Tag Archives: Hugh McCracken

Anatomy of THE Groove: “Go Up Moses” by Roberta Flack

Roberta Flack,a North Carolina native,had a somewhat complex beginning in music. A classically trained academic who represented the epitome of the college educated black mentality of civil rights era. Musically,she began as a student teacher and then a music teacher. It was jazz/funk innovator Les McCann who first discovered Flack performing in a  Washington DC nightclub. The result of their meeting was her debut album First Take in 1969. She covered McCann’s song “Compared To What” on it. The album later on provided her with her first standard in “The First Time Ever I Saw His Face”.

Today she is best known for two things. One being her iconic collaborations with the late Donny Hathaway that produced songs like “Where Is The Love” and “The Closer I Get To You”. Her sound is noted for its vocal and instrumental nuance. As well as its strong and complex songwriting. It also tended towards the slow and most adult contemporary end of balladry as well. Therefore,uptempo soul/jazz/funk has seldom been a huge priority for her. Yet when she comes through with funkiness,its often some of the strongest music the genre ever produced. A great example is her 1971 song “Go Up Moses”.

Drummer Bernard Purdie,plus percussionists Ralph McDonald and Grady Tate hold down the chugging Afro Brazilian beat. And session bass maestro Chuck Rainy provides an in your face rhythmic bass line to the musical affair. That describes the basis of the entire song-with Hugh McCracken providing bluesy rhythm guitar accents after each bar or two. Flack sings the refrains herself,and is accompanied by a bass singing choir on the choruses. She also provides a spoken recitation over them on the bridge. Richard Tee’s gospel drenched organ brings the song back home as it fades away.

This song lyrically and musically an extension of the centuries old spiritual “Go Down Moses”,with Flack collaborating with jazz flutist John Dorn for the musical aspects and the Reverend Jesse Jackson for some of the lyrical content. Its definitely in the vein of the more spiritual end of the “people music” message songs that were beginning to emerge very strong during the later period of the funk process in 1969-71. It was also the opening song to her third album Quiet Fire. Flack’s earlier albums generally opened with a bluesy funk uptempo number. And this is one of the finest of the bunch.

 

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Anatomy of THE Groove Post-Mothers Day Special Part 2: “Westchester Lady” by Bob James

Bob James is actually an artist whom I discovered within the last decade and a half. A Missouri native whose music was informed by (and on) the city of New York,his sound drew a great deal of inspiration of theatrical Broadway musicals and film scores. This goes into James’ talents as a pianist,composer and arranger. His jazz bass and embrace of the 70’s funk sound led him to being one of the progenitors of the production style referred to as smooth jazz. His solo career has carried on for over four decades. And he was also a founding member of the smooth jazz group Fourplay.

It was actually due to another conversation with my parents that got me into first hearing Bob James music. The question posed to them was that,as a choreographer,had my mother ever done a piece based on a popular song. While the exact information was somewhat vague,she did remember that sometime in 1976 she had heard the Bob James song “Westchester Lady”. And something about it’s progression made it sound like it would be a good song for all the members of her troupe to choreograph as a group piece. So today,I’m going to endeavor to overview this song on a musical level.

Harvey Mason’s hi hat drum swing hugs Will Lee’s upscaling 7 note bass line on the intro,as Hugh McCracken’s mutron filtered electric guitar rhythmically plucks away. This is the entire rhythmic base of the entire song. The main melody of the song finds James’ electric piano playing a very riff filled with blue notes. That’s when the strings come in-at first playing along with the bass line. On the choruses,a huge horn ensemble comes in playing a very cinematic melody-accompanied by ringing bell like percussion along with the sweeping strings that grow in intensity.

The second refrain of the song features a bluesy sax solo from Grover Washington Jr. as the main instrumental part. The second chorus of string actually extends for a much longer time-adding more fluttering violins on the second turn of it. On the final refrain of the song,James’ electric piano and Eric Gale’s guitar play some bluesy call and response solos duets with the darting horn charts. As this bridge continues,their playing grows more intense and dramatic. Then the song simply goes back into the quiet groove of the first refrain as it proceeds to fade out entirely.

Considering the emergence of Isaac Hayes and Barry White during the first half of the 1970’s,it was no surprise that Bob James and the productions he did at CTI and on his forthcoming solo career would become part of the evolving jazz/funk fusion genre. The nature of this groove,with funkiness being the supporting element and the orchestration accenting it,indeed makes it ideal for a contemporary modern dance piece of it’s day for an ensemble of dancers. Each musician brings something important to this song’s funky dramatics. And that’s what brings this instrumentally danceable funk to life.

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Filed under 1970's, Bob James, choreography, cinematic soul, drums, electric piano, Eric Gale, Funk Bass, Grover Washington Jr., Harvey Mason, horns, Hugh McCracken, jazz funk, New York, rhythm guitar, strings, Uncategorized, Will Lee