Category: Jazz

Cal Tjader – The Tra La La Song

By , October 27, 2011 1:52 pm

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The cover (above) The Banana Splits (below)

 

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Listen/Download – Cal Tjader – The Tra La La Song

Greetings all, and join me as we wind up another week on the good ship Funky16Corners.

Since it is almost Friday, I must remind you all that the Funky16Corners Radio Show returns to the airwaves of the interwebs this and every Friday night at 9PM at Viva Radio.

This week features some very groovy stuff, as well as a nice little Halloween set for those in need something spooky and soulful. Keep in mind that if you are unable to join us at the time of broadcast, you can always stop by over the weekend and pick yourself up an MP3 of the show which you can listen to at your leisure.

Earlier this year I posted Cal Tjader’s version of ‘Gimme Shelter’ and told the story of how the old Funky16Cornersmobile got towed away while I was at a record show.

While discussing the song in the comments, I mentioned that Tjader had also covered the theme from the old ‘Banana Splits Show’ and promised to post it in the future.

Well, at the risk of sounding like Criswell, the future is now!

Unless you’re over 45, or some kind of hardcore pop-cult nut, you probably have no idea who the Banana Splits were, which was, a costumed quartet of people in animal costumes (dog, lion, gorilla and elephant) who lived together in a psychedelic clubhouse and had a band (sounds like a hallucination, right?).

Though most of (not all, most) the music associated with the show was disposable, bubblegummy pop, the one tune that everyone who ever saw it (or has heard Bob Marley and the Wailers ‘Buffalo Soldier’) remembers is the theme, otherwise known as the ‘Tra La La Song’.

Oddly enough, the song has had quite the little history of its own, being covered (and hitting the UK Top 10 in 1979) in a version by the Dickies, the aforementioned borrowing by Tuff Gong, and a later cover by Liz Phair and Material Issue.

A few years back I saw an ad for a reissue of a Cal Tjader album that I’d never seen before called ‘Plugs In’, which appeared to contain a cover of the ‘Tra La La Song’. Naturally, as big a Tjader fan as I am I found this hard to believe and figured it was either a misprint, an outtake or another song entirely.

That is until I scored myself a copy of the album when I was down in DC last year when the bizarre but tasty intersection of Mr. Callen Radcliffe Tjader Jr. and Fleagle, Bingo, Drooper and Snork was confirmed.

Recorded live at the Lighthouse in Hermosa Beach, California in 1969, ‘Plugs In’ featured Tjader with an electrified band. The addition of Al Zulaica on electric piano and Armando Peraza (who also recorded for Skye) on congas makes for a sound reminiscent of Vince Guaraldi’s later ‘Charlie Brown’ soundtracks.

Tjader takes the ‘Tra La La’ song at a relaxed and groovy pace that the actual Banana Splits never would have been able to achieve without chemical assistance.

It is a mellow cut indeed, and I hope you dig it.

See you on Monday.

 

Peace

Larry

 

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Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recreational events, and any contribution you could make would be greatly appreciated.

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If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

 

Two By Eddie Jefferson

By , August 9, 2011 4:39 pm

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Eddie Jefferson

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Listen/Download – Eddie Jefferson – Freedom Jazz Dance

Listen/Download – Eddie Jefferson – Thank You Fallettinme Be Mice Elf Agin

 

Greetings all.

I hope that all is well.

The mighty originator of vocalese, Mr. Eddie Jefferson has been covered in this space a couple of times before.

Though his career dips way back into the 40s, Jefferson recorded steadily through the 60s and 70s, until his murder in front of the storied Baker’s Keyboard Lounge in Detroit in 1979.

Like most of his soul jazz contemporaries, Jefferson liked to stay ahead of the game, and continued to create new ‘vocalese’, much of it related to current material, like his remake of Herbie Hancock’s ‘Chameleon’ and the two tunes I bring you today.

Jefferson recorded the Eddie Harris composition ‘Freedom Jazz Dance’ twice in the 70s, both times for the Muse label.

The later version appeared in this space a while back and can still be heard as part of Funky16Corners Radio v.65.

I discovered the take I bring you today whilst out a-digging a few months back. I’m always game for some Eddie Jefferson I haven’t heard, and when I happened upon his 1974 album ‘Things Are Getting Better’, and noticed that it included several interesting covers (and cost less than a fiver) it went right onto the keeper pile and I took it home.

When it finally arrived on my turntable I was very pleasantly surprised to hear a different take on ‘Freedom Jazz Dance’ – less frantic and dare I say more funky – than the one previously featured, as well as a very groovy reworking of Sly and the Family Stone’s ‘Thank You Fallettinme Be Mice Elf Agin’, with new lyrics namechecking the greats of midcentury jazz.

The feel of the album is a little looser and fusion-y than his other efforts of the period, and listening to some of the cuts several times I find it shocking that it does not seem to have been sampled by anyone.

Jefferson was always a swinging cat, and ‘Things Are Getting Better’, which also includes a very dark and sinister take on ‘Bitches Brew’ is at least in my opinion, the finest thing he recorded in the 70s.

If you get a chance, pick up one of the reissues of his earlier work (or even better, look for some of it on OG vinyl in the field). I think you’ll dig it.

I hope you dig these sounds, and I’ll see you all on Friday.

Peace

Larry

 

 

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Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recreational events, and any contribution you could make would be greatly appreciated.

Example

 

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

 

F16C Radio v.94 – The Living Piano

By , June 26, 2011 4:01 pm

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In black and white, like the keys, dig?

 

Dee Felice Trio – There Was a Time (King)
Don Randi – Taxman (Reprise)
New London Rhythm and Blues Band – Soul Man (Vocalion)
Ramsey Lewis – African Boogaloo Twist (Cadet)
Roy Meriwether Trio – What’s the Buzz (Notes of Gold)
Overton Berry Trio – Guacamolean Shuffle (Jaro)
Gene Harris – Green River (Blue Note)
Johnny Watson – Hold On I’m Coming (Okeh)
Mr Jim and the Rhythm Machine – Mrs Robinson (Date)
Junior Mance – Thank You Falettinme Be Mice Elf Agin (Atlantic)
Cha Cha Hogan – Grit Gitter (Soulville)
The Stokes – Crystal Ball (Alon)
Allen Toussaint – HandsChristianAnderson (Bell)
The Music Company – The Word (Mirwood)
Mary Lou Williams – The Credo (Mary)
Backyard Heavies – Expo 83 (Scepter)
Ray Bryant – Up Above the Rock (Cadet)

Listen/Download – F16C Radio v.94 – The Living Piano – 86MB/256K Mixed MP3

Listen/Download – F16C Radio v.94 – The Living Piano – 63MB ZIP File

Head on over to the Funky16Corners Radio Podcast Archive to Check This One Out

 

Greetings all.

