Cuba Gooding Sr is probably famous for to two things. One would be as the lead singer for the Harlem vocal trio The Main Ingredient after their original lead singer/songwriter Don McPherson died. The other would be a the father of actor Cuba Gooding Jr of Jerry McGuire fame. Under McPherson,The Main Ingredient mixed romantic and black power themed funky soul. During Gooding’s era,the political elements became less pronounced. And the group began doing more cinematic soul numbers arranged by Bert DeCoteaux. At the same time, The Main Ingredient never fully lost their funk.
Cuba Sr’s history is every bit as political. His name derived from his father Dudley marrying a woman when he fled to Cuba. After being murdered due to her support of Pan Africanist leader Marcus Garvey,he vowed on her death bead that his first child would be named Cuba. Gooding was in the process of working on documentary about his family tree before he was found dead in his car on April 20th,2017. Though best known for their 1972 hit “Everybody Plays The Fool”, one Main Ingredient song that always stands out to me in a similar vein is the following years “Something Lovely”.
A drum kick off breaks into the instrumental intro of the chorus. This is lead by a descending string and muted trumpet arrangement. When Cuba and the rest of the trio come in with their three part harmonies,the arrangement pairs down to a wah wah guitar/bass/drum/electric piano based sound. That goes for the arrangements too-accented occasionally by a several not long horn chart before the next chorus. After one refrain where the horn arrangements play the vocal lines, the trio finish the song out with an extended reprise of the chorus.
“Something Lovely”,written by Stevie Wonder and Syreeta Wright, is a masterpiece of funky soul arrangement as far as I’m concerned. The harmonies that Cuba,Luther Simmons and Tony Silvester come up with on this song are a superb example of funky soul as sweet as it can be. Its from their 1973 album Afrodesiac, which I purchased at the recommendation of an employee at one of my favorite record haunts Dr. Records when I was trying to exchange a defective CD of Parliament’s Funkentelechy Vs The Placebo Syndrome.
I fell in love with the Afrodesiac album after getting it. Especially in the interpretive material it embraced. Stevie Wonder offered some of his own material and wrote two songs for this project itself. I also discovered one of my favorite Isley Brother’s songs “Work To Do” through The Main Ingredient doing it on this record. The very unexpected passing of Cuba Gooding Sr not only reminded me of that youthful musical discovery. But also of Gooding’s strong musicality and respect for quality. He will be missed by many and I wish his surviving family all the best at this difficult time.
It was a Thursday morning one year ago that I first heard that Prince had passed away. It was via a Facebook post one of my friends there shared from TMZ. Being a tabloid agency,it came across as just another online “fake news” story about a dead celebrity. It was my Aunt Deb who confirmed the unfortunate news. Prince Rogers Nelson had been found dead in an elevator at Paisley Park earlier that morning. It turned out to be just one part of a huge “funkapocalypse” of musicians dying in 2016-among them people such as David Bowie and EWF founder Maurice White.
In the weeks following Prince death, there was much ugliness unfortunately. Because he left no will in regard to his enormous musical output,the future of his art was in question. Therefore there was more concentration on people suddenly coming forward claiming to be his child (and a potential heir to his fortune),as well as conspiracy theories about Prince having died of HIV/AIDS. The reality of his death wasn’t any prettier. He’d died of an accidental overdose of the pain medication Fentanyl,part of a series of medications he’d been taking since an injury he’d sustained onstage in 1985.
Now that 365 days have passed since we lost Prince, there remains much mixed appraisal of the man and his music. The fight for control over Prince’s estate still remains fairly hot-with family representatives such as his half sister Tyka and record companies in the process of figuring out how to manage his music releases and online presence. Articles circulate consistently on fan sites all over the internet-especially Facebook and Twitter. And the debate between restorationists and preservationists of Prince’s legacy has proven a true example of the messiness of democratic dialog.
All of this being said, the year since Prince’s death has not been about complete uncertainty. Currently his mid 80’s era band the Revolution have begun for a US tour-indicating that its helping them cope with the loss of Prince. There was a somewhat rushed compilation released by Warner Bros. entitled Prince4ever,which included one item from Prince’s vault from 1982 entitled “Moonbeam Levels”. The CD release of Prince’s final album Hitnrun Phase II also took place a week after his passing. And now,its promised that a floodgate of new Prince material is about to be opened.
Following the Grammy Awards tribute,much of Prince’s music was re-added to streaming sites such as Pandora and Spotify. And there’s also the promise of a deluxe edition of the Purple Rain soundtrack at some point this year. This week however, the Prince estate has filed a lawsuit against against his former engineer George Ian Boxill for attempting to a release an EP of unreleased Prince songs from 2006 entitled Deliverance. In addition,Prince’s music has yet to re-appear on YouTube. And that brings me to what I feel is the most vital aspect of Prince’s creative legacy.
Myself, Henrique Hopkins and Zach Hoskins have been having many discussions since Prince’s passing about the lost opportunities for his continuing legacy online. As for Prince,that’s all in the past now. Because his music is in danger of being somewhat unknown by future generations (and some members of current ones) due to this problem,I hope that those in charge of Prince’s estate realize the mistakes he made in his final decade about publicizing his art. It would be a fitting tribute to him if they continued to maintain the presence of Prince’s musical legacy for the future.
Allan Holdsworth was a guitarist who not only crossed styles,but also technological areas of music. Sadly,he passed away this past Saturday at the age of 70. He was a truly academic player known for his advanced chord progressions. But he could play some serious blues with the same technical level. Throughout the 60’s and 70’s he played with both prog rock and jazz fusion bands in his native England/Europe such as Soft Machine,King Crimson,Gong and Nucleus. In the late 70’s,be became a member of Tony Williams New Lifetime before beginning his solo career as a recording artist.
