Andresmusictalk began in January 2014 as a joint venture between myself and Henrique Hopkins. He came up with the notion of re-purposing my Amazon reviews about funk/soul/jazz albums I’d listened to. As well as a weekly song feature. Eventually, this moved into blogging everyday-as musicians from Michael Henderson to Gary Bartz were kind enough to support my work. That work was supplemented by professional writer Ron Wynn and blogger Zach Hoskins-both of whom contributed wonderful things to this blog. As of today however, I am officially stopping future posts on Andresmusictalk.
This decision is something I’ve been mulling over for well over a year. The first (and most vital) reason for suspending work on this blog has to do with too many Facebook jail sentences. A combination of apparent reports from group administrators and site algorithms itself made it impossible for me to share content from this blog on multiple occasions. As my online ventures expanded beyond Andresmusictalk, I decided to limit and curtail the amount of content on the blog itself for 2018. Even still, the Facebook jail sentences from groups continued to occur.
The other reason for suspending my work on this blog relates to difficulties with maintaining partnerships here. One of my partners on this blog disappeared from the internet abruptly. In that case, a combination of seeking a monetized blog for financial gain and family obligations seemed to be a causal factor. Because of the nature of Andresmusictalk, I found myself less and less able to keep up with the demands of writing about songs and albums completely on my own. This led to less and less diverse content here on Andresmusictalk in the past five months.
Have loved music all my life. And this blog reflected those interests in very concrete ways. Am still interesedt in finding a place online that will support a similar venture (perhaps even a revival of Andresmusictalk) in the future. But due to my own and more worldly problems with social media culture today? Have to admit, with a heavy heart, that I no longer possess the resources to sustain Andresmusictalk. . For those such as Henrique Hopkins and Ron Wynn who did the most to help me here? I would like to thank you both (and the artists themselves who supported this blog) for your service.
Reggie Lucas is one of those names who appears on the credits of many albums. In all my years of crate digging, I’d grab just about any album which credited him. Didn’t matter if it was on guitar, as a producer or not. Lucas’s lineage was strong as iron. Born in Queens, the man got his start playing within the Philly soul community as a session musician with MFSB and as a live musician with Billy Paul. In 1972, he began his professional association with Miles Davis, where he met percussionist James Mtume. Together they put together a new band named after James’ taken surname.
Mtume started out as an avant garde jazz outfit with electric elements, very much inspired by Miles’ loose grooves of his mid 70’s period. The band added singer Tawatha Agee in 1978 and released Kiss The World Goodbye. This version of Mtume was a full funk/soul elements. Lucas also began production work during the late 70’s. He began and association with both Phyllis Hyman and Stephanie Mills that would last several years and albums. He also produced jazz sax player Gary Bartz during his own transition to a funkier sound.
Lucas’s biggest success as a member of Mtume was with their 1983 hit “Juicy Fruit”, a sexually spicy electro funk jam that inspired an equally famous hip-hop reboot called “Juicy” by Notorious B.I.G, who also sampled the original hit in his song. During that same year, Lucas provided production on the then little known singer/dancer Madonna Ciccone on her debut album. His LINN drum and guitar work, including Lucas’s own composition “Borderline”, would find him part of the musical team that launched one of the 20th centuries major dance music superstars.
Looking back on his accomplishments today? Reggie Lucas served a similar function on guitar as Marcus Miller did as a bassist. He came to fame as a musician working with Miles Davis. And went onto become a session player for a number of soul and pop artists-many of whom themselves became iconic. Lucas may have passed away on my 38th birthday. But in the end, Lucas was another major seed that Miles planted into the tapestry of black American music during the electric jazz and funk/soul/disco era’s. To me, this will be what I’ll always think about when contemplating Lucas’s creative arc.
Gary Bartz is a Baltimore native. He was a Julliard graduate who played with musicians like McCoy Tyner and Miles Davis. He formed the Ntu group as a leader-combining a number of different afrocentric forms of music that complemented each other. My friend Henrique had the pleasure of meeting and talking with Bartz one time. He discussed with me Bartz place as a “post Coltrane soprano sax player”-someone who was able to cut through the music of the electric jazz era with his sound. He now teaches at the Oberlin Conservatory Of Music in Ohio, when he’s not on the road.