As mentioned previously, this is a Funky16Corners vacation week, but I love you mugs so much that I couldn’t very well decamp without leaving something to keep your ears busy while I was away.

The mix I bring you this week is something that had been percolating in my fevered brain for a long time, and was finally spurred on to fruition by the recent passing of Mr. Ray Bryant.

Though we have covered the piano before (see Funky16Corners Radio v.81) it was recordings of the electric variety thereof.

Having been brought up in a house with a master of the acoustic piano (that would be my Pop), I have always wanted to assemble my fave funky and soulful acoustic piano tracks, and so you have it (the mix, that is…).

Most of the numbers in this mix will be familiar to longtime followers of the Funky16Corners blog, whether via appearances in previous mixes, or having appeared by themselves at some point.

There are a number of previously unheard/unposted numbers as well, so dig those too.

Though the electric piano is the version of the instrument generally associated with funk and soul (mainly due to the electrification of music in general during the era in question) there were a number of recording artists – many of them rooted in jazz – who took the old-style acoustic piano, a massive conglomeration of wood, wires and ivory, and managed to wring a little funk out of it.

Though I love electric piano, there’s something special about the way a real piano resonates, especially when it’s played by someone that really knows the instrument.

Some of the recordings in question go back to the earliest days of my crate digging and blogging, including the Mary Lou Williams and Cha Cha Hogan 45s, where others are fairly recent acquisitions.

There are a couple of unusual tracks in the mix, in particular Johnny ‘Guitar’ Watson’s one-off piano instrumental 45 for the Okeh label.

You also get a couple of tracks featuring Allen Toussaint, first with his early group the Stokes (dig ‘Soda Pop’s not so subtle variation on ‘Fortune Teller’) and a rare solo 45 (Hands Christian Anderson).

Mr Jim of ‘Mr Jim and the Rhythm Machine’ (with the swinging version of ‘Mrs Robinson’) is Philly area composer/arranger/keyboardist Jimmy Wisner who recorded a couple of 45s under this name for the Date and Wizdom label.

There are also a couple of anonymous pianists working it out here, including whoever tickled the ivories for the New London Rhythm and Blues Band (likely a UK studio musician) and the pianist for the Music Company, an LA studio group that recorded an album of Beatle covers for the Mirwood label in 1966.

Of the known jazz heavies in the mix, you get to choose from the likes of Mary Lou Williams, Don Randi, Gene Harris, Ramsey Lewis, Roy Meriwether, and Overton Berry, and the man we eulogized just this past week, Ray Bryant.

Having given it a number of spins, I can attest to the fact that it’s a lot of fun to listen to and I hope you dig it.

See you next week.

Peace

Larry

 

 

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Also, make sure that you check out the POAC link below (click on the logo), in regard to the April 2nd walk.

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If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg for some very tasty UK Folk Rock.

 

Ray Bryant RIP

By , June 21, 2011 12:29 pm

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Ray Bryant

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Listen/Download – Ray Bryant – Up Above the Rock

Listen/Download – Ray Bryant – Quizas Quizas Quizas

Listen/Download – Ray Bryant – Soundray

 

Listen/Download – Ray Bryant – Stick With It

 

Greetings all.

I hope the middle of the week finds you all well.

As promised, I’m going to take a little time to pay tribute to the soulful genius of one of my favorite pianists, the mighty Ray Bryant.

Bryant, who passed on June 2nd was one of the mainstays of soul jazz piano in the 50s, 60s and 70s.

As has been mentioned in this space several times, I have strong feelings about the term ‘soul jazz’, in that so little of the music labeled as such really fits the bill in any meaningful way.

There are veritable mountains of wax with jazzers wading into more popular waters, especially in the 60s, but a jazzbo with a pop cover does not soul jazz make (especially since the style came into being organically).

The truth is, that where many – often purely in the interest of keeping their heads above water (and away from a day job) – jazz musicians took to a more “accessible” style in the 60s, many of them had no real aptitude for it, making for much of the bland and uninspired sounds that so many crate diggers are referring to when they badmouth the style.

The real heart of the sound – as is the case in vocal soul music – can be traced to gospel, wherein jazz and soul intersect on a giant (and wholly imaginary) venn diagram.

As the 50s became the 60s, many jazz musicians (with a concentration on organists, guitarists and saxophonists) while still stretching out on post-bop and modal jazz, began to experiment with gospel and R&B at the same time that those styles were evolving into what would become soul music.

By the early 60s, countless organ (and piano, guitar, sax, vibes and all of the possible combinations and permutations possible) combos were coming out of inner city clubs and into recording studios for labels like Prestige, Blue Note, Argo, Riverside and countless smaller independents and compressing the aforementioned mixtures into 45 sized, jukebox friendly slices.

As the popularity (and sales figures) of straight jazz began to decline, jazz musicians concentrated more on soul and pop jazz, hoping to cross over enough to put a little bread in their pockets. While many of these musicians were merely attempting to cash in, some of them found that they had a natural affinity (whether via age or inclination) for these sounds and found ways to innovate and make them swing.

One of the finest of these was Mr. Ray Bryant.

Bryant came up in Philadelphia (his brother Tommy was a bassist) and played alongside many of the giants of the bebop and hard bop eras.

He started recording under his own name in the 50s, and even found some pop success with his 1960 hit ‘Madison Time’.

The tracks featured today all come from Bryant’s tenure with the Cadet label between 1966 and 1969. He recorded seven albums for Cadet in those years, all a mix of original material, jazz standards and pop and soul cover material. He recorded in small and large group settings, often with the production assistance of none other than Richard Evans.

