Tag Archives: Louis Satterfield

Anatomy of THE Groove: “No Reply At All” by Genesis

Genesis began their career in the early 70’s as a progressive rock outfit,whose lead singer was the charismatic performer Peter Gabriel. Up until 1975,the bands sound was based in different forms of European classical music. Phil Collins succeeded Gabriel as a vocalist as well as being the drummer and one of the writers for the group with 1976’s Trick Of The Tail. Gradually, Genesis began to take on elements of jazz/rock fusion of a type Collins was playing in his other band Brand X. By the time of Genesis’s 1981 album Abacab,elements of modern funk and soul became an aspect of their sound as well.

That same year,Collins released his solo debut album Face Value. It was a very diverse album that’s now considered a classic. And also had its share modern funky/soul uptempo numbers. For both Collins’ solo effort and Genesis’s,Earth Wind & Fire’s Phenix Horns. They consisted of trumpeters Rahmlee Michael Davis and Michael Harris-along with the late,greats in sax player Don Myrick and trombonist/bassist Louis Satterfield. As a drummer,Collins musically related very well to the horn sections combination of melody and rhythm. This really showed in Genesis’s big hit from 1981 called “No Reply At All”.

The song starts out hot. The refrain consists of Collins’ percussive,fast paced rhythms with Tony Banks’ equally percussive synthesizer melody adding to Mike Rutherford’s phat,jazzy funk bass line. The Phenix Horns accent hard on every second beat. On the chorus,Collins’ drum roll brings in the refrain where the keyboard,guitars and bass line play along with a fuller horn chart-until another drum roll bridges each refrain/choral exchange. Banks on a solo piano with a Wall Of Sound style drum from Collins’ represents a bridge that leads into the choral/refrain exchange the closes out the song.

In terms of an English band mixing progressive pop/rock with Afrocentric,percussion/ horn based funk,”No Reply At All” is one of the finest examples at the beginning of the decade. The sound is not at all overcooked,which is a frequent aspect (and to some writers and critics,a complaint) about Phil Collins’ own solo combinations of the styles. Because this is coming as a collaborative writing effort from Genesis,a power trio band,each member deals with the combinations of rhythm,melody and arrangement extremely well. That makes this probably the funkiest moment Genesis had up to this point in time.

 

 

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Filed under Genesis, Phil Collins

Bosses Of The Bass: Andre’s Top 12 Funk/Jazz/Soul Bass Players

Space Bass

Ever since my fourth grade music teacher Mrs. Gockle forced me to give up the upright bass due to her fascination with the melody based violins and violas? A deep life long interest in the bass as a musical instrumental emerged. Started listening for it closer in my fathers jazz records. And it was the foundational element in my favorite form of music-funk.  As time went on? I understood the sound it made to be so flexible,it could bring the melodies right out of the rhythms it created-when in the right hands of course.

As an adult? I’ve gravitated towards listening for how the bass is used on a song. It may have something to do with the old saying about how funk/soul lovers want to turn up the bass with rock fans prefer to turn up the treble. Since my understanding of the bass is almost totally oral rather than academic? The bass players I’m talking about here today may not all be the most renowned or well know. Though many of them are. These are people who have a distinctive approach that just reaches my type of musical ear. So here are my twelve (current) bosses of the funk bass.

James_Jamerson

James Jamerson is one of those bass players even non instrumentalist music lovers can pick out of the crowd in a second. Just listen to the opening of Motown hits he played on like “My Girl”,”Reach Out I’ll Be There”,”Don’t Mess With Bill” and “Just My Imagination”? And you understand how this key member of Motown’s now iconic Funk Brothers house band opened up the melodic possibilities of the electric bass probably more than anyone of his day. Jamerson’s sound probably got stuck in my consciousness those mornings half asleep going into town,from our family summer camp,in 1991 listening to the radio’s Motown Monday’s before I even realized it.

