Anita Baker’s music always felt (to my childhood self ) like what it might’ve been like to be an adult. The music and lyrics came off as so learned and experienced in life. This is one of the key qualities of Baker’s music that I share a common interest in with my friend Henrique. Another quality that Baker’s 1988 album Giving You The Best That I Got is that it presents a relatively small group of musicians. With a sound that’s immaculately produced and compositionally strong all at once. As the follow up to the blockbuster album Rapture this album often suffered from unfair comparisons.
After all, when you have an album like that? Its usually a nearly impossible act to follow. Now I’ve been hearing this album in one way or another since the day it came out? I have to say that this album is packed with great songs and as always Anita’s distinctive voice. Between the styles of Sarah Vaughn, and several years later with Toni Braxton, has any female vocalist been able to almost instrumentally work their way around a song the way Anita does on songs such as “Priceless” and the title cut. These are vital R&B/jazz compositions.
These compositions are to strong grooves Anita made famous beforehand. But on tracks like “Rules”, the barrier that developed between jazz and R&B melted right away. The instrumental sound of these songs are both concise and elegantly produced. And that’s no small feat to accomplish. Michael J. Powell, founder of Baker’s former band Chapter 8, did a masterful job in that regard for this album. Critic/writer Nelson George described the kind of music Anita Baker specialized in as “retro nouveau” in his book The Death of Rhythm and Blues. And I suppose it fits as well as any.
Songs such as “Lead Me Into Love”,”Good Love”,”Just Because”,”Good Enough” and “You Belong To Me” assure this album has no filler at all. The level of songwriting consistency is maintained throughout every one of these songs. Elektra was really and sound popping with some of the best fusions of jazz-pop, quiet storm and R&B/funk during the course of the 80’s. That tends to be what happens when musicians such as Omar Hakim, Nathan East and the late George Duke get together with a talent like Baker’s. And if that period of music was a living being? It should be grateful to have had Anita Baker around.
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.
From the late 70’s onward, Lee Ritenour had focused primarily on developing his music in somewhat more of a jazz-rock fusion context. While it seemed that music was starting to fade into a much softer sound, Rit managed to reflect that with a light instrumental touch that somehow managed to embrace great rhythmic and melodic strength to it. He became very in demand as a session guitar player too. Nearly a decade following his Rio album, Lee Ritenour makes a return to the music world playing solely the acoustic guitar.
And of course, this took him right back to the Brazilian music he never lost his affinity for. This album is home to two urban funk numbers in the opener “Night Rhythms” and “Rio Soul”. Neither blast you over the head with a hard groove,but present themselves as “fine wine” type jazz-funk grooves of the era. It’s Marcus Miller, Omar Hakim and Anthony Jackson from NYC that bring these to life as well. The Brazilian musicians have a chance to really catch fire on the rich samba of “Latin Lovers” which, much like the deeply rhythmic “Odile, Odila” features Brazilian scat singer Joao Bosco.
On the Latin soul of “Linda”,another vocalist Caetano Veloso sings the lead in Portuguese. “Humana”,”New York/Brazil” and the closer “The Inner Look” all focus in on the melodic end of Rit’s acoustic playing. I’ve heard it said in reference to Earth Wind & Fire that their music is sweet as funk can be. Lee Ritenour’s music reflects a similar impulse as he too has been heavily influenced throughout his career by the Brazilian musical bug. And again,he’s been able to zero in on that crucial spot in his musicianship where he can play softly and melodically while at the same time reflecting a hard driving rhythmic groove.
This same musical ethic applies to the instrumental powers of the other musicians playing with him. Also by playing also as accompaniment to different types of vocalists-both from New York, Brazil and LA he was at least able to bring the sometimes divergent musical interests of northern,western and southern America together by virtue of the musical kinsman ship of the personal involved. And the end result is a resounding success.
Sting’s love of music goes back to his youth in Northumberland, England. Born Gordon Sumner, he’d gotten a deep impression from the Wellsend’s shipyward-seeing his future as being in that industry at first. He graduated from what’s now Northumbria University with an education degree. He taught as a headmaster for two years. Between his education and teaching, his played jazz gigs at night. That’s where Sumner was nicknamed Sting due to his apparent physical resemblance to a bee. By 1977, he’s moved to London to form the original lineup of The Police with Stewart Copeland.
As for The Police’s story, the rest is history. In 1984, The Police broke up. Sting’s by then legendary ego was driving him in the direction of solo work. The sound of The Police had grown in scope-from a punk reggae sound to taking on more pop and jazz elements. It was that side of their sound that dovetailed into Sting’s 1985 solo debut The Dream Of The Blue Turtles. Recorded with a quintet of jazz players in Omar Hakim, Darryl Jones, Branford Marsalis and the late Kenny Kirkland, the album got off to a musical and commercially powerful start with “If You Love Somebody, Set Them Free”.
Sting sings the chorus mantra style on the intro over Hakim’s drums-with Sting’s liquid guitar with a rather Asian rhythmic vibe. The drums take on a heavier, in the pocket rock drive after that. Kirkland’s organ, Sting’s funky rhythm guitar licks, Jones’ bass runs and Kirkland’s organ keep the groove thick-with Marsalsis’s sax accents playing melodically at every rhythmic turn. The bridge has a heavy A and B section. That A section hits heavy on the second beat-with a deeper guitar tone. And the B section bringing back everyone for a more progression tone before an extended chorus fades it all out.
“If You Love Somebody,Set Them Free” has been so hardwired into my own musical ear, its easy to forget that this was likely the last time a major pop artist utilized contemporary jazz players as their band for a solo debut. Sting’s songwriting is astounding-really letting go with the jazz flavor. At the same time, throwing in a heavy gospel/blues based R&B one as well. Still, Hakin’s drums in particular keep it somehow big and rocking. Listening to it now, its actually part of a series of musically daring records that Sting continued to deliver during the prime of his solo career.