Tag Archives: Jazzy

Anatomy of THE Groove: “Hanging On A String (Contemplating)” by Loose Ends

Loose Ends were formed in 1980 as a trio consisting of vocalist/guitarist Carl McIntosh, songwriter and keyboardist Steve Nichol and lead singer Jane Eugene. They started out as Loose End,recording a pair of singles in 1982 produced by the Emoo brothers from the UK soul group The Real Thing,who themselves had been successful in the 70’s. Their first three singles “In The Sky”,”We’ve Arrived” and “Don’t Hold Back Your Love” were all excellent live instrumental oriented boogie funk. But it wasn’t until their debut album in 1984 did their sound fully coming together and they became successful.

The debut album in question is entitled A Little Spice. This album had a stripped down electro element to it,along with the trio’s jazzy songwriting that made their sound so distinctive. It was something I found preowned at my local record store Bullmoose for literally a few bucks. Remembering having some vague knowledge about the band. But the CD cover had me interested enough to pick it up. From the first moment I heard it,wanted to here more by the group. And later sought out other albums by them. The song that motivated me most from that debut was “Hanging On A String (Contemplating)”.

A drum machine kick into an electronic Afro-Latin percussive drum machine kicks in. McIntosh provides an echoed rhythm guitar swell,along with higher alarm like tone while Nichol provides a round synth bass for fattened support at the bottom. By the time the refrain and Eugene’s vocals emerge,McIntosh’s six not guitar line and Nichol’s synthesized melody take over.  On the chorus,electronic orchestration join up with McIntosh and Eugene’s vocal harmonies. On the last bars of the song,a Clavinet like keyboard along with a spiraling guitar solo take over as the song fades out.

“Hanging On A String (Contemplating)” is one of the most rhythmically and harmonically complex songs and grooves to come out of the electro/boogie funk era. McIntosh and Nichol truly deliver on a mix of highly Afrocentric drum machines and synth bass,along with very jazzy guitar and orchestral keyboards. Jane Eugene’s vocals have a strong jazzy ranginess and an extremely soulful,passionate delivery that matches the music to a tee. Loose Ends are known for few other key songs. Yet this song is likely the one they’ll always be best remember for. And for very good reason too.

 

 

 

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Anatomy of THE Groove: “All Out” by Edgar Winter

Edgar Winter is one of those artists whose musical arc I had extremely wrong most of my life. Knowing him only for the songs “Free Ride” and “Frankenstein” (which both come from the same album by the way),had him pegged as a progressive minded Southern rocker. Upon purchasing his debut album Entrance a decade ago,it introduced me to one of the most talented and musically distinctive artists this side of Prince,Todd Rundgren,Brian Wilson and even Miles Davis. His mixture of European classical,jazz,soul and blues instrumentation and harmonies made it quite a listening experience.

With The Edgar Winter Group he,Dan Hartman and Rick Derringer did indeed tend to explore their rockier side. He also had a band called White Trash who,on two occasions dealt with Winter’s gospel/funk/soul/blues side more. Much as with The Rolling Stones, Winter felt a deep affinity with black American music. And like the Stones,his music also evolved along with black American music in the 70’s. His next “solo” album was 1975’s Jasmine Nightdreams. This album was more a mixture of styles. And one song in particular that leaped out at me is entitled “All Out”

A drum roll quickly gives way to a slow shuffling swing. Winter than solos on the ARP synthesizer on a jazzy horn like melody before going into a solo on the ARP doing the refrain that improvises heavy on the 12 bar blues primarily. On both occasions,its backed up by a phat Moog bass playing an upfront descending line similar to what the upright bass would normally play. Winter takes off improvising the melody on sax before doing the same with his flamboyant,rangy scat singing. The choral theme repeats for a bar before the piano/synth arpeggio that segues into the next song.

Hearing this all out bop jazz number reminds me somewhat of how people like Thelonious Monk might’ve updated their distinctive style in the 70’s-with electronic instruments playing the roles the bass and organ normally would’ve. With a sound that suggests Winter likely played most of the instruments on this song himself,his improvisation of melody and spirited instrumental/vocal performance really showcase what a strong musician/composer Edgar Winter actually is. And having the understanding to have players in his circle who could help him flesh out his musical ideas even more so.

