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By Larry, March 28, 2010 4:12 pm

Funky16Corners Radio v.84 – Moving Between Dimensions

Playlist

Listen/Download 123MB/256KB Mixed MP3

Listen/Download 90MB Zip File

The new week is here, and as previously planned, I’m posting this new edition of the Funky16Corners Radio thang from the road, since the fam and I are on vacation.
I figured I could do a couple of regular-sized posts from wherever we are, but it occurred to me that since I had a few mixes worth of tracks stockpiled for just such an occasion, that I ought to put a mix together for the week and be done with it.
That said, Funky16Corners Radio v.84 – Moving Between Dimensions is another one of those funky, jazzy things that I like to assemble every once in a while, on account of that’s how I roll. Things are generally upbeat, but there are a couple of detours into the spiritual realm, ever so slightly far out but still melodic and groovy.
Things get up to speed quickly with a track by the mighty Blackbyrds. The ‘Blackbyrds Theme’ is one of the funkier tracks from their 1974 ‘Flying Start’ LP. Dig that tasty break.
Roy Meriwether made an appearance in this space not too long ago. He was one of the preeminent (if not the best known) soul jazz pianists of the 60s and 70s, recording first for major labels and then waxing a couple of private press dates (including the ultra-rare ‘Nubian Lady’). ‘I Wish I Knew How It Would Feel To Be Free’ is from his ‘Jesus Christ Superstar Goes Jazz’ LP and starts out mellow, eventually picking up a nice funky pace.
Vibist Mike Mainieri got his start playing fairly straight-ahead jazz (he even played with Paul Whiteman?!?) but by the late 60s was getting further out, working an early fusion vibe. His 1968 session ‘Journey Through an Electric Tube’ (no doubt a reference to the vibes themselves) features mellow grooves (like ‘The Bush’) and sidemen like Jeremy Steig and Chuck Rainey.
I’m a huge fan of jazz flute (as you’ll see in an upcoming mix) and Frank Wess was one of the greats. Alongside players like Sam Most, Buddy Collette and the mighty Rahsaan Roland Kirk, Wess (who like those instrumentalists played a number of wind instruments) started out playing modern jazz, ending up signed to the Stax subsidiary Enterprise where he recorded 1970’s ‘Wess To Memphis’. An excellent, forward thinking session, ‘Wess to Memphis’ has plenty of soulful moments while managing to maintain a jazz edge. ‘Underhog’ features some very nice, echoey flute work.
Eddie Jefferson was one of the early masters of vocalese, laying down vocals over some of the most famous jazz melodies of the day. His reworking of Miles Davis’s ‘So What’, from his 1969 Prestige session ‘Body and Soul’ may not be terribly funky (like a few of the album’s other cuts) but it is one of his finest performances.
Pianist Gene Harris is best known for his decade (plus) long work with the Three Sounds. ‘Feeling Me Feeling You’ is from his 1974 solo album ‘Astral Signals’.
Another recent Funky16Corners post featured the great Hammond player Dr Lonnie Smith. ‘Hola Muneca’ is another track from the 1971 ‘Mama Wailer’ album, which featured a who’s who of the CTI/Kudu stable, including Grover Washington Jr., Airto, Billy Cobham and Ron Carter.
Bobby Hutcherson is one of the great vibraphonists to record for the Blue Note label in the 60s and 70s. In addition to several amazing sessions as a leader, Hutcherson was also a very busy sideman on many of the label’s sessions. ‘Print Tie’ is a track from his 1970 ‘San Franscisco’ LP, which he recorded with sax legend Harold Land.
I mentioned both flute jazz in general, and Jeremy Steig specifically, above. Steig – famous among the crate diggers of the world for ‘Howling For Judy’ (sampled by the Beastie Boys) – recorded a number of albums for Blue Note and Solid State in the late 60s and early 70s, all along the same lines, i.e. vaguely funky, infused with far out hippiosity and tip-toeing just along the edge of “out”. ‘Rational Nonsense’ was on the 1969 LP ‘This is Jeremy Steig’.
Pianist Larry Willis appeared on Funky16Corners Radio v.81 with ‘153rd St Theme’. The funky – yet mellow – electric piano feature ‘Journey’s End’ is from the same album.
Eddie Harris made some of the finest soul jazz of the 60s and 70s during his tenure at Atlantic Records. Both alone, and with Les McCann he went a long way to defining the sound, and with his electrified saxophone, paving the way for the onrush of fusion. If you haven’t had a chance to check out the ‘Silver Cycles’ album, do so with haste, since it includes ‘Smoke Signals’. Funky, spacey and soulful, it’s a landmark recording.
It is with a tip of the hat to the jazzy rock cats, that I bring you Brian Auger and Julie Driscoll with ‘Road to Cairo’. Though they have often been placed amongst the UK freak set, Auger, with his jazz organ chops, and Driscoll, the soulful diva in a caftan made some amazing music in the late 60s, from pure soul jazz, to funky soul to borderline psychedelia.
This edition of the Funky16Corners Radio podcast closes out with a very cool cover, saxophonist Lou Donaldson (backed by no less than Charles Earland on the Hammond, Idris Muhammad on the skins and Melvin Sparks on the guitar) doing his thing with Lee Dorsey’s ‘Everything I Do (Gohn Be Funky From Now On).
I hope you dig the mix, and I’ll be back next week with some more of the good stuff.