I’ve included tracks from his two final albums for the label in the 60s (he would return for one more in 1974), ‘Up Above the Rock’ (1968) and ‘Sound Ray’ (1969).

The title track of ‘Up Above the Rock’ is a shade over three minutes of pure brilliance, with a stunning Grady Tate breakbeat that makes it the most sought after (and expensive) of his albums. The mix you’re hearing today is from the album. The 45 mix is a little bit hotter, with the drums and the handclaps higher in the mix (check it out on Youtube).

The group is the trio of Bryant on piano, Ron Carter on bass and Tate on drums, augmented by Snookie Young on fluegelhorn and Dobbie Hiques on trumpet. The track sounds light years ahead of its time. No matter how many times I hear it, I expect someone to start rapping as soon as the piano comes in. If you listen to the way Kool G Rap and DJ Polo flipped it (barely) for ‘On the Run’, it’s not too far removed from the original. It’s about as funky as acoustic piano records get, and a great showcase for Bryant’s heavy, straightforward sound. It’s one of those records that I have to listen to multiple times in a sitting.

The other track from ‘Up Above the Rock’ is Bryant’s cover of Osvaldo Farres’ ‘Quizas Quizas Quizas’. The recording here is taken from my 45 and while still somewhat funky, has a much looser, more swinging feel to it. It was also sampled (with a little more subtlety) by Queen Latifah on ‘I Can’t Understand’.

The two remaining tracks are both from the 1969 ‘Sound Ray’ album. A trio session, recorded with Jimmy Rowser on bass and Harold White on drums, ‘Sound Ray’ is another funky session, produced again by Richard Evans. The album sees Bryant stretching out a little more, but still keeping things locked in the groove.

The title track is a hard charging tour de force (I love the opening duet with the bass and drums) with some wonderful keyboard work by Bryant.

‘Stick With It’ is a much more subdued affair, that sounds like a rebuilt version of Horace Silver’s ‘Song For My Father’ (which, oddly enough was also covered on the album).

Ray Bryant would go on to record for Atlantic, Pablo and EmArcy (among many others) through the 70s, 80s and 90s with his last album being a live, solo set recorded at Rutgers University in 2004.

He was a giant, and will be missed.

See you on Friday.

Peace

Larry

 

 

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Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recr events, and any contribution you could make would be greatly appreciated.

Example

 

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

 

Odell Brown RIP

By , June 14, 2011 11:06 am

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Odell Brown and the Organizers (above)
A recent shot of Odell Brown (below)

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The Sounds of Odell Brown

Odell Brown and the Organizers – No More Water In the Well (Cadet) from Ducky
Odell Brown and the Organizers – Baby You Just Don’t Know (Cadet) from Mellow Yellow
Odell Brown and the Organizers – Think About It (Cadet) Cadet 45 5624B
Odell Brown and the Organizers – Mas Que Nada (Cadet) from Mellow Yellow
Odell Brown and the Organizers – Ducky (Cadet) from Ducky
Odell Brown and the Organizers – Raising the Roof (Cadet) from Raising the Roof
Odell Brown and the Organizers – Day Tripper (Cadet) from Raising the Roof
Odell Brown and the Organizers – The Thing (Cadet) from Raising the Roof
Odell Brown and the Organizers – The Weight (Cadet) Cadet 45 5624A
Odell Brown – Hard To Handle (Cadet) from Odell Brown Plays Otis Redding
Odell Brown – Respect (Cadet) from Odell Brown Plays Otis Redding
Odell Brown – Nitty Gritty (Cadet) from Free Delivery
Odell Brown – Free Delivery (Cadet) from Free Delivery

 

Listen/Download – Odell Brown Tribute Mix 97MB/256K Mixed MP3

 

Greetings all.

As I mentioned on Monday, this week will be devoted entirely to obits/remembrances of musicians who either passed on during the pledge drive, or who’s passing I became aware of during that time.

Monday saw a tribute (starting with an incorrect picture) to the mighty Benny Spellman, and today I bring you something a little bit special to give you an idea of how much I dig the music of the great Odell Brown.

I first became aware of Odell Brown and the Organizers back in the day when my man Haim hepped me to their single ‘No More Water In the Well’. I grabbed a copy and promptly fell in love with the group’s sound.

You all know I’m an incurable Hammond nut, but I’m also a huge jazz fan, and the music of Odell Brown (with and without his band) satisfied both needs quite nicely.

I’ve gone on in this space many times about soul jazz, and how rare it is to find an artist who really brought that particular fusion to purity. Odell Brown was one of those cats.

Born in Louisville, KY, Brown went to Tennessee State A&M before being drafted in 1960. Following his stint in the Army, he moved to Chicago and formed Odell Brown and the Organizers with musicians he’d first connected with in college, Artee ‘Duke’ Payne and Tommy Purvis (tenor sax), Curtis Prince (drums) and Master Henry Gibson (congas).

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Indeed he was…

Between 1966 and 1970 Brown recorded three albums with the Organizers (Raising the Roof, Mellow Yellow and Ducky), as well as two solo albums (Odell Brown Plays Otis Redding and Free Delivery). He recorded one more solo album for the Paula label in 1971.

Brown spent the 70s working as a studio musician and musical director for artists like Minnie Riperton, Curtis Mayfield and Marvin Gaye, with whom he eventually co-wrote the mega-hit ‘Sexual Healing’.

He spent much of the 80s battling severe depression, but settled in Minnesota and returned to playing and recording in the 90s.

The albums he recorded with the Organizers, all produced by the legendary Richard Evans are some of the finest material released on the Cadet label in the 60s, and while hard to find (the 45s not so much) are all worth picking up.

His solo albums, minus the twin sax attack of the Organizers, operate at a slightly more soulful frequency, and while also hard to find, are definitely worth whatever it takes to acquire them.

The fact that most of the Cadet catalog remains out of print (particularly Richard Evans projects like the Soulful Strings) is nothing less than a crime.

What I’ve included in this tribute mix (available only as a mixed MP3, no zip file) are my favorite tracks from the Organizers albums and both of Brown’s Cadet solo LPs (I have yet to find a copy of the Paula album).