Bartz generally toured with his own group. But he also seemed to have loved playing with funk musicians too. That came into play during the mid 70’s-when that particular groove became a bigger part of his sound. By his 1980 album Bartz, he was prettying much acting as an adjunct of the band Mtume. With James Mtume and Reggie Lucas writing, producing and using their band as Bartz’ backup musicians. Since its the only Gary Bartz album I presently have, it was easy to discover one particular song from this collaboration that stuck out for me. Its called “One-Eyed Jack”.
A passionate “OOOOOOH!!!” and a five beat drum intro gets the song right into gear. From there on its a slow, dragging drum beat. The bass is slapping hard on the one. A rhythm guitar, one with a wah wah sound and an acoustic piano are all speaking in similar musical phrases with the horns bouncing right along with them-led by Bartz’s sax. Mtume’s Tawatha sings the vocal hook throughout the majority of the song-accentuated by additional space funk synths. There are two refrains-which have the rhythm guitar/bass playing a smoother and more melodic jazz/funk phrase.
Even before the extended chorus fades out this song, “One-Eyed Jack” will likely call to mind mid 70’s P-Funk. In the spirit of Mothership Connection and “Undisco Kidd”. Bartz taking part in another band rather than totally leading it also showcases his versatility here. Henrique also mentioned Bartz’s favorite TV show was the documentary series Unsung. His only hope for it was that it would showcase more unsung jazz musicians than merely soul,funk and hip-hop ones. Considering these kids of jazz soloist and funk band crossovers? Bartz’s comment is more than apropos in this case.
Donald Byrd is one of my favorite musicians during the 70’s Blue Note era especially. The Detroit native replaced the late,great Clifford Brown in Art Blakey’s Jazz Messengers after a stint in the US Air Force. After launching his career as a band leader in the late 50’s,Byrd’s became Blue Notes equivalent of Miles Davis in terms of transitioning from acoustic bop jazz to fusion. Along the way,he also helped launch one of jazz-funk’s seminal bands in The Blackbyrds. His mid 70’s collaborations with the Mizell brothers Larry and Fonce are actually in a class by themselves too.
Around 12 years ago,I began to listen heavy to both the Blackbyrds and Donald Byrd’s mid 70’s jazz-funk recordings. This came from my dad playing the music of Madlib for me. Now this is a DJ/musician/producer/rapper who loved 70’s Blue Note. And focused a lot on Byrd’s music from that period. It was through DJ/musician Nigel Hall and his radio show at WMEB in Orono,Maine that I learned where to find one of my favorite pieces Madlib had used,since I wasn’t accustomed to first hearing classic funk songs via samples. Turning out that the song in question was the 1974 album title track “Stepping Into Tomorrow”.
A thunder-like sound opens into the song. The main groove is established right away. This is a slow,percussive drum from Harvey Mason,a melody setting bass line from Chuck Rainey,Larry Mizell’s ARP strings and Byrd’s trumpet. As the vocals of Byrd and a trio of female backup singers harmonize on the choruses,a minor chord intro then extends into a series of solos. First Byrd on trumpet,then Gary Bartz’s sax and finally Jerry Peters’ organ. The main chorus/intro/refrain parts repeat to,with a number of psychedelic,synthesized sonics until the song fades out.
“Stepping Into Tomorrow” is one of those truly democratic jazz/funk numbers. Instrumentally,it was a dream team of the finest of jazz/funk players in that area. And each one is performing at some of their finest on this groove. Its a strong enough groove to stand on its own. Yet it can be sampled all on its own in a way that doesn’t destroy its special musical qualities. Its the songs elasticity that represents its strongest quality. While I personally feel original funk songs should be searched for on their own rather than via samples,whatever method one uses to get to this funk will be its own reward.
Filed under 1974, 70's Blue Note, ARP string ensemble, Chuck Rainey, Donald Byrd, drums, Fonce Mizell, Funk Bass, Gary Bartz, Harvey Mason, jazz funk, Jerry Peters, Larry Mizell, organ, Saxophone, trumpet