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The Anatomy of the Groove 7/18/14 Rique’s Pick : “Din Daa Da” by The Roots

There is no minimizing the good Philadelphia’s Legendary Roots Crew has done in their time in the public eye as a Hip Hop based band.  The Collective has produced critically acclaimed albums, had members produce legends such as Al Green, collaborated with idiosyncratic masters like Elvis Costello, backed great singers like John Legend, and spearheaded the Neo Soul movement through the Soulquarians collective. The Roots have shouldered a heavy burden, as Questlove is well aware, of being the most prominent black band in the world. This one band has taken over in public perception, for all the great bands of the past’s jazz, funk or soul. I imagine when a black kid plays drums now days, he might hear, “Go head Questlove”.  The thing with this flag bearing is, they’ve done it while also operating in an area of Hip Hop music that can often be limiting, especially apres the Late ’80s Early ’90s “Golden Era.” Roots albums have often left me disappointed, because brilliant lyricism , crisp snares, and cozy grooves notwithstanding, they’ve rarely brought the thunderous funk the way they’re known to bring on stage. 2004’s cover of George Franz’s ’80s dance classic, “Din Daa Daa” changed all of that.  This bonus track, buried at the tail end of their “Tipping Point” album, was a funky, imporvisatory “Dazz” (disco-jazz) track that finally unleashed Questlove’s drum kit with reverbed force.

George Kranz’s song “Din Daa Daa” was the soundtrack to a magical scene in the early Hip Hop dance movie “Breakin 2: Electric Boogaloo.  Kranz scatted drum figures to himself as he unleashed drum solos in a duet format. Black Thought and Questlove do the same here to devestating effect, with Questlove conjuring up the force of jazz drummers like Elvin Jones and Art Blakey. The track was a bonus on the album, coming after a wacky rap song featuring Dave Chappelle.

The song begins with voices singing “Din Daa Daa” against voices singing the bassline for the song. A cowbell marks the time as the groove builds. Black Thought begins to scat his rhythmic phrases, reminding me of his fellow Philadelphian Bill Cosby’s drum based jazz scatting language. Questlove comes in, not playing the exact same phrases at first, but accenting them and playing around them. Quest snare drum features something rare for him, reverb! Questlove usually goes for a dry, spare community center sound that will not overpower M.C’s. He shows no such concern here as he unleashes  thundering drum rolls that linger like a flare. Quest and Tarik (Black Thought) play off each other, talk to each other, one up one another, as well as support themselves through the first go round of the tune. Tariq escalates into orgies of mouth rhythms, rapping out millitary paraddidles and a Billy Stewart esque climax, with Quest ratcheting up the intensity until about 3:25, when the song hits it’s release. The release features a solid, crisp Neo-Philly drum beat and George Kranz’s brighter than bright, uplifting “Din Daa Daa” synthesizer tones. The song alternates between the long, funky, jazzy scat and drum sections and the bright dance funk of the chorus, until it hits a funky Neo Soul breakdown at the end. The song drops in tempo, and Questlove plays a funky beat thats a combo of a shuffle blues and his trademark ultra behind drumming style he once showcased with D’Angelo, Pino Palladino and Raphael Saddiq on D’s “Voodoo” album. This section is buried in underwater sounding, delayed keyboards. It sounds like stagehands taking down band equipment after a live show, or when the D.J puts on mid century pop ballads to clear the club at the end of the night. And so ends 9 of the most joyus minutes the Roots ever recorded.

This song was very important to me and my friends when it was released in 2004. It was inspiring for a top hip hop group like The Roots to release some improvisatory, live, jazzy instrumental funk like this. Beyond the industry aspects, it was also plain ol’ fun and a gas to groove to. We use to hit the hills in San Francisco with this song as the soundtrack to our journey. The groups trademark wit and intelligence is also at display in the song selection. They didn’t cover just any old instrumental, they covered an instrumental that is also related to the hip hop idiom, being featured in a magical dance scene in one of the early hip hop movies. That gave their audience some recognition, but they took it and flipped it like jazz or Afro-Latin dance pros on stage. I can also see the more joyus sound they introduced here as a segue to the Roots of the past decade or so, the musicians who play on The Tonight Show, collaborate with pop artists, and the Questlove that writes books about Soul Train. This record contains all those years of The Roots early live prowess on one cut. Bravo!

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