What about jazz in the house ? Naaaah!!! Not the famous comps of the name as conceived by West London hero Phil Asher, but the unvaluable contribution of the jazzmen to the groove. Welcome to B2R # 3!
What would the groove be without jazz??? Well, ‘bout pretty much the same as it would be without those equally essential elements such as funk and soul. In other words, not much! History tends to show how the genesis of the groove would most likely come from the addition/the superposition of the latest givin’ it all its emphasis, while gathering people comin’ from various horizons on what was then reknown as fusion…
One of the most illustrative exemple is no doubt given by US drummer Alphonse Mouzon. A man who appeared on the jazz scene in the early 70’s, first as a session musician, workin’ with the likes of Miles Davis, Wayne Shorter and Al DiMeola, before setting the fusion world alight with Weather Report then working under his own banner. But also a man who, no more surprisingly, would explore many different directions from electro tinged disco on the explosive ‘Everybody Get Down’ (Fantasy) to pure live jazz/funk of course such as delivered on the exquisite ‘By All Means’ alongside Freddie Hubbard, Herbie Hancock, Lee Ritenour, Paul Jackson and Scott Edwards taken from the album of the name released on the highly respected MPS jazz label before finding a home as a 12’’ on Excaliber. A pure 13’.35’’ bliss!
Quite a parallel oughtta be done with New Orleans born drummer Leo Morris, better known as Idris Muhammad soon after his convertion to Islam in the 60’s. His contributions are as countless, from his performances alongside Sam Cooke, Jerry Buttler and The Impressions, then Roberta Flack, Johnny Griffin and Pharoah Saunders. Not to mention his work on his own with his band, getting to the attention of the UK jazz/funk fans in the second half of the seventies with the release of his emblematic ‘Could Heaven Ever Be Like This’ on the Kudu label prior signing with Fantasy.
Another musician who would make quite some waves on the UK jazz/funk circuit is Houston born saxophonist Ronnie Laws, reknown for his works alongside Earth, Wind & Fire, Jean Carne and Hugh Masekela. He scored an instant success with his Pressure Sensitive album produced by Wayne Henderson, including the timeless ‘Always There’ later recorded by numerous artists from Side Effect to Willie Bobo and Incognito featuring Jocelyn Brown to name but a few (Blue Note).
Back to the drummers front with Lenny White. Quite a versatile man as a matter of fact who although best-known for his collaborations with Chick Corea and Miles Davis but also Freddie Hubbard, Bob James, Bernard Wright, Santana and Marcus Miller, has given birth to popular soul group The Jamaica Boys with the latest and singer Mark Stevens in the mid 80’s. We catch him there on what probably stands as his most groovy period alongside Twennynine on the highly emotional ‘Didn’t Know About Love Til I Found You’ with remixing work courtesy of the late Nick Martinelli. No doubt, one of the hottest peaks to be remained from this association with the sultry ‘Fancy Dancer’ championed by the late Frankie Crocker on WBLS back then (Elektra).
Another cut getting the support of WBLS at the time would be the Rod Temperton penned ‘Razzmatazz’ issued as the flipside of ‘Betcha Wouldn’t Hurt Me’ on its 12’’ format then as a part of the The Dude album, to be credited to one of the most influential musician/producer of all the times. His name? Quincy Jones! (A&M)
Don’t ever think disco didn’t reach the interest of the jazz headz, resulting in quite interesting experiences on occasions such as the anthemic 1974 released ‘Hi Jack’ by the likes of the late flautist Herbert Jay Solomon, better known as Herbie Mann (Atlantic) or the evergreen ‘Phoenix’ courtesy of Aquarian Dream (a group Sylvia Striplin happened to be a part of before working with Roy Ayers) with production work by the highly talented Norman Connors. A pity though, knowing this cut never got a commercial 12’’ release back then (Buddah).
Another shame which most likely has to be taken as a sign of our times is the fact that a countless amount of artists remain reknown for one or two successes despite havin’ a consistant repertoire. As a result, should I speak of ‘What A Difference A Day Makes’ then give you a short listen of it, chances are great to have a lot of peeps sayin’ ‘Yeah, I know this cut’ and eventually give you the identity of the one who made it successful the way it was back in 1977, even though this was a remake of a Dinah Washington’s song! Well folks, we’re touching the epicenter of the History, talkin’ about Little Esther as she was known back then, recording her very first work with Johnny Otis in 1949 before becoming the youngest R&B singer to score a # 1 US R&B hit the following year under the form of ‘Double Crossing Blue’. We catch her later on in the first half of the 70’s on what to me stands as her peak time alongside arranger Pee Wee Ellis with this oustanding cover version of Gil Scott-Heron’s classic ‘Home Is Where The Hatred Is’ which got suddenly back to my attention when listening to a Robbie Vincent’s show on BBC Radio One back in 1987/88. Damn, wot AAAA piece of art! Oooops, by the way, was to forget about the real name of the lady in question: Esther Phillips! No need to say what a difference such a voice made when listening to this song… (Kudu).
Hard not to mention Roy Ayers on this column even though harder is the piece to take out of his immense repertoire. Might go for the killing ‘Runnin’ Away’ (Polydor) on those circumstances. A cut which, in addiction to the equally influential ‘Expansions’ by Lonnie Liston-Smith & The Cosmic Echoes (Flying Dutchman/RCA) would serve later on as the basis of the remix version of UK female rapper Monnie Love‘s ‘Granda’s Party’ (Cooltempo). History soon TBC. Peace y’all. MFSB
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