Bobby Broom’s musical career has always, in some way, been tied into musical education. Born in Harlem in 1961, he went onto study jazz guitar with local player Jimmy Carter. He then went onto gigs with musicians such as Charlie Parker alumni Al Haig. After his university education at Berkeley, he began a stint with Art Blakey’s Jazz Messengers, probably the ultimate training ground there was in jazz at that time. As well as maintaining a recording career, the now 57 year old Broom is also Director of African American Music at Studies at the University Of Hartford, Connecticut.
One of Broom’s childhood heroes was George Benson. Both physically and stylistically, that’s how he presented himself on his 1981 GRP/Arista debut Clean Sweep. In a career that would find him playing with both Sonny Rollins in the 80’s and even guesting on R.Kelly’s 12 Play album in the 90’s, Broom’s solo debut found his music in a jazz/funk plus a one jazz standard format similar to Bernard Wright’s ‘Nard album of the same vintage. Having listened to it, the album has no weak songs. And is generally instrumental. One of my favorite funk numbers on the album is called “Saturday Night”.
Marcus Miller walks right up to Buddy Williams’ funkified drums on the intro-settling into a seven note bass run as percussionist Crusher Bennett joins in on the congas. Broom’s very Benson like melodic guitar solos-both on the refrains and choral sequences, are accented by Terry Burrus Fender Rhodes textures and acoustic piano walks. The backup vocals of Lori-Ann Velez, Omar Hakim, Cliff Branch and Poogie Bell provide a party atmosphere in the back round of the entire song. After the drums kick up a notch for Broom’s extended solo on the bridge, the song fades out on an extended chorus.
“Saturday Night” is one of the finest electric guitar centered jazz funk grooves of the early 80’s that I’ve heard. Probably coming in right in the same league as George Benson’s “Off Broadway”. Marcus Miller both played and arranged the tune. And the conversational vocals and chants of Broom and the backup singers involved really evoke the atmosphere of a hip dance party of that period. As my friend Henrique pointed out, its also probably of the last generation of jazz funk that was not synthesizer based. And that makes “Saturday Night” the type of groove that spans an evolution within jazz/funk.
Cuba Gooding Sr is probably famous for to two things. One would be as the lead singer for the Harlem vocal trio The Main Ingredient after their original lead singer/songwriter Don McPherson died. The other would be a the father of actor Cuba Gooding Jr of Jerry McGuire fame. Under McPherson,The Main Ingredient mixed romantic and black power themed funky soul. During Gooding’s era,the political elements became less pronounced. And the group began doing more cinematic soul numbers arranged by Bert DeCoteaux. At the same time, The Main Ingredient never fully lost their funk.
Cuba Sr’s history is every bit as political. His name derived from his father Dudley marrying a woman when he fled to Cuba. After being murdered due to her support of Pan Africanist leader Marcus Garvey,he vowed on her death bead that his first child would be named Cuba. Gooding was in the process of working on documentary about his family tree before he was found dead in his car on April 20th,2017. Though best known for their 1972 hit “Everybody Plays The Fool”, one Main Ingredient song that always stands out to me in a similar vein is the following years “Something Lovely”.
A drum kick off breaks into the instrumental intro of the chorus. This is lead by a descending string and muted trumpet arrangement. When Cuba and the rest of the trio come in with their three part harmonies,the arrangement pairs down to a wah wah guitar/bass/drum/electric piano based sound. That goes for the arrangements too-accented occasionally by a several not long horn chart before the next chorus. After one refrain where the horn arrangements play the vocal lines, the trio finish the song out with an extended reprise of the chorus.
“Something Lovely”,written by Stevie Wonder and Syreeta Wright, is a masterpiece of funky soul arrangement as far as I’m concerned. The harmonies that Cuba,Luther Simmons and Tony Silvester come up with on this song are a superb example of funky soul as sweet as it can be. Its from their 1973 album Afrodesiac, which I purchased at the recommendation of an employee at one of my favorite record haunts Dr. Records when I was trying to exchange a defective CD of Parliament’s Funkentelechy Vs The Placebo Syndrome.
I fell in love with the Afrodesiac album after getting it. Especially in the interpretive material it embraced. Stevie Wonder offered some of his own material and wrote two songs for this project itself. I also discovered one of my favorite Isley Brother’s songs “Work To Do” through The Main Ingredient doing it on this record. The very unexpected passing of Cuba Gooding Sr not only reminded me of that youthful musical discovery. But also of Gooding’s strong musicality and respect for quality. He will be missed by many and I wish his surviving family all the best at this difficult time.
LTD are yet another wonderful example of a funk band with true state to state ethic,in terms of it’s membership. They started in Greensboro,North Carolina in 1968. As they migrated to Harlem. It was in Providence,Rhode Island that Jefferey Osborne joined up as lead singer and drummer. Two years after being in NYC,the band went to LA and bought in Jeffrey’s brother Billy and in 1974 signed up to A&M Records. After two commercially unsuccessful albums,they shortened their name from Love,Togetherness & Devotion down to LTD. Their third album in 1976 Love To The World got them their first big hit in “Love Ballad”,redone as an uptempo song four years later by George Benson to similar success.