Peace

Larry

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By Larry, March 14, 2010 2:26 pm

Funky16Corners Radio v.83 – Really Together!
Recorded live at Master Groove @ Forbidden City 3/10/10

Playlist

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By Larry, March 4, 2010 4:38 pm

Gene and his porkpie hat contemplating the Hammond

Listen/Download -Gene Ludwig – The Vamp

Listen/Download -Gene Ludwig – Well You Needn’t

Greetings all.

I hope the end of the week finds you well. I, on the other hand fell backwards through the front door of my house yesterday, landing flat on my back in a pile of toys. While my sons thought this was hilarious (I’m sure I would too if I’d observed it happening to someone else), I sit here feeling much like someone who fell backwards into a pile of toys, i.e. sore. I’m trying not to dwell on how much my own stupidity contributed to this accident. To do so would only make my back hurt more than it does.
I’ve decided to close out Hammond Week 2010 with an old favorite by one of the true masters of the instrument, Mr. Gene Ludwig.
I was lucky enough to interview Mr. Ludwig a few years back, and when you get a second you should pop on over to the old Funky16Corners web zine to read up on the read ups.
The tune I bring you today is the very first Gene Ludwig record I ever heard, courtesy of my man Haim. Back in the day, when he still lived on this side of the country, Haim – aware of my Hammond addiction –  had a record that he simply had to play for me, and that record was ‘The Vamp’.
You all know what a nut I am for organ records, and as soon as the needle hit the wax on the Travis 45 of ‘The Vamp’ my hair pretty much stood on end. A fantastic showcase for Ludwig’s keyboard skills, ‘The Vamp’ is also something much more.
There, in its two minutes and thirty six seconds resides a perfect encapsulation of the meaning of soul jazz. Featuring Ludwig on the organ, Jerry Byrd on guitar and Randy Gillespie leaving his drums for a turn on the tambourine, ‘The Vamp’ (so named since it was basically built on a riff in the studio) moves at a fairly brisk pace, yet, thanks to the absence of the full drum set, manages to generate an air of relaxed cool.
The tune opens with Ludwig’s fingers flying all over the keys, with short, rhythmic chops by Byrd as Gillespie pulls his tambourine out of the amen corner and goes to town. It’s at the minute mark that the organ and guitar switch places, with Gene comping on the organ as the guitarist solos at length until Ludwig comes back in to restate the main theme just before the fade out.
There, in well under three minutes resides pure, 1965, smokey night club, jukebox perfection. Back in 2007 I included ‘The Vamp’ (recorded from the 45, this somewhat cleaner version coming from the LP ‘The Educated Sound of Gene Ludwig’) in Funky16Corners Radio v.24.5 ‘Old School Hammond’, but since not everyone that follows the blog was around back then, and more importantly, it’s such an amazing record, I figured that I ought to bring it back for this year’s week long celebration of the instrument.
I’m also including – from the same album – Gene’s take on my idol Thelonious Monk’s (in his time, a survivor over the long haul, much like Mr. Ludwig) ‘Well You Needn’t’. It gives you a chance to hear the master’s jazz chops as he and the group dig in for six and a half minutes of pure, listening pleasure.
I’m happy to say that Gene Ludwig – 73 years young – is still working it out on the Hammond in 2010, with a full slate of dates. Make sure you check out his website for samples of his (excellent) recent recordings, as well as videos* some recent performances.
I hope you’ve enjoyed this week’s selections, and I’ll be back next week with some funk.
Have a great weekend.

Peace

Larry

*There’s a great version of Gene and his group playing one of my favorite soul jazz standards, Percy Mayfield’s ‘River’s Invitation’

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By Larry, March 2, 2010 5:01 pm

Lonnie Smith makes with the smokestack lightning…

Listen/Download -Lonnie Smith – Stand

Listen/Download -Lonnie Smith – Mama Wailer

Greetings all.