Larry Graham

Larry Graham,Bay Area bass player extraordinaire for Sly & The Family Stone,basically created the slap bass approach to playing that became one of the rudiments of the 70’s funk sound. Even before venturing out on his own with Graham Central Station,a solo career and session playing with Prince later on? Larry had already innovated the fuzz bass as well with the Family Stone’s breakout hit “Dance To The Music”. He’s probably one of the most renowned and famous funk bassist ever of course. And whatever I hear other bassists playing after? In some way it comes down to Larry in the end.

Bootsy Collins

Bootsy Collins,having spanned playing with the JB’s and than George Clinton’s P-Funk,picked right up in terms of bass innovation where Larry Graham left off. Bootsy’s effect on how I listen to music is one of personality. Rock musicians often call themselves guitar gods. And if I ever wanted to use such a term? Bootsy,with his glittering outfits and superhero like persona,is something of a bass god in that regard. He doesn’t just slap the strings. He pops out thundering,round tones. He snarls his bass like a guitar as well. Collins therefore probably has the most flexible and diverse style of playing the electric bass than many that I’ve heard.

Louis Satterfield

Fellow Earth Wind & Fire member Verdine White once said that everything he learned about bass came from this man,Louis Satterfield. One thing that really makes Satterfield fascinating to me is that he plays two low toned musical instruments: the trombone and the upright/acoustic bass. Often regarded more as a member of the iconic Phenix Horns,Satterfield has a long history playing for Chicago blues greats before essentially becoming the musical godfather of the totally rhythmic experience the bass played in EWF during their key years of the 70’s.

Wilton Felder

Wilter Felder,speaking of horn players,was only known to me to be a bass player as well when my blogging partner Rique informed me one day that Felder played bass on the Jackson 5’s first hit “I Want You Back”. As a bass player? Wilton did the reverse of what Louis Satterfield did. He helped to bring his melodic saxophone approach to his bass playing. Quite appropriate with the key role all the Crusaders played in late 60’s/early 70’s Motown-a label whose music always had a core of the melodic style of bass playing.

Michael Henderson

Michael Henderson,a musical disciple of James Jamerson,helped me to completely come to  terms with my understanding how the bass could be a powerful compositional instrument. Henderson played with Stevie Wonder,Miles Davis,Aretha Franklin and Dr.John in his earlier years before venturing out on his own solo career as a singer. He continued the tradition of melodic bass playing that came directly from his Motown education. And than took it onto a career as a premiere funk performer as well as being an instrumentalist.Louis-Johnson

Louis Johnson,much like James Jamerson before him,entered into my subconscious without me even fully realizing it the very first time I heard Michael Jackson’s “Billie Jean”. Johnson’s major contribution to my understanding of the bass came from his fusion of Larry Graham’s slap bass approach with the melodic innovations of Jamerson. This man was a monster play in the Brothers Johnson with his guitarist brother George. Not to mention an enormously important part of Quincy Jones’ iconic Westlake Studios instrumental crew who shaped much of the way I hear pop,funk and soul of the 70’s and 80’s

Bernard Edwards

Bernard Edwards,late of Chic and partner to iconic musician/producer Nile Rodgers in that band,probably did more for innovating the disco bass style within the musical sub-genre of funk than anyone else in his day. One of my very favorite basslines in fact comes from Edwards-the slippery jazz oriented intro to Chic’s 1977 hit “Everybody Dance”. Pretty much every electric bass player today playing danceable pop music has something of Edwards in what they’re playing.

Marcus Miller

Marcus Miller not only helped engineer the early 80’s comeback of Miles Davis. But he also went on to become a star producer and bass player for Luther Vandross at the same time. All before launching his own solo career in the 90’s up to the present day. What gets me about Marcus is how he took the slap bass approaches of funk players such as Larry Graham and Louis Johnson and bought jazz improvisation into the equation-a more hyper melodic alternative to earlier slap bass jazz icon Stanley Clarke. As a multi instrumentalist,he was also able to construct heavily funkified soundscapes with the bass as it’s core rhythmic element as well.