Hopefully this will serve as an introduction for those unfamiliar with Odell Brown, and maybe pack a few surprises for those in the know.

I hope you dig the sounds, and I’ll be back on Friday.

Peace

Larry

 

 

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Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recr events, and any contribution you could make would be greatly appreciated.

Example

 

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

 

Gil Scott-Heron – The Revolution Will Not Be Televised

By , May 28, 2011 9:22 am

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Gil Scott-Heron RIP

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Listen/Download – Gil Scott-Heron – The Revolution Will Not Be Televised

 

Greetings all.

It was last night that rumors, and eventually confirmation of the passing of the mighty Gil Scott-Heron appeared.

In a word, Gil Scott-Heron was deep.

I first became aware of him when I was in high school and saw Scott-Heron and his band performing their funky strike against apartheid ‘Johannesburg’ on Saturday Night Live.

A few years later he was part of the M.U.S.E. No Nukes concerts at Madison Square Garden (unfortunately not on the night I attended) where he laid down ‘We Almost Lost Detroit’, which appeared in the film of the concerts.

Years later, when I was deeper in the funk and soul game, I was lucky enough to find a copy of his very first album, ‘Small Talk at 125th and Lenox’.

The Gil Scott Heron of 1970 was a much different artist than he would become. His early work was largely spoken word, more the sound of a revolutionary poet than the deeply soulful singer he would evolve into.

‘Small Talk at 125th and Lenox’, featured the track I bring you today, the original version of ‘The Revolution Will Not Be Televised’, a landmark spoken word piece that stands as a stark, verbal blow against the America of 1970, touching on race, politics, war, popular culture and a death of the spirit brought on by television.

It is powerful stuff, in large part because of Scott-Heron’s delivering the text with his deep, sonorous voice over a backing composed only of percussion.

Scott-Heron, who was born in Chicago but raised in Tennessee got his start as an author, writing two novels before the beginning of his recording career.

He met his frequent musical partner Brian Jackson while at Lincoln University in Pennsylvania.

After ‘Small Talk at 125th and Lenox’, Scott-Heron’s record became progressively more musical, though since he was always as much a writer as a musician, they never lost their poetic edge, and as such he became a hugely important influence on the world of rap.

His later years were plagued with drug troubles (and subsequently imprisonment) and failing health. He was able to record a final album ‘I’m New Here’ in 2010, and though the many shadows of his life were present in the periphery, the old, strong Gil Scott-Heron was still there.

He passed yesterday at the age of 62.

He will be missed, deeply.


The Revolution Will Not Be Televised

You will not be able to stay home, brother.
You will not be able to plug in, turn on and cop out.
You will not be able to lose yourself on skag and ,
Skip out for beer during commercials,
Because the revolution will not be televised.

The revolution will not be televised.
The revolution will not be brought to you by Xerox
In 4 parts without commercial interruptions.
The revolution will not show you pictures of Nixon
blowing a bugle and leading a charge by John
Mitchell, General Abrams and Mendell Rivers to eat
hog maws confiscated from a Harlem sanctuary.
The revolution will not be televised.

The revolution will not be brought to you by the
Schaefer Award Theatre and will not star Natalie
Woods and Steve McQueen or Bullwinkle and Julia.
The revolution will not give your mouth sex appeal.
The revolution will not get rid of the nubs.
The revolution will not make you look five pounds
thinner, the revolution will not be televised, Brother.

There will be no pictures of you and Willie May
pushing that shopping cart down the block on the dead run,
or trying to slide that color television into a stolen ambulance.
NBC will not be able predict the winner at 8:32
or report from 29 districts.
The revolution will not be televised.

There will be no pictures of pigs shooting down
brothers on the instant replay.
There will be no pictures of pigs shooting down
brothers in the instant replay.
There will be no pictures of Whitney Young being
run out of Harlem on a rail with a brand new process.
There will be no slow motion or still lifes of Roy
Wilkins strolling through Watts in a Red, Black and
Green liberation jumpsuit that he had been saving
For just the right occasion.

Green Acres, The Beverly Hillbillies, and Hooterville
Junction will no longer be so goddamned relevant, and
women will not care if Dick finally screwed
Jane on Search for Tomorrow because Black people
will be in the street looking for a brighter day.
The revolution will not be televised.

There will be no highlights on the eleven o’clock
news and no pictures of hairy armed women
liberationists and Jackie Onassis blowing her nose.
The theme song will not be written by Jim Webb,
Or Francis Scott Key, nor sung by Glen Campbell, Tom
Jones, Johnny Cash, or Englebert Humperdink.
The revolution will not be televised.

The revolution will not be right back after a message
bbout a white tornado, white lightning, or white people.
You will not have to worry about a dove in your
bedroom, a tiger in your tank, or the giant in your toilet bowl.
The revolution will not go better with Coke.
The revolution will not fight the germs that may cause bad breath.
The revolution will put you in the driver’s seat.

The revolution will not be televised, will not be televised,
not be televised, will not be televised.
The revolution will be no re-run brothers;
The revolution will be live.

Peace

Larry

 

 

Example

 

 

Also, make sure that you check out the POAC link below (click on the logo). It’s a fantastic organization that provides services to our local autism community, with education and recr events, and any contribution you could make would be greatly appreciated.

Example

 

If you want one of the new Funky16Corners stickers (free, of course) click here for info.

Check out the Funky16Corners Store at Cafe Press

PS Head over to Iron Leg too.

 

Gene Ludwig – Then and Now…

By , March 3, 2011 10:15 am

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The Gene Ludwig Trio

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Listen/Download – The Gene Ludwig Trio – Mr Fink Pt1

Listen/Download – The Gene Ludwig Trio – Mr Fink Pt2

 

Greetings all.

I hope all is well on your end, and that my ramblings this week haven’t put you off your soul.

In programming notes, I will remind you now that the Funky16Corners Radio Show returns to the airwaves of the intertubes this Friday night at 9PM at Viva Radio, where the elite meet to beat the heat. I have lots of classics lined up for you this week, as well as something new and groovy, so make sure to tune in, or fall by this very blog over the weekend to pick yourself up an MP3 copy of the show to dig on your computer or the iPod like device of your choice.

