that the bands founder Phonte was apparently a member of a group called Little Brother-a hip-hop group hailing from Durham,North Carolina. Knowing how hip-hop groups often spin off into completely alternate musical projects such as this,none of that information surprises me one bit. What did surprise me was how they musically presented themselves in the accompanying CD booklet. Some of the music of course is supplied by keyboardist/multi instrumentalist Nicolay. But this album also features,and credits with a great deal of enthusiasm,their 19 piece string section as well as it’s arrangers and conductors. That level of respect for the ethic of cinematic music production correctly led me to believe I would be in for a real treat with this album.

“If I Knew Then” opens the album with a wonderfully expansive funk/jazz fusion number-with melodies and rhythms elevating right up there with the many classics of the late 1970’s end of that genre. “Right After Midnight” continues on with a powerful synthesizer boogie funk number. This returns to even greater effect on “On A Day Like Today”-a number with enough early 80’s post disco rhythm box/electronic invention and song craft to make it a potentially enormous hit somewhere even today. The more acoustically textured guitar led jazz-pop of “Better” is equally wonderful-especially Phonte’s obviously growing vocal turns. Only wild card is a somewhat foul mouthed rap insert from him that,while delivering what turns out to be a good message,is more than a little out of place. “Listen To The Rain” returns to that flavor with a full vocal take with no rap. “Call It Home” brings a drum-n-bass rhythm flavor to this jazzy funk compositional attitude whereas the house fusion of “The Moment” recalls Incognito to some degree.

“Can’t Turn Around” returns to the expansive 70’s fusion-funk take and “Dreams Are Made For Two” returns to the drum machine led boogie funk before blending the two seamlessly for the closing “When I Feel Love” which,through that hybrid sounds close as this album comes to a modern hip-hop based funk-pop production. This album actually succeeds on every level it’s creators intended it to. The harmonically rich female vocals of Carmen Rodgers,Shana Tucker,Gwen Bunn,Carlitta Durand and Jeane Jolly combine with Phonte’s creamy delivery for a very meaningful and poetic combination of instrumentation and lyricism. The two rap inserts are both well harmonized from the music and are at least from within,which is refreshing in the tail end of the guest rapper age. The way the albums themes are presented are very much in tune with something of a cornucopia of the tail end of the funk era-the stylings from roughly 1977 through 1983 coming into full flower here. The Foreign Exchange are not new and are apparently a live act of high quality. Personally I’d say if this is the direction Phonte is taking them? I’d keep going for it if I were him.

Originally Written On September 29th,2013

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Filed under 1970's, Amazon.com, Funk, Janelle Monae, Jazz, Late 70's Funk, Phonte, The Foreign Exchange