Gino Vanelli is someone who was not the type of artist I’d always imagined he was. My earliest understanding of him was as a melodic pop balladeer. During the summer of 2008 I was pretty absorbed in his music,as well as learning about Gino’s ever evolving depth of character. And the most important thing about his music is that he allowed it to evolve. That’s because he was and still remains a jazz/funk based singer songwriter-an expressive songwriter,dramatic vocalist and a poetic lyrical storyteller right up there with the best in his respective genre of music.
His very first album was 1973’s Crazy Life on A&M. For all intents and purposes,this album was a duet album between Gino and his keyboardist brother Joe,who’d of course remain by his side for the rest of Gino’s musical career. The album has a pronounced Brazilian jazz rhythmic flavor about most of it-with just a touch of blues. But it’s stripped down,cozy night club flavor sets it apart from the cinematic fusion pop masterpieces Gino would turn out during the mid to late 70’s. One song on the album that truly stood out on my fourth full listen to Gino’s debut was a tune entitled “Great Lake Canoe”.
A processed Fender Rhodes electric paino starts off the groove-underpinned by a floating two note bass line. As the refrain starts up in earnest,the drum and percussion pump right up into the cleanest end of the Afro-Cuban rhythmic clave. That Rhodes piano and bass churn right away as Gino sings right there with the same major/minor chord melodic transition. Before each chorus a brittle,metallic synthesizer plays the change. On the bridge,that synth introduces a melodically improvised Clavinet solo before the final refrain and chorus of the song-where that metallic synth fades the rhythm right out.
It’s taken many listens to realize just how strong a Brazilian jazz-funk song “Great Lake Canoe” actually is. The groove never loses focus of the melodic content of the song. But the Fender Rhodes is a reverb laden friendly,funky giant on this song. Processed in the finest tradition of Steely Dan,Joe Vanelli hits the keys hard on this. While Crazy Life is a slower,mellower album this for sure is it’s funkiest moments. Gino sings of the natural beauty of a boat ride on America’s Great Lakes as a source of perspective on reality. And this groove gives a strong perspective itself on the funkiest side of Gino Vanelli’s sound.
Filed under 1970's, Brazilian Jazz, clave, clavinet, Fender Rhodes, Funk Bass, jazz funk, Joe Vannelli, percussion, reverb, Uncategorized
During the mid to late 1970’s, the Montreal native Gino Vannelli was Canada’s musical answer to Steely Dan basically. With a strongly grooving progressive jazz sound in tow, Gino and his keyboardist brother Joe had signed their group to Herb Alpert’s A&M Records about a decade into the labels inception. It was also time when new record labels were far more open to more creatively minded artists. So Gino and company were able to really stretch out in terms of making music that was both instrumentally meaningful and commercially successful.
I personally discovered Gino’s music about 8-9 years ago. And quite by accident, as it came from a music recommendation based on my own browsing habits on Amazon.com. It wasn’t long before I was ordering used copies of his 70’s albums on CD from there. One that made quite an impact on me was his third album from 1975 entitled Storm At Sunup. It was a concept album dealing with a male 20 something coming of age during the post 60’s sexual revolution. The second song on the album called “Mama Coco” was the one which really blew me away!
A metallic synthesizer bursts into a mix of Afro-funk percussion accompanied by electronics playing a classical opera melodic theme. It drives right into a righteous rhythm with round,burbling Moog bass and Fender Rhodes electric piano playing the songs bluesy melody. On the refrains,one of which features a deep vocalese on the talk box, the song suddenly goes into a swinging Brazilian jazz mode before returning to the original chorus. Another refrain hard rocking bridge with a screaming guitar and electric piano solo before ebbing out.
In terms of funk, this song covers all the bases beautifully. It has the blend of European classical and soulful modern electronics, the Afrocentric jazzy instrumental attitude as well as the progressive rock arrangements of the time. It’s a wonderful groove stew. Thematically Gino is wittily making a point about the exoticism black women can provide in the mind of a free and single young white men. Even pointing out to Mama Coco that he’s “just a male Caucasian/I’m virgin to your kind”. It’s one of many examples of fine funk Gino threw down in this era.
Filed under 1970's, Afro-Cuban rhythm, Afrocentrism, Amazon.com, bass synthesizer, Brazilian Jazz, Canada, concept albums, electric piano, Fender Rhodes, Gino Vannelli, Herb Alpert, jazz funk, Montreal, Moog, percussion, sexual revolution, Steely Dan, Uncategorized