It was last summer that we got the sad news that the mighty Gene Ludwig had passed on suddenly at the age of 72.

You all know that I practically bathe in Hammond organ sounds on a daily basis, and Mr Ludwig created some fine examples of that genre during his five decade career.

He was first and foremost a jazz player – with the chops to back up that designation – but he also soaked his fingers in groove grease as well, laying down some particularly groovy soul jazz.

Gene was also, and this is the most important thing, artistically vital until the day he left us, playing live and recording at the top of his game.

Today’s post is – as is sometimes the case – a celebration of the old, as well as the new.

The record you see above, is one of my favorite two-siders in Gene’s discography, 1962s ‘Mr Fink Pts 1&2’ on Pittsburgh’s LaVere label.

Recorded with the classic Gene Ludwig Trio, with Gene on Hammond, Jerry Byrd on guitar and Randy Gillespie on drums, ‘Mr. Fink’ amounts to a skoshi under six minutes of the finest, smoky tavern Hammond wailing, soulful burning that anyone has ever packed onto two sides of a tiny vinyl record.

Aside from the epic ‘The Vamp’, this is by far my favorite of Gene’s 45s for both its elemental fire, and as a showcase for his keyboard skills. If you’re a stone Hammond junkie – like me – there’s something exceptional about hearing a master’s fingers fly over the keyboard, really making that huge hunk of wood and wires sing, and it doesn’t get much better than ‘Mr Fink’.

What I’m really here to rap about though is the fact that Gene Ludwig laid down one of the finest albums of his career just before he passed, and it has just been released.

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The CD ‘Love Notes of Cole Porter’, recorded with a very tight quartet (with two different drummers) is without exaggeration, up there with the finest organ jazz of the classic era. A collection of the finest love songs to flow from the pen of the legendary Cole Porter, many classics of what the cliché machine has designated the ‘Great American Songbook’, ‘Love Notes…’ sees (hears) Gene and his band, Mark Strickland on guitar, Lou Stellute on tenor and Thomas Wendt and Billy Kuhn alternating on drums (all very good), working in the classic Prestige/Blue Note style, and when I say that I’m not just blowing smoke.

The late 50s and 1960s saw a lot of different varieties of practitioners recording on the Hammond organ, from purely soul/R&B based cats working it out on now rare 45s (like Louis Chachere, RD Stokes and Leo Valentine), post-bop visionaries like Larry Young, and the cats running in the mainstream like Jimmy Smith, Jack McDuff, Jimmy McGriff and Groove Holmes, all of whom were widely recorded with widely varied results.

During the early part of his career, Gene Ludwig didn’t have the opportunity to record as frequently as many of those that I would consider his peers. Whether or not the consistently high quality of what he did record was merely a matter of conservation, i.e. never having been pressured to create more accessible/less inspiring records, or because all he had in him to create was pure class (I lean toward the latter) his legacy is smaller, and dare I say better.

That his final album reinforces that assessment is worth noting.

‘Love Notes of Cole Porter’ is every bit the equal of the best, swinging bop and soul organ sessions of the instrument’s (and Gene’s) golden era.

‘Love Notes of Cole Porter’ is also a gift to remind us that age need not be an impediment to a musicians growth. People do a lot of lip service to concepts like ‘maturity’ and ‘experience’, but listening to Gene wail and swing on this session one is treated to the sound of 70 years of technical prowess, seasoned by good taste and above all soul.

Another great thing about ‘Love Notes…’ is that alongside of well known material like ‘Night and Day’, ‘You’d Be So Nice to Come Home To’ and ‘What Is This Thing Called Love’, bona fide standards, covered hundreds of times by all manner of instrumentalists and singers, Gene works out on less familiar, but also exceptional numbers from Porter’s catalog like ‘I Love You’ and ‘Dream Dancing’.

This is serious, wonderfully played jazz and a fitting final statement from one of the great practitioners of the art.

You can pick up ‘Love Notes of Cole Porter’ directly from Big O Records, or over at CD Baby, where you can get it as a CD or as an MP3 download. You can hear samples of the album at both sites. It’s also available at iTunes, but make sure you search by the title, as a search of ‘Gene Ludwig’ only returns his older albums.

I hope you dig the sounds, and I’ll see you all on Monday.

Peace

Larry

 

 

Example

 

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Cal Tjader – Gimme Shelter (no…really)

By , March 1, 2011 1:09 pm

Example

Callen Radcliffe Tjader

Example

 

Listen/Download – Cal Tjader – Gimme Shelter

 

Greetings all.

I hope all is well in your neck of the interwebs.

I mentioned in Monday’s post that I had a rather interesting weekend (or more specifically, Saturday) and that I’d fill you all in today.

This is the kind of tale that some would be tempted to refer to as a comedy of errors, but since it was all error and extremely light on the funny, I will refrain from doing so.

The day started out on an optimistic note when my lovely wife informed me that instead of taking my son to a birthday party, I could instead head up to Jersey City for the Record Riot.

This was very groovy, so I got my record bag and some crumpled up dollars, hopped in the Funky16Corners-mobile (a major player in this story)  and hit the road.

Now, I haven’t spent a great deal of time in Jersey City since the days of visiting my brother there when he lived there almost a decade ago*, but I know some folks who live in the area, and was expecting to see some of them at the show (hey, Pat).

I got up there (about a 90 minute trek) and the first thing I noticed was that seemingly every other street sign in the city had been removed, making it extremely hard to locate the record show.

When I finally got there (the show was being held in a studio space behind a big shopping center) I ended up circling the area looking for what ended up being a non-existent parking space, eventually deciding to park in a lot that appeared to be shared by the shopping center and the light rail station (I should note here that not being a complete numbskull, I did survey the area for anything that would indicate that parking was prohibited. I did not see anything, and the proximity to the rail station now leads me to invite both the city of Jersey City, and the fine people at BJ’s Wholesale Club to go fuck themselves**).

There were no yellow curbs, no fire hydrants and the car was parked between two painted white lines, a tableaux that immediately brought to mind the time worn phrase, “parking space”.

I went into the show, which though not spectacular (very short on 45s) managed to yield some cool stuff.

I figure I was in there for about an hour, at which time I decided that I’d spent enough money and headed back to my car.