I hope the middle of the week finds you better than me, at least in regard to your general health and well being. I am currently afflicted with some kind of upper respiratory infection that has rendered my throat sore, my body weak and slightly feverish and my general outlook on life at least temporarily grim. I know that this too shall pass, but it’s interfering with my ability to pack in a good night’s sleep, which is something I live for. If I don’t get my six hours in, I am a seriously crabby bastard, unfit to walk among the general population. I guess it’s fair to say that in the grand scheme of things I’m doing well. At least I don’t have the flu, and the wife and kids are healthy, so the Funky16Corners compound hasn’t gone into epidemic lockdown (yet) so I shall cease my grousing and do what I have been told I do best, which is lay some groovy sounds at your doorstep, stand back and feel the love.

But, before I do that, I should mention that I will be returning to Master Groove @ Forbidden City, Wednesday the next, that being March the 10th for another evening of funk and soul spun at 45 revolutions per minute, along with DJ Bluewater and M-Fasis. I haven’t decided what kind of set I’ll be dropping this time, but I assure you that no matter what, it’ll be worth hearing.
It is in that spirit that I bring you something extra nice this fine day. If you thought that Monday’s nine-minute burner from Rhoda Scott was long-form, wait until you stuff your ears full of seventeen minutes worth of the mighty Lonnie Smith.
The good Doctor (as he has been known for many a year), be-turbaned and masterful upon the Hammond, has laid down a mountain of grooves since he made his first album in 1967. Combining serious jazz chops with an ability to work soul and funk grooves, Smith is one of my favorites.
The track I bring you today is from his 1971 Kudu set ‘Mama Wailer’. I heard this record for the first time last year and when I did I set out to secure myself a copy post haste. While the whole album is worth hearing, the tracks I bring you today stand head and shoulders above the rest.
Sly and the Family Stone hit the charts with the original version of ‘Stand’ in 1969. One of their finest records, it was a perfect blend of funky soul and an era-specific, uplifting message. When Dr. Smith got his hands on the cut, he and his band (Ron Carter, Billy Cobham and Grover Washington Jr. among others) took the feeling of the original for the basic framework and then stepped off the edge of the world into a whole new, extremely far out place, located somewhere on the corner of Out and Psychedelic. The really interesting thing about Smith’s version of ‘Stand’ is that he steps outside of a standard presentation, flies off into the ether and never really comes back to earth. Things just get freakier and freakier, and the theme is never actually restated. By the time you get to the run of groove (the track occupies and entire LP side) it’s possible that you’ve forgotten what song you were listening to in the first place.
Though I often sing the praises of the power of a three-minute 45, there’s something to be said for musicians taking the time to stretch. Years back I was having a discussion with someone that should have known better, who was expressing his befuddlement about a jazz record (something fairly conventional, if memory serves) wherein most of the tracks sailed well past the eight-to-ten minute mark. He didn’t get how, or why someone would play for that long, i.e. what could they say in ten minutes that couldn’t be said just as well in three. At the time, I whipped out the eye-roll to beat all eye-rolls and tried to explain, but words failed me, and in the spirit of comity I decided to back off and fight again another day.
That day is here.
When you settle in and warm your ears up for a track as long as Lonnie Smith’s reading of ‘Stand’, it’s a whole different thing from getting the short, sharp blast of a 45. Though the form had been abused many a time by pretentious rockers (and jazzers of the same ilk), the longer track, when done well is a thing of beauty. Sometimes you get the standard modern jazz reading, with statement/restatement of the theme followed by each member of the band (piano, horns, bass, drums etc.) soloing in turn. Other times, like in today’s selection, you get a little of that, mixed in with a little of a freer feel. Smith’s cover of ‘Stand’ manages to do this, and – in the spirit of the original – edging over into a rockish vibe as well. No matter how jazzy, there’s no denying that things get a little psychedelic in the second half of the record.
If that’s too far out for even you adventurous types, I’m also including – as a bonus track of sorts – the title track of the LP. ‘Mama Wailer’ has a nice Latin groove, moving along at a very groovy pace. The Hammond takes a back seat, with Smith working mostly on clavinet and at just over six minutes, it’s a much easier to digest portion.
I hope you dig both tracks, and I’ll be back on Friday with some more of the good stuff.

Peace

Larry

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By Larry, February 28, 2010 6:39 pm

Miss Rhoda Scott

Listen/Download -Rhoda Scott Trio – Sha Bazz

Greetings all.