The first Allan Holdsworth album was his 1986 LP Atavacron. Picked it up based purely on the cover and title-based on a favorite episode of Star Trek of mine. On the cover,the cartoon Holdsworth is holding an instrument called a SynthAxe. It was a type of MIDI controller manufactured in the UK which allowed for a more guitar-like playing style for synthesizers. Turns out it was fairly rare,and few outside Holdsworth and Lee Ritenour actually ever used it. One of my favorite songs on the mid 80’s fusion oriented Atavacron to use the SynthAxe heavily is called “The Dominant Plague”.
Future Level 42 drummer Gary Husband,along with Chad Wackerman provide the opening duel drum attack-which has a slow,gated African percussion style about it. Jimmy Johnson also provides his 6 note bass line that he improvises on throughout the song on this intro. Very the chorus Alan Pasqua delivers a wailing synth brass solo. On the refrains,over the same rhythm,Pasqua also provides a very glassy,steel drum like synth line. On the bridge,actually a chorus of the song,Holdsworth plays a rather Hendrix style SynthAxe solo-before the song fades out on the double drum rhythm.
“The Dominant Plague” is mid 80’s world fusion at some of its finest. It has the blend of Afrocentric rhythms played in a progressive new wave sonic approach. Holdsworth composition is both passionate and hesitantly chilly from chorus to refrain. I am not at all sure about this. But from its feeling and title, I’ve wondered if this composition was inspired by the HIV/AIDS epidemic than polarizing the world. One can only wonder. The SynthAxe is also used to fine affect here-allowing Holdsworth to sustain notes more than a guitar might’ve. Its my favorite song of his that I’ve heard so far.
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.
Leon Ware is someone I’m not sure a lot of people outside the soul/funk community are too aware of. Among people I know such as Henrique Hopkins,Henry Cooper and Calvin Lincoln,he is very likely an icon. He maintained a solo career from 1972 up through the end of his his life. And was a fine singer. Mainly however,he was one of the finest composers in the soul/funk/jazz spectrum during the early 70’s. His style used a lot of jazz styled chord progressions,which he blended with strong pop hooks and heavy hitting lyrically romanticism.
Mister Ware composed two songs that inspired the singer/songwriter side of my soul and funk musical interests very strongly as a younger man. Those songs were Marvin Gaye’s “I Want You” and (perhaps Ware’s best known composition) “I Wanna Be Where You Are”. That particular song was recorded by several different people. But became a huge success for Michael Jackson in 1972,and helped launch his solo career. As far as Marvin Gaye was concerned,Ware gave the most help to him than he did for many other artist by composing the entirety of Gaye’s 1976 album I Want You when the artist suffered from writers block.
That occurred just after Ware was the man behind the 1974 Quincy Jones album project Body Heat. This albums gurgling,swampy groove also included the memorable soul hit “If I Ever Lose This Heaven” (recorded the same year by Average White Band). And it helped Quincy’s heavily arranged jazz sound to get deeper and funky. Ware extended his talents onto Quincy’s next album Mellow Madness-itself featuring the debut of the Brothers Johnson. In the late 70’s and early 80’s,Ware continued his solo career and continued writing songs for artists like Melissa Manchester.
Ware passed away after nine years of suffering from Pancreatic cancer on February 24th. Even so,I’m one of those people who views the combination of jazzy chord progressions, soulful melodicism and and funky rhythm to be the most successful fusion of black American uptempo music. Along with people such as Stevie Wonder,Leon Ware celebrated the connections between all those elements as a songwriter. Which probably explains why he and Quincy Jones were such close associates. His influence can be felt today in the songwriting of artists such as King and Thundercat. And will therefore live on.
Larry Coryell is a somewhat unique musician for me to discuss. My friend Henrique informed me of the guitarists passing this past Sunday-at the age of 73. Generally speaking when doing a tribute to a fallen musician,I come at it from the point of view of strong knowledge about their music and often their back round. In the case of Mister Coryell,the exact opposite is true. Haven’t actually had much experience (if any) with his music at all. Still,an outsiders perspective might be an interesting place to come at him from. So I’ll start out discussing my only experience with him.
Again,this is a family musical story about me and my father. He was my first inspiration in terms of music and knowledge of it. This story started out with one of our many musical discussions when I was in my late teens. The subject was Miles Davis and his innovation of jazz fusion. And my father mentioned Larry Coryell as an artist who also innovated fusion. The only album he had by Coryell at that time was a cassette of a 1970 album called Spaces. With John McLaughlin,Miroslav Vitous,Chick Corea and Billy Cobham aboard, the album is apparently considered a ground zero for fusion along with Miles’s Bitches Brew.
Perhaps from listening to so much music,particularly electric jazz in all its forms,the memories I have of the Spaces album have also faded somewhat with time. Do remember that it was the first jazz records I heard that was heavily based in acoustic guitar. In the ensuing years,I began to listen to other acoustic jazz guitar maestros such as Earl Klugh. The only other time within the next two decades that I heard Coryell’s playing again was when I reviewed the Larry Young song “Moonwalker” on this blog,which featured Coryell’s playing on it.
In a case similar to the also recently departed David Axelrod, my musical case with Larry Coryell represents something that I’ve often disliked being done by other people. And that is embracing an artists music only after they pass away-the cult of the dead being a motivating factor in appreciating a musician. All that being said,if any of you out there haven’t checked out musical innovators who are still living,it would be a great idea to do so. There’s something so creatively rewarding about embracing art while the artist themselves are still with us. Even if their music will never simply die with them.