What I soon discovered was that I was in fact walking back not to my car, but rather to the spot where my car HAD ONCE BEEN.

Now I’m a big dude, but I am not too big to admit that my initial reaction came perilously close to tears.

I’m not sure how long I stood in the empty, oblong spot that once harbored my car, but it couldn’t have been more than a few minutes before a tow track came tearing into the lot and started backing up to the car in the spot next to mine, preparing to take it away.

I banged on the window of the truck and discovered in short order that he had just finished taking my car to the impound lot. He also pointed out the small sign that I had missed that not only indicated this was an area where parking was prohibited (unless of course you were a customer of the warehouse store, and given the opportunity, I would have gladly gone inside and purchased a palette of toilet paper in order to bypass the towing nightmare), but was also courteous enough to include a schedule of penalties as well.

I was momentarily relieved that my car had not (technically) been stolen.

That didn’t last long.

He agreed to take me to the lot, and informed me that I would have to cough up 225USD, but there was an ATM machine right by the place.

Now, when I tell you that the further we got from the record show, the more bleak the landscape got***, I am not exaggerating.

When we got to the block where the lot was he instructed me that I’d have to walk a few blocks to the bodega where the ATM was located.

When I got there (after being yelled at by a guy across the street who apparently didn’t think I belonged in the neighborhood) I discovered that the door to the bodega was locked. The gentlemen at the gas pumps – after initially ignoring me  – eventually let on that their benefactor was likely indisposed on the bowl and would be returning in a few minutes.

He materialized shortly and let me into the store where I immediately withdrew cash from the machine, all the time wondering if I was going to be able to make it back to the garage without getting robbed.

The fact that I’m writing this now should indicate that I did in fact get my car back and made it out of the city in one piece.

I was shaken, but not because Jersey City was any more dangerous than any other city but because it was utterly unfamiliar.

Having Google Maps at your disposal makes it much easier to get to a destination, but is no help at all in granting egress once someone has made off with your vehicle.

I’ve spent a lot of time in New York City over the last 30 years, and were the same situation to occur there, it wouldn’t bring with it the immediate sense of disorientation I felt in JC. I also suspect that it would be much more difficult (and expensive) to get my car back in NYC, but that’s neither here nor there.

Needless to say, I will not be returning to Jersey City any time soon, unless of course one of you good sports offers to drive, in which case I’ll be glad to wait at the record show while you retrieve your vehicle from the impound lot.

That all said, I was planning on posting today’s selection long before the above events transpired, but once again, a more superstitious individual would see this song choice as the hand of fate at work.

I on the other hand am more inclined to attribute the whole clusterfuck to Murphy’s Law, and the coincidental song selection to its inherent high quality.

I can’t recall where I first heard Cal Tjader’s amazing cover of the Rolling Stones’ ‘Gimme Shelter’ but I do remember digging it immediately.

Getting my hands on my own copy wasn’t quite so easy, but as is often the case time, luck and a little bit of money took care of that.

If you’ve spent any amount of time here (or more specifically in the Funky16Corners Radio Podcast Archive) you already know that I am a huge fan of the vibes in general, but most especially Mr. Tjader.

He was a master of Latin jazz, branching out into exotica and what would become known as rare groove.

Tjader’s version of ‘Gimme Shelter’ appeared on his 1971 ‘Agua Dulce’ LP, during a period where electric instrumentation (aside from his own vibes, natch) were taking a more prominent place in his band. Here you get synthesizers (employed tastefully), electric piano and the master himself working it out.

I think a few years ago if you’d suggested to me that a song like ‘Gimme Shelter’ would have worked within Tjader’s style I would have reacted with suspicion, but as the cats in the powdered wigs liked to say, the proof is in the pudding.

While much of the chaos and menace of the Stones**** version are missing, Tjader’s interpretation still has a certain something that comes on almost like a distant echo of the original.

Groovy indeed, and I hope you dig it.

With any luck I will avoid tragedy until I return on Friday.

Peace

Larry

 

 

Example

* A time when his car was stolen from in front of his apartment.

** Though I’m sure there are those among the towing service sector who like to think of themselves as providing some kind of public service, I prefer to think of their business as a unique combination of car theft and extortion. The fact that the tow truck driver was a creep on a whole other level didn’t do anything to change this opionion.

*** Aside from travelling down one street where I had a perfect, almost poetic vista of the Statue of Liberty

**** Or Merry Clayton’s

 

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The Impacts – Thunder Chicken

By , January 20, 2011 3:48 pm

Example

 

Listen/Download – The Impacts – Thunder Chicken

NOTE: If you downloaded the file in the first half hour or so after I published this post, you got a shortened version of the track that cuts off about 15 seconds too soon. I have since uploaded a new file that should be OK.

 

Greetings all.

How’s about some smoking, hard charging soul jazz to close out the week?

First, might I remind you that this Friday night at 9PM the Funky16Corners Radio Show will be back on Viva Radio with another hour of the finest in funk, soul, jazz and rare groove, all on vinyl.

I can’t tell you much about today’s selection, other than it kicks a boatload of ass.

I picked the Impacts ‘Thunder Chicken’ 45 (gotta love that title) years ago during an attempt to complete the Marmaduke discography.

A Philadelphia-based imprint started by Len Barry and Bernie Binnick, Marmaduke was originally home to the Electric Indian (before a move to UA) and a few much more obscure bands like the Hidden Cost, Norma and the Heartaches, Race Street Chinatown Band and Daley’s Diggers.

The only thing I’ve been able to track down about the Impacts is that they seem to have been the backing band on a number of Philly 45s for artists like Rocky Brown, Monica and Herb Johnson on the Toxsan label.

None of those recordings would indicate that that had a killer like ‘Thunder Chicken’ in their repertoire.

I can’t say for sure, but it seems to me that like many other musicians working in the soul recording studios of America’s cities in the 60s, the Impacts may have been frustrated jazzers churning out pop, soul and funk to get a paycheck.

Listening to the raging ‘Thunder Chicken’, with its unison jazz guitar and saxophone leads, swinging drums and hand claps, you get a picture of a Saturday night party in a smoky Philly bar.