Today is Jeffrey Osborne is turning 68. During 1977,Osborne focused his musical energies on being the lead singer of LTD with his rich gospel/soul baritone. During this time, Osborne began to share drumming duties with Melvin Webb. This was especially important on the bands fourth album Something To Love. The band maintained their mixture of hard funk and richly arranged soul ballads across this album. To this day,I don’t actually have a copy of this album but have heard most of it’s cuts. The one song from it that made the most impact on my ear holes actually wound up being the bands’ most successful songs. It’s called “(Every Time I Turn Around) Right Back In Love Again”.
The groove starts right in with the basic groove that defines it. It’s a percussive rhythm with a bouncing drum swing. This is carried along by a chugging wah wah guitar-along with a rhythm guitar playing a JB’s/P-Funk style horn line. The actual horns themselves carry the main melody after a rhythmic break. And the horns themselves continually to play that melodic role throughout the song. On each turn,these horns are either accessorizing Osborne’s lead vocals,or the rhythm licks of the refrains themselves. At the end of each chorus,the backing vocals of Lorraine Johnson sings the title lyric. The instrumental refrain of the song grooves on until the song fades out.
Somehow I always felt this is one of LTD’s strongest funk number. Considering that a lot of people see this band as more ballad oriented,this song was an enormous success as a #1 R&B hit and reaching the pop top 5. My friend Henrique’s commentary on this song is the most meaningful to me personally. He illustrated a funk jam played on just about every turntable in the homes of the black community in it’s time. Most importantly,the song had been a huge dancefloor success with gay DJ’s at the Paradise Garage,a disco in lower Manhattan famous for popularizing early EDM. But it also featured many classic funk acts and songs. So all around this is a funky triumph for LTD and Jeffrey Osborne.
Filed under 1970's, DJ's, drums, Funk, horns, Jeffrey Osborne, LTD, New York, P-Funk, Paradise Garage, rhythm guitar, Uncategorized, wah wah
Harlem native Kelis Rogers comes from the area of New York known for its black cultural renaissance of the 1920’s. She comes from a background of both fashion and music-her father Kenneth being a jazz pianist. Over time she developed a flamboyant personality that,while stereotypically getting her in some trouble at different points in her life,has also given her a somewhat rare understanding about the vitality,soul and groove of the music she’s done. Making a name for herself in the millennial transition produced by Pharrell Williams/The Neptunes on songs such as the hugely successful and influential “Milkshake”,Kelis has continued to move forward towards a musical sound that would successfully fuse the music she listened to and loved growing up with contemporary production elements. Realizing perhaps the frustration in trying to achieve that musical fusion, Kelis has opted this time around for the full on live band for her newest album Food and its lead off song release “Jerk Ribs”
It all starts out with this slow,shuffling percussive groove with a bass line that’s lifted directly of the influence of James Brown’s early 70’s musical innovations. In a chocked,dreamy tone of voice,Kelis paints an autobiographic picture of a life growing up where-even during the more difficult late 20th century in Harlem, the very streets seemed to be wrapped up in musical rhythms. She spoke with great veneration for her father-singing the moving line of “He played the notes and keys/he said to look for melody in everything”. Before each chorus, her horn section plays a melodic fanfare that seems to be calling out to the listener to physically participate before scaling strings introduce the chorus illustrating “it feels just like it should”. As the song goes on, Kelis sings of the bass (note she mentions that first),the brass and strings vibrate through her-stating of it all that “I love everything”. By the end of the song,her happily nostalgic state elevates even to her present day as the fanfare of the horns keeps up steadily until the groove finishes off.
One of the most important things about this song is that it strongly emphasizes the influence on James Brown’s funk music style from Ghanaian “highlife” music from that era. The joyous sounding fanfare of the horns that instrumentally help define this song drip alternately with precision and a strong appreciation for the Afro-Pop interpretation of the blues. The bass line is,as is a signature of funk in general mixed up very high. Its clear Kelis wants it to be known strongly that the electric bass is a key factor to keep a fat bottomed groove strong and vital. In a way this song more eloquently extends on themes her former producer Pharrell has recently coined on his enormously successful “Happy”-the idea that being in a state of joy is a source of strength. In the case of Kelis,the source of her joyful strength comes from the joy of music that was always with her from childhood. Her picturesque imagery of music itself in these lyrics make musical sounds seem like a tangible thing one can wrap themselves around like a blanket. It is the funk/soul groove as a source of love,joy and inner peace. And the more I hear it? The more I realize this song just has to resonnate with many other people on that level-the way it does with me. Truly Kelis’s most powerful musical visitations upon humanity this far.