Mark King

Mark King was key of bringing of bringing the fast paced,jazzy slap bass style of Stanley Clarke and Marcus Miller into the new wave world as the bandleader for the UK’s jazz/funk/pop band Level 42 during the early/mid 1980’s. Also quite a fluid composer,King was a bass player that I came to love and appreciate within the last decade. And has actually helped me a great deal to understand new wave/synth pop as often being an instrumental outgrowth of American funk.

© Sasa Huzjak

Jamaaladeen Tacuma came out of jazz great Ornette Coleman’s 70’s and 80’s group Primetime to have his own solo career in the 1980’s. Tacuma bought together the free harmelodic approach of Ornette to his bass playing. Listening to his abstract slaps,thumps and vamps really fuel my imagination on just how much the electric bass can really do.

Peter Muller 2

Peter Muller,Berlin resident and modern day bassist,is one of my most recent discoveries. Muller’s sound comes out of the slap bass flower that Larry Graham got going almost half a century ago now. And he’s channeled it all into the jazz-funk revival that’s grown out of the smooth jazz production approach and is currently independently releasing some seriously strong bass oriented jazz/funk albums that have really peaked my interest as a listener.


While I am aware that people such as Stanley Clarke and the late Jaco Pastorious didn’t make this list? Well,these are only the bassists that had the most personal musical influence on me. And the appreciation of what we listen to and for in the music in our lives has a highly individual approach too. At the same time? If you can dance to the beat of the drum? Your probably already on the road to being able to pop to the beat of the bass line as well.

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Filed under Bernard Edwards, Bootsy Collins, Crusaders, Earth Wind & Fire, Funk, Funk Bass, Jamaaladeen Tacuma, James Jamerson, Jazz, Larry Graham, Louis Johnson, Louis Satterfield, Marcus Mller, Mark King, Michael Henderson, Motown, Peter Muller, Wilton Felder

Seeing The Music: Andre’s Guide To Funk,Soul & Jazz Documentary Essentials!

SONY DSC

                   During the time I was growing up,the majority of men  around me were mainly interested in watching sports on television and action films in the movie theaters. From adolescence onward, the one thing that moved me in both media were musical documentaries about the black American musical spectrum that I was then absorbing like a sponge. The understanding of rhythm and harmony I received from seeing these musicians perform,speak of their histories along with the music they made provided me with a full sensory experience far beyond what I could’ve received from the limited literature of the era I was receiving.

                        Initially I was going to combine documentary films with biopics in the same blog. Since dramatizations  are a completely different medium of film making technique? Decided instead to break them up in separate but related blogs. Also because I received a very different level of education from them as well. Before hand,some of these documentaries are very hard to find even on YouTube. Many have never even been issued on DVD. Yet I highly recommend seeking all of them out if you are looking to seek out a first hand education on the soul,jazz,funk and R&B musical spectrum.

rock-n-roll

        This aired on PBS in 1995. The eighth part of it focused specifically on the genre of funk and it’s development from James Brown on through George Clinton. The final volume focused on hip-hop. The names of Afrika Bambaataa and Grandmaster Flash first came to me through watching this documentary. Not to mention the knowledge of rap’s musical roots in Jamaican reggae DJ’s such as Kool Herc. While some of the narrative commentary shows a limited understanding of the connectivity of black American music’s connectivity? The insights of interviewees such as Maceo Parker,Alan Leeds,George Clinton,Afrika Bambaataa and Chuck D are extremely insightful to what drove the music forward.

record row cradle of rhythm and blues

Narrated by the late Chess Records icon Etta James,this documentary not only opened my eyes to understanding the history of blues,soul and funk in 60’s Chicago. But was also the first glimpse I got into the idea of black American financial empowerment. Jerry Butler explained it best in this when describing how Curtis Mayfield starting his Curtom label,taking control of his publishing,took the Chicago scene into the funk era by closing down the era of people such as Muddy Waters and John Lee Hooker functioning as “musical sharecroppers”.