The flipside, ‘Brown Finger’ (?!?!) is a much slower, laid back affair with none of the fire of ‘Thunder Chicken’.

A brilliant, but obscure record that needs to be heard.

So there you go.

Have a great weekend!

Peace

Larry

 

 

Example

 

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F16C Soul Club Presents – Funky16Corners @ Spindletop – Early Set

By , January 13, 2011 4:37 pm

Example

Funky16Corners @ Spindletop – Early Set 1/10/11

Playlist

Cals – Stand Tall (Loadstone)
Jackie Hairston – Hijack (Atco)
JB & The V-Kings – Lazy Soul (Zap Zing!)
Bobby Cook and the Explosions – On the Way (Compose)
Ulysses Crockett – Major Funky (Transverse)
Three Souls – Chittlins Con Carne (Argo)
Prime Mates – Hot Tamales Pt1 (Sansu)
Fuzzy Kane Trio – Monday Monday (Bay Sound)
Roy Budd – Get Carter (Pye)
Mary Lou Williams – The Credo (Mary)
Mel Brown – Ode to Billie Joe (Impulse)
Jr Walker & the All Stars – Cleo’s Mood (Soul)
The Rhine Oaks – Tampin’ (Atco)
Dorothy Ashby – Soul Vibrations (Cadet)
Johnny Lytle – Screaming Loud (Tuba)
 

Listen/Download 80MB/256kb Mixed MP3


Greetings all.

The end of another week is upon us, and as promised I have recreated part of my three-hours worth of soul jazz from this past Monday’s Spindletop night at Botanica in NYC.

When I was pulling 45s to bring with me last week I started to build my set and decided that I’d get things started with a slower, moodier set than I normally do, kind of easing my way onto the burning Hammond groovers.

What I ended up with was a very interesting mix of soul jazz, soul instros and even laid back funk, all of which seemed to stick together when all was said and done.

I mentioned on Wednesday that we were unable to get a signal out of the mixer to my digital recorder, so I had to re-record this selection on my decks at home. I was originally thinking of re-recording the whole night, but then I realized that I’d played no less than 60 45s and I just didn’t have the time to do it.

I enjoy presenting the live mixes here at the blog, so hopefully next time I hit Botanica we’ll have figured the problem out.

At the request of a number of people who were at the gig, I have included the entire set list below.

The mix features some old faves and some stuff that hasn’t been heard in this space before. As I mentioned above, it’s a mellow affair, so pour yourself a snifter of brandy (or a mug of cocoa, whichever), dim the lights, sit back and let the sounds flow gently into your ears.

If you’re close to the interwebs this Friday at 9PM, make sure to tune in to the Funky16Corners Radio Show on Viva Radio. This week we have an hour of funky 45s from New Orleans to get the party started. The show will of course be archived and ready to download at the blog over the weekend.

I’ll be back next week with more of the funk and soul you love.

Have a great weekend.

Peace

Larry

Example

The rest of the evening’s music:
Harry J All Stars – Liquidator (Harry J)
Winston Wright – Heads or Tails (Green Door)
Gary McFarland – Fried Bananas (Verve)
Cal Tjader – Moneypenny (Skye)
Dave Davani Four – The Jupe (Capitol)
Sonny Knight Quartette – Let’s Get It On Pt1 (Aura)
Odell Brown and the Organizers – No More Water In the Well (Cadet)
Freddie Roach – One Track Mind (Prestige)
Merl Saunders – Soul Groving (Galaxy)
Alan Price Set – Iechyd Da (Decca)
Hank Marr – White House Party (Wingate)
Georgie Fame – El Bandido (Imperial)
Brown Brothers of Soul – Cholo (Specialty)
Mel Brown – Chicken Fat (Impulse)
Federalmen – Soul Serenade (Steady)
Freddy McCoy – Funk Drops (Prestige)
Afro Blues Quintet Plus One – La La La La La (Mira)
Benny Poole – Pearl Baby Pearl (Solid Hit)
Cha Cha Hogan – Grit Gitter (Soulville)
Perry and the Harmonics – Do the Monkey With James (Mercury)
Gentelman June Gardner – It’s Gonna Rain (Emarcy)

Lionel Hampton – Greasy Greens (Glad Hamp)
Fabulous Counts – Jan Jan (Moira)
Boogaloo Joe Jones – Right On (Prestige)
Fred Ramirez – Hold On I’m Coming (WB)
Dee Felice Trio – There Was a Time (Bethlehem)
Louis Chachere – The Hen Pt1 (Paula)
Toussaint McCall – Shimmy (Ronn)
Lou Garno Trio – Chicken In The Basket (Giovanni)
Albert Collins – Cookin’ Catfish (20th Century Fox)
Andre Brasseur – The Duck (Palette)
Memphis Black – Why Don’t You Play the Organ Man (Ascot)
Cal Tjader – Soul Sauce (Verve)
Soulful Strings – Burning Spear (Cadet)
Keith Mansfield – Boogaloo (Epic)
Mohawks – The Champ (Philips)
Wynder K Frog – I’m a Man (UA)
Goldie & the Gingerbreads – The Skip (Decca)
Tony Newman – Soul Thing (Parrot)
John Philip Soul and His Stone Marching Band – That Memphis Thing (Pepper)
La Bert Ellis – Batman Theme (A&M)
James Brown – Shhhhhhhh For a Little While (King)
The Impacts – Thunder Chicken (Marmaduke)
Dave Baby Cortez – Getting’ To the Point (Chess)
RD Stokes – My Sandra’s Jump (II Bros)

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Roy Ayers Ubiquity – Everybody Loves the Sunshine

By , December 12, 2010 11:57 am

Example

Mr Roy Ayers

Example

Listen/Download – Roy Ayers Ubiquity – Everybody Loves the Sunshine

 

Greetings all.

I come to you following a long, busy weekend that included the beginning of a massive, long awaited 45RPM reorganization.

The project started with 10 new, much sturdier record boxes than I had been using, since my 45s are a serious investment and deserve to be treated well so that they remain in decent condition. It was almost immediately apparent that 10 boxes were not nearly enough to do the trick, but they did provide a solid start, allowing me to get my DJing genres sorted and boxed.

