Armando Anthony Corea,known by his professional name of “Chick”, is a native of Chesterfield,Massachusetts. Son of a former Dixieland musician from Boston, Corea took up drums and notably piano on his own. A largely self taught player who seriously sought out musical learning on his own, he began playing gigs throughout high school. While attending both Columbia and Julliard university’s later, his be-bop style piano took on avant garde elements. After a pair of solo recordings,he began working with Miles Davis on his ground breaking 1969 fusion recording In The Silent Way.
Just about every musician who touched Miles creatively became an innovator in their own right. And Corea was no exception. He formed Return To Forever in 1970-originally including the Brazilian duo of Airto Moriera and Flora Purim. By 1973 though the band consisted of bassist Stanley Clarke,drummer Lenny White and the young guitarist Al Di Meola. RTF’s albums generally focused on the more progressive,pyrotechnical variation of jazz/rock fusion. It was on their 1975 album No Mystery that the fluidity of funk flowed into their sound. Especially on songs such as “Sofistifunk”.
Corea’s computerized synthesizer riff starts off the song-followed soon by White’s nimble stop/start jazzy funk drumming. Di Meola’s guitar squawks and Corea’s extra melodic synth come into play-as well as Clarke’s very supporting bass line keeping a very funky groove. That could amount to the chorus of the song. On the refrains,the drum is fuller with more fills. And Di Meola takes on some rocking solos with Corea’s synth acting as straight up melodic support. The song has a long conclusion of the chorus before the synths and guitar fall apart into near incoherence as the songs crescendo.
“Sofistifunk”,or rather a variation of that phrase based upon this song,is actually an adjective I used to describe certain types of what’s referred to as post disco or boogie funk that’s live instrumental and well produced. This song however is nothing like that. It is melodically and harmonically complex jazz-funk-full of intense rhythmic turns and soloing that Return To Forever did so well. Still it lives up to its title by melding the intensity of all the players into a fluid musical flow. That’s not too easy to accomplish. And Chick Corea with Return To Forever really made it work very well in this case.
The Tavares are a group I’ve seen albums by in so many budget vinyl bins over the years, I didn’t have much context of their significance in the soul/R&B/funk world. Perhaps on their records being so common in Maine is a matter of geography. This New England based group from New Bedford, Massachusetts got their start as different incarnations of The Turnpikes. Along the way,that group attracted future musicians such as Aerosmith’s drummer Joey Kramer and P-Funk/Talking Heads icon the late,great Bernie Worrell. By 1973, the five Tavares brothers alone signed to Capitol for a succession of R&B smashes.
One member of the group Butch Taveres is turning 69 this year. And so far,the only music I am all that aware of them for is their participation in the blockbuster Saturday Night Fever soundtrack-in that case covering The Bee Gee’s composition “More Than A Woman”. For some reason,always associated the singing siblings as being primarily based in slow jam ballads and Philly style disco songs. But just yesterday,I learned they had a far funkier side that showed up on the final song of their 1979 album Madam Butterfly entitled “I’m Back For More”.
A slow shuffling drum,bluesy filtered Fender Rhodes piano and a snarling,jazzy bass walk accompanies the harmonies of the Tavares along with horn and string accents on the intro alone. During the refrains of the song,its the drums,Rhodes and strings that carry the song along with the groups close and often jazzy harmonies. On the earlier bars of each refrain statement,the drum kicks up a bit more than shuffles. On the latter choruses,a wah wah guitar joins the musical mix. On the final choruses,the horn charts take presidents with the groups call and response exchanges as it fades out.
“I’m Back For More” brings to mind the feeling of three songs that define the funkiest side of the disco era for me. It has the rhythmic and horn/string cadence of Donna Summer’s “Love To Love You Baby”,the jazzy keyboards and swagger of Edgar Winter’s “Do What” from 1979 and a melodic element similar to Toto’s “Georgie Porgy” from a year earlier. Its the type of song that bridges disco,funk and classic harmony vocal based 70’s soul with such a strutting,funky yet laid back kind of groove. Cannot think of a better song to pay tribute to Butch Tavares with,personally.
With the passing of J. Geils several days ago at the age of 71, have been thinking a lot about the J. Geils Band. Most of my life,they came across as New England’s answer to the Rolling Stones. They played a party hardy mix of soul,rhythm & blues and rock as a heavy touring group for most of the early to mid 70’s. Between native New Yorker John “J.Geils” Warren’s versatile guitar style along with Peter Wolf’s stage theatrics and powerful voice, the band expressed a strong sense of a rock band who knew how to stay in the groove rather than simply making songs that had grooves.
As with many 80’s children,I primarily know them for their hits “Centerfold” and “Freeze Frame”-incidentally both on the same album from 1983. And those were actually two of their best songs,even aside from being big hits. Years later,I started to hear about a 1977 album they made that didn’t do too well commercially called Monkey Island. About a year ago,found a vinyl copy of it and upon the first listen,it became more than clear that this was one of the most soulful boogie rock bands at that point. One song that really stands out from the album for me is entitled “So Good”.
Stephen Bladd’s tambourine accented,clapping drums and Seth Justman’s piano provide the intro to the song. The Brecker brothers Michael and Randy soon join in as part of the horn section that plays the melodic changes throughout the song. On the refrains, J. Geils lays a funky high pitched rhythm guitar along with Danny Klein’s bopping bass line. On the choruses,the horns play a huge part in the melody. After J.Geil’s guitar is heavily flanger pedaled for the bridge,the bands harmonica player takes a spirited solo before a reprise of the chorus fades out the song.
“So Good” really hit me hard with its upbeat,bouncing funky soul flavor. Between the harmonica solo and Wolf’s slightly raggedy lead vocals,there was something about it that reminded me of what the band War were doing in the mid 70’s. At the same time,it had a more conventionally poppy focus with its accessible melody. The bands R&B attitude also gives this song a strong bite as well. There’s certainly a lot more J.Geils for me to explore in the future. All the same,this has to be the funkiest thing that I’ve heard from them up to this point.