The strong emphasis this has on United Record Distributors,the only black American record distributors  in their time run by the Leaner brothers,proved extremely significant in my understanding of black America’s experience with capitalism for years to come. And the level of communication in the civil rights era through the iconic radio station WVON,such a significant force in the city that if an artist wasn’t on their play list,record stores would not stock their music. Possibly my favorite musical documentary all told.

motown40

It was this epic documentary mini series,hosted by Diana Ross that really allowed me to understand the internal workings of Motown records. From it’s foundational years when Berry Gordy,having failed as a record store owner in Detroit,began writing songs for Jackie Wilson. And then borrowed $800 from his family to start what become an American musical institution. A black American institution. The interviews follow Motown’s changes from it’s salad period in the mid 60’s,through the funk and disco era when the artists had the most creative control,on through Berry deferring ownership of the company in the mid 80’s through it’s resurgence with vocal boy bands and then Puff Daddy Combs remixing the Jackson 5’s “I Want You Back”. A very complete and thorough history on The Sound Of Young America.

jazz-show

Overall I’d apply the same viewpoint to this documentary as I would apply to PBS’s  Rock ‘N’ Roll from seven years earlier. It’s understanding of musical connectivity,absolutely key to jazz,is more limited to the participants (such as Ken Burns  and Wynton Marsalis) perceptions of the music than it is lacking. Yet the decision to weave an internal documentary on the life and career of Louis Armstrong as a key figure in jazz is double edged: it didn’t quite succeed in term of historical continuity but did showcase how the aspect of modern black American musical might’ve derived from Armstrong’s approach. I learned about important sociological figures in the music such as Buddy Bolden,James Reese Europe and Sidney Bechet here as well. With the help of my father’s asides,this helped complete my historical understanding of jazz.

Scratch

Went to Portland Maine to see this movie,in a little movie theater underground of a local clotherie. It was actually a suitable environment for this film. It traces Grand Mixer DST’s pioneering turntable work with Herbie Hancock on his “Rockit” project. It than goes on to discuss the fine art of crate digging for used vinyl by hip-hop scratch artists. There was no irony to the fact that I was myself crate digging myself,only for my personal listening pleasure and musical enlightenment,less than an hour after seeing this in the used record stores of the city of Portland. One of those films that was both influential and validating exactly at the time I saw it.

Earth Wind & Fire Shinning Stars

Probably the one documentary I was the most excited to learn about upon it’s release. It follows the ascension of Maurice White from his childhood in Memphis to switching his college major from premed to music and playing with the Ramsey Lewis Trio before forming his first and second incarnations of Earth,Wind & Fire. The fact that bassist/trombonist Louis Satterfield,saxophonist Andrew Woolfolk,drummer Ralph Johnson and guitarist Al McKay go deeply into their own insights on how music functioned in terms of being a member of Earth Wind & Fire during it’s prime period.

Stevie Wonder Classic Albums

In terms of the Rhino Classic Album series? This now very hard to find DVD interviews all of the musicians involved in the long winded and dramatic recording sessions to what is considered Stevie Wonder’s shinning musical pinnacle. Stevie demonstrates the double keyboarded Yamaha GX-1 (known as the Dream Machine)- a polyphonic synthesizer I find sonically and visually impressive. Another favorite part is where Stevie showcases how his musical acumen allowed him to cover over for a harmonic solo at the end of “Isn’t She Lovely” that a harmonica player of his caliber shouldn’t have made. Hearing the musical insights of this mans inner visions was a hugely important musical milestone for me.

Marvin Gaye Life & Death Of

Marvin Gaye’s history has,especially in the hands of author David Ritz,was generally depicted for me literarily in extremely magisterial terms. This BBC documentary,one that came my way through a life changing act of barter in itself,really did a lot to put more of a human face on the complexities of Marvin Gaye’s musical and personal life. Through interviews with the artist himself and penetrating reenactments of the even of his childhood? I’d recommend this as the best available visual documentation on Marvin Gaye.

Tom Dowd

Tom Dowd is probably listed as the producer of more albums than anyone in American music history. This man started out working for the Manhattan Project on the atomic bomb. And his career as a producer extends throughout both the black music and rock era spectrum-an array of artists as diverse as John Coltrane to Lynyrd Skynyrd. The amazing about this documentary isn’t merely the musical history. But Down provides an inside look,right at the mixing board,onto how he instrumentally layered songs such as “Layla”. A key story for understanding the intricacies of the musical creative process.