In the process I unearthed a grip of excellent stuff that I’d been neglecting for a long time, which I set aside to be recorded for presentation on the blog and on the Funky16Corners Radio Show.

Speaking of the radio show, this Friday’s episode will be special, all Philly funk 45 excursion that I think you’ll dig. Next Friday – Christmas Eve – will see the arrival of the first Christmas edition of the radio show, featuring some old faves as well as some groovy new stuff.

I’ll also be featuring some Christmas 45s on the blog next week, so stay tuned for that.

Today we’re going to engage in a little bit of creative visualization.

As I sit here writing this, I can hear the wind howling outside and sheets of rain lashing the windows. We’re coming off a sever cold snap, and according to the news this morning, on our way into another one. Our friends in the UK are just getting over terrible winter storms, and folks  in the Midwest are in the process of getting dumped on in their first blizzard of the season.

Whether or not we have crossed the official seasonal dividing line, winter is most definitely upon us.

What we’re going to do is work a little Roy Ayers Ubiquity into the mix.

I came to Ayers R&B/jazz funk period fairly late in the game.

I was a big fan of his work as a straight jazz artist. One of my earliest jazz LP finds many years ago was a copy of a superb album that Ayers recorded backing pianist Jack Wilson. That, and his work in the 60s as vibraphonist* in Herbie Mann’s band, then his early solo work for Atlantic were always in heavy rotation here at the Funky16Corners crib.

Later on, as I started to explore the world of samples, breaks and beats, the Roy Ayers Ubiquity started to pop up everywhere.

Following his stint with Mann, Ayers formed Ubiquity in 1970 and spent the next decade moving from jazz funk, into R&B and disco. The band didn’t have much in the way of chart success (aside from an R&B Top 20 hit with ‘Running Away’ in 1977), but the music they made would create a wellspring for hip hop producers.

Today’s selection, ‘Everybody Loves the Sunshine’ has itself been sampled more than a dozen times.
But we’re not here today to talk about deconstruction.

We’re here to introduce a little warmth into your life.

Pull down the ones and zeros, and let the sound of summer wash over you.

‘Everybody Loves the Sunshine’ is about digging your feet into the hot sand at the beach, or watching the waves of heat rise off of a tar roof in the city. It’s about – as they say in the song – bees and things and flowers – and watching condensation roll down the outside of a cold glass.

It’s a deceptively simple, but extremely powerful song that  forces you to stop what you’re doing, slow down and step inside of the vibe.

So slap on the headphones (or lay down between the speakers), close your eyes and feel the music.

Everybody does love the sunshine, and if mother nature is being stingy, you can always use the power of the mind (and Roy Ayers) to bring it back for a few minutes.

See you on Wednesday.

Peace

Larry


Example

*Oddly enough Ayers doesn’t play the vibes on this track, sticking with keyboards

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Nina Simone – See Line Woman

By , November 28, 2010 3:30 pm

Example

Miss Nina Simone

Example

Listen/Download – Nina Simone – See Line Woman

 

Greetings all.

I return to you, post-Thanksgiving having enjoyed a delightful holiday weekend with the family, despite having thrown my back out the day before the turkey fest.

Fortunately, while I was unable to climb trees or bend down to pick up lucky pennies, I was able to indulge in turkey, stuffing and sweet potatoes, so I can’t very well complain.

I got some reading done and we took the little Corners to the symphony for the first time as well, which is always a good thing.

I hope everyone dug last week’s mix, as well as Friday night’s Funky16Corners Radio Show (archived and available for download as we speak).

I’m gonna get the week started with some heat from the mighty Nina Simone.

Though she certainly had funky and soulful numbers in her vast catalog, it’s neither accurate nor fair to refer to Nina Simone as a funk or soul artist.

She preferred to think of herself as a jazz singer (which she was at times) but it’s probably more accurate to see her as a cross between an old school chanteuse, i.e. interpreter of songs and what used to be called a singer-songwriter.

The breadth of her repertoire is both stunning and daunting. During her career, which spanned five decades, Simone recorded for a wide variety of labels, often re-interpreting material many times over. The fact that her records have been repackaged so many times, in so many configurations makes focusing on her art all the more difficult.

Earlier this year I read ‘Princess Noire: The Tumultuous Reign of Nina Simone’, Nadine Cohodas exhaustive, and exhausting biography of the musical giant.

Simone led a troubled life informed by her youth in the segregated south, racial injustice, a chronic inability to find an audience of long standing as well as a mounting struggle with mental illness.

Though Simone is best known for her interpretations of standards, as well as introducing songs like ‘Don’t Let Me Be Misunderstood’ (taken into the pop charts by the Animals), her most far reaching recording (for a few different reasons) is today’s selection ‘See Line Woman’.

A reinterpretation of a southern folk song/rhyme, first recorded in Mississippi in 1939 by a Library of Congress field researcher.

Nina Simone recorded it in 1964, and to say that her version could be described as epic is almost an understatement.

Featuring Simone’s powerful voice over a backing of percussion (and hand claps) and flute, with call and response backing by her band, ‘See Line Woman’ could be almost be described as funky.

I wouldn’t make any assumptions about the lyrics, since they seem to have changed over the decades*, and there appears to be some question as to what they originally were, including the possibility of coded messages from the Underground Railroad.

If you listen to the original field recording of sisters Christine and Katherine Shipp (you can hear a sample here) , it is immediately apparent that the basic framework of Simone’s version was present in 1939 (though much more explicitly as a kind of playground rhyme).

It is also obvious, once you listen to today’s selection that Simone, while reaching back into the warp and weft of southern culture, took the song into an entirely new place, building into it a sense of urgency, drama and perhaps even menace.

‘See Line Woman’ explodes with the power of an incantation.

It is without a doubt, some seriously deep stuff, not to be taken lightly, and a landmark in the long journey of Nina Simone.

Simone’s re-imagination of the song also launched it into the future.

It was covered (quite successfully) in 1967 by the Easybeats, and then again in the 90s (also very cool) by Feist, both versions (which can be heard on Youtube) borrowing heavily from Simone’s.

I hope you dig it.

See you on Wednesday.

Peace

Larry


Example


*
See this Wikipedia entry for a look at the variations the song has taken over the years.

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