The way we did with our Mood II Chill column, here we go with a second consecutive delivery of goodies as a part of Back2DaRoots series dedicated to those who’ve brought jazz vibes on the floors. Get into those grooves…
As anyone might expect, chances are great(er) to be linked with the reputed inventors when havin’ a look back to our collective past as far as contemporary music is concerned. One of the best examples around being given by the late Johnny ‘Guitar’ Watson. A man whose progressive maturation along the years from blues to soul then West Cost funk in the mid 70’s would be for much on his influential role as far as rap is concerned. We catch him back here in 1976 with the magnetic ‘Superman Lover’ taken from the Ain’t That A Beach album released on DJM Records. A cut which would receive a brilliant cover version – (check out the video clip) alas with no real support apart from BET - some 20 years later by the likes of Chico Debarge featuring Redman & Erick Sermon, although with a slightly retouched title (‘Soopaman Lover’) on Motown…
Should Watson has opened a path for rap music on his Love Jones LP in 1980 (He later on would state that he’s been among the inventors of the genre 2 years prior to his passing in 1994), Grover Washington Jr has no doubt done the same as far as smooth jazz is concerned. His legacy is as countless, although mainly reknown for the sensuous ‘Just The Two Of Us’ alongside singer Bill Withers. His instrument – the saxophone – reaches unequalled levels on the infamous fonky ‘Knucklehead’ cut taken from his 1975 released Feels So Good album on Motown which was to get recently a rerelease on 12’’ format, thanks to those inspired people at Alpha Omega label.
Despite an incredible legacy as well (more than 100 released albums), The Crusaders remain mostly remembered for the unmissable ‘Street Life’ featuring the sultry voice of female singer Randy Crawford and the saxophone of Wilton Felder (MCA). We get to the latest on his own on the unmissable ‘Inherit The Wind’ featuring bass player Arthur Adams, Paulinho Da Costa on percussions and, last but not least a vibrant vocal performance by the likes of Bobby Womack (MCA).
Jazz guitarist George Benson was progressively to settle up his unique style starting from the mid seventies with the successive releases of albums such as Breezin, and Live In L.A. One of his absolute peaks being the versatile ‘The World Is A Ghetto’ whereas he would set his typical vocal scat performance over his Ibanez guitar parts to predominance (WB).
We’ll never repeat enough how the total freedom left to artists in the seventies has opened the path to a never equalled creativity, this resulting in a whole bunch of incredible experiences with a support showing how the crowd (and the media) were far much open minded back then in comparison to nowadays, as shown by the undeniable notoriety of original soundtracks such as Mission Impossible and The Streets Of San Francisco to name but a few. To be added to the list of the aforementioned is without a doubt Shaft by the likes of Isaac Hayes, responsible of so many experimentations on different veins, including disco with the rumblin’ ‘Disco Connection’ on Polydor.
One of the most accomplished reconvertion from jazz to disco has no doubt to be credited to Kool & The Gang, starting with their Ladies Night album in 1979. A quick check at the credits showing the arrival of a new name on the production duties by the likes of Brazilian jazzman (Eumir) Deodato. A man who would score a whole bunch of classics under his own belt including the brilliant ‘Whistle Bump’ (WB). The same period also marked a turn for rhythm & blues trumpeter Donaldson Toussaint L’Ouverture Byrd II, better known as Donald Byrd who, not only would help a group of his students to become a reknown act (the Blackbyrds), but also leave for some time the classic jazz scene to experiment disco/funk influenced vibes such as delivered on the memorable ‘Love Has Come Around’ (Elektra).
Quite a versatile man as well is trumpeter Herp Albert, able to both express himself in the pop territory as shown by the memorable ‘Rise’ (later covered by French clarinettist Christian Morin) and explore the funk territory alongside female singer Janet Jackson (on ‘Diamonds’) but also give birth to the magnetic ‘Rotation’ in addition to being the co-founder of the A&M label.
Another man who, despite being mainly reknown for his contributions on the R&B scene, has his roots firmly stepped into jazz is Philadelphia born Norman Connors. Quite an emblematic producer (check out his contribution with Aquarian Dream and the late Phyllis Hyman), but also an artist on his own who soon after touring with Pharoah Sanders would work under his own banner with the somehow reminiscent (vocally speaking) of the late Marvin Gaye ‘Once I’ve Been There’ being among his most noticable successes alongside ‘You’re My Starphip’ and ‘We Both Need Each Other’ (Buddah). More to come soon. MFSB
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