Bob Marley

For many years Bob Marley was mainly known to me as a superficial icon of a certain local stoner culture,one that tended to feel sociopolitical change derived solely from drug use and how it changed the consciousness. This story chronicles the complex wheel of Marley’s musical life-starting from his childhood in Trenchtown,Kingston in Jamaica through his near assassination attempt in 1976 through his passing on from Melanoma in 1981. This really broke it down exactly what about his back-round and viewpoint on the Jamaican music industries corruption that motivated the sociopolitical consciousness of the reggae music he helped to pioneer and export the world over in his lifetime.

Respect Yourself

It was thanks to Netflix that I found out about this documentary about Soulville USA! Stax Records were both the rival and opposite to Motown’s business model during it’s mid 60’s heyday. This is extremely thorough on it’s representation of Stax literally rising back from the dead following the double cross of Jerry Wexler’s Atantic Records ownership over Stax’s catalog following the death of Otis Redding, the labels burgeoning social consciousness embodied in Isaac Hayes,the Staple Singers and Wattstax during the early 70’s and financial bloating bringing the label down mid decade. Than Stax came back decades later-with a music school for young musicians to boot. Especially following the creative managing of Al Bell and interviews with many of the artists from Stax’s heyday? This is the essential story of Southern Soul from when Stax really bought the funk into the music.

Michael Jackson Life Of An Icon

Michael Jackson’s story has been re-purposed in the media so many times? It is nearly impossible to approach his life story with total objectivity. Thus far,this is one documentary that does the best job of doing so. For one,it concentrates on Mike’s late teens and early adulthood in terms of his musical development. And by interviewing everyone from Bobby Taylor,who first discovered the Jackson’s performing onto 80’s era manager Frank Dileo? It strips away some of the overbearing adulation and downright hero worship that this distinctive and funky musical talent found somewhat responsible for his own end. An end that came far too soon. Probably the essential Michael Jackson documentary thus far.

unsung_logo2012-wide

Unsung is an unprecedented documentary series on the cable network TV One. The reason for it’s importance is that it profiles an often underrated musical icons from within the soul/funk spectrum. And does so with a great level of care and compassion. As of now I’ve not been privileged to see every episode of the series. Yet the stories of people such as Tammi Tarrell,David Ruffin,Donny Hathaway,Full Force,Angela Bofill and Heatwave lead singer Johnnie Wilder provided an excellent insight into artists either misrepresented or not even spoken of broadly in other media circles.

Finding Fela

It was a reference in Paul McCartney’s documentary Wingspan that first gave me indication to the name Fela Anikulapo Kuti. This story probably brings my understanding of the African American musical spectrum near to it’s final stages. My conversations with blogging partner Rique are consistently referencing Kuti. And this film really expands on that understanding. The understanding of Fela as the Nigerian James Brown,whom he in fact was very highly influenced by through travelling through America during the years of black power in the late 60’s.

While the man bought the sound and social consciousness of total rhythm into his combination of African Highlife and jazz-funk?  He also set upon living a lifestyle of breaking down conventions,largely coming out of the corruption that led to tragic events such as the murder of his own mother. This really embodies the full spectrum of emotion a life can have-from pioneering,to humorous to tragic. And it also helps bring out peoples understanding and misunderstanding of what African culture is really all about.


Sometimes when I try to encourage people to watch more documentaries,they often respond by saying that they find them boring. At the end of the day they say? They want to escape,not learn. What I’ve personally come to understand is that knowledge functions as both a destination and an escape. Just depends on how you receive it. Being lectured at about topics by a teacher isn’t always the idea method of education. Yet through documentaries on a favorite subject? One can experience first hand,sometimes comic history,joy and tears from the viewpoint of all involved.  And for me? These have all provided the ultimate in learning while being simultaneously entertained.

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Filed under 1990s, Bob Marley, Chicago, crate digging, Earth Wind & Fire, Etta James, Fela Kuti, Funk, George Clinton, Heatwave, Herbie Hancock, James Brown, Jazz, Ken Burns, Louis Armstrong, Marvin Gaye, Maurice White, Mavis Staples, Memphis Soul, Michael Jackson, Portland Maine, reggae, Stax, Stevie Wonder, Tom Dowd, Unsung series, Vee-Jay

Anatomy Of THE Groove 5/9/14: Andre’s Pick: “Sign On” By Earth Wind & Fire

Even before yesterday’s birthday celebrator Philip Bailey joined them in 1972, Earth Wind And Fire were beginning to prove themselves quite expert and bringing the music of the funk era to the people with their musical and lyrical eloquence. Band originator Maurice White maintains it was always his intention to have the vocally elastic Bailey-able to jump from a preaching tenor to his distinctive,tremolo filled falsetto at a moments notice,would do all the singing in the band. Of course Maurice felt his lower voice might benefit the band too singing along with Bailey as well. While White has forced himself out of direct participation in EWF due to the burgeoning effects of Parkisons Disease,he appears to have left his musical legacy to the one man he knew who’d remained part of the band since the day he joined: Philip Bailey. And last year Earth Wind & Fire made of or their many happily surprising comebacks and delivered an album called ‘Now,Then And Forever’-which began with another of their joyfully inspiring anthem’s in “Sign On”.

Beginning with the fan fare of the current Phenix horn members in sax player Fred Jackson Jr with trumpeters San Cracchiolo,James Ford and Christopher Gray as well as trombonists Duane Benjamin,Nicholas Lane and Reginald Young they continue to stay on the one with the songs bright,strong melody throughout through the gospel-inspired joy that oozes out of whatever their blowing from their horns. Drummer John Paris holds down an spirited marching band style rhythm with Verdine White’s bass playing its thickly percussive role alongside it. On the jazz oriented “blue notes” of the refrain,the return of Larry Dunn on keyboards and synthesizers also comes to the forefront. Lyrically this insistent groove makes complete sense considering the songs lyrical content-finding Bailey’s now smokier falsetto duetting with the creamy middle tenor of guest singer Daniel McClain. Bailey starts out singing “are you tired of insanity” and sets up an endless creative set of variations on how,if people have had enough of poverty and war they should “sign on for a better way” as the chorus suggests.

As par Earth Wind & Fire’s consistent standard of delivering what I refer to as “people music”-funk grooves with an inspiring lyrical message,this song seems to alternately refer both to humanity seeking to embrace an inner philosophy and hope and love over cynicism and uncaring. Its also been suggested that the song also references many people of a younger generation than the band members to volunteer for positive political action and,much as their song “Freedom Of Choice” had thirty years ago, to vote in both local and national elections. Far aside from being a mere propaganda song, it just delivers on what EWF always has with their customary vitality. Even outside of that,the instrumental approach tells its own meaningful story. From Prince’s Minneapolis Sound on through the hip-hop inspired neo-soul genre,the general instrumental style used for playing retro soul and funk has tended to be very stripped down and electric piano based-focusing attention mainly on the singer and the material.

On this song EWF deliver on their classic funk style as an artistic vision as opposed to a mere trend. They make sure the vitality of the very live horns and drums are mixed high with their customarily powerful vocal harmonies. Frankly I rarely here most contemporary funk numbers so heavily based on horns. Of course this is likely due to the fact that the band emerged from a strong jazz back round with Maurice White having played with Ramsey Lewis’s trio and the participation of bassist/trombonist Louis Satterfield during their salad years. Its also a testament to what they’ve always musically stood for. Even though essentially boiling down to a trio of Philip Bailey,Verdine White and Ralph Johnson Earth Wind & Fire are true musical survivors-even when a given trend seems to have left them in the dust. They keep coming back and are more beloved each time they are. And this serves as the latest examples of EWF as the musical ambassadors of the true nature of funk.

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Filed under Earth Wind & Fire, Funk, Funk Bass, Humanity, Jazz, Neo Soul