As I sit here, just having come in from dragging an overloaded garbage can through the slush to its appointed spot (in another pile of slush), in the hopes that the garbage man will grace us with his presence so we don’t have to resort to an unfortunate system of indoor composting and burning garbage in the fireplace, I am temporarily chilled to the bone. Though we were spared the threatened snow disaster, it’s cold like the devil’s underpants out there. This winter has gone from bad to worse, and we now have several strata of dirty snow covering another layer of frozen mud in our front yard. The winter wonderland has morphed into a post-apocalyptic wasteland in a few short months, and we, the helpless observers are reduced to huddling by the fire, praying for spring.
It is in that spirit, and the knowledge that many of you are so afflicted, that I attempt to warm the surrounding environment with an entire week of Hammond organ burners.
Before I get started, I’d like to send out good wishes and congratulations to DJ Birdman and his lovely wife, who are the proud parents of a bouncing baby boy! If I know one thing for sure, in addition to parents that love him, that kid will grow up in a house full of good music (much like my own children).
The last time I did this, a little over a year ago, I figured it would become an ongoing series. I didn’t know it’d take me an entire year to get back to it.
The good thing it, that in the ensuing time I have amassed quite a stack of heaters to choose from, so much so that picking only three of them proved to be a daunting task.
The tune I bring you today is a fairly recent acquisition, the result of a chance sighting on a set sale list.
One of my favorite Hammond 45s is ‘Hey Hey Hey’ by the Rhoda Scott Trio. Picked up years ago while digging, its deep in the club, party time spirit never fails to give me a lift. In the years since I found that 45, I’ve always kept my eyes peeled for other stuff by Miss Scott, and was thwarted until I found the album featuring today’s selection.
Rhoda Scott, a native of my home state of New Jersey is one of the leading lights of that very exclusive sorority of female Hammond organists, along with Shirley Scott (no relation) and Bu Pleasant. She got her start playing in and around New York and New Jersey, before relocating to France in the mid-1960s (where she continues to play today).
The tune I bring you today ‘Sha Bazz’ is from her 1963 LP ‘The Rhoda Scott Trio Live!!! at the Key Club’. I bought this album pretty much blind, mainly on the strength of the fact that it was on the same label as ‘Hey Hey Hey’. I had no idea – until I started to do some research – that Tru-Sound was in fact a subsidiary of the Prestige label.
When the record fell through the mail slot, and I had the opportunity to drop the needle on the wax, I was in a word (or two), blown away.
Scott’s trio at the time consisted of multi-instrumentalist Joe Thomas (who has appeared in the space before on his main axe, the flute) and drummer Bill Elliot. ‘Live at the Key Club’ is evidence that they were wholly capable of kicking ass.
‘Sha Bazz’, which starts out with a mix of drums and chanting quickly evolves into a showcase for Scott’s mastery of the Hammond, building into a nine-minute plus crash course on the power of the instrument. ‘Sha Bazz’ is pure heat, with Scott’s organ in overdrive and extended solos by Thomas and Elliot.
I know I’ve made this allusion before (and I probably will again) but it sounds like Scott is straining the ability of the board (or the tape) to contain the sound coming out of the Hammond. You listen to this record and imagine some unsuspecting person strolling into the club, seeing the petite woman at the organ, ordering some old school cocktail (Rusty Nail anyone?) and then, before you know what happened it’s all KA-BLAMMM! And your hair is all mussed, and your glasses are on crooked and your drink is all over your pants and you look like one of those astronauts in a rocket sled with your face all peeled back and your eyes all bugged out.

Know what I’m saying???
It’s records like this that make me wish I could step into the Wa-Bac machine (props to Mr Peabody and Sherman) and go back to any number of inner city bars in the 60s where players like Rhoda Scott were burning the joint up with small groups like this, perfectly bridging the gap between jazz, rhythm and blues and the oncoming freight train known as soul. The really groovy thing – especially for organ nuts like myself – is that Shirley Scott was (and is) adept at running bass lines on the Hammond’s foot pedals, making the trio sound like a much larger group.
I remember reading an interview with Jimmy Smith more than 20 years ago (maybe in Musician?) where he basically said, if you weren’t able to work those bass pedals, you weren’t really playing the Hammond. If you want to hear a great example of this – albeit in a much rawer context – check out Toussaint McCall’s ‘Shimmy’. There, in a 45 that is all but exploding with sound, you have only an organist and a drummer, where once again the organist is doing the work of two, operating the top and bottom ends of the Hammond. That’s musicianship.
Heavy stuff indeed, baby.
Dig it and I’ll be back on Wednesday with more of the same.

Peace

Larry

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By Larry, February 14, 2010 3:55 pm

Funky16Corners Radio v.81 – The Piano Electrified

Playlist

To hear this mix, head over to the Funky16Corners Radio Podcast Archive

I hope reentry into the seven day cycle finds you all well.
I have just about recovered from all the snow-related exertion, and if we get another storm anytime soon I’m going to hunt down Mother Nature and kick her in the ass.
It is in the spirit of relaxation (though not too relaxed) that I bring you another in the recently mounted series of instrumental focus mixes, this time out a very tasty hour-long (plus) excursion into the world of the electric piano.
The electric piano – specifically the Fender Rhodes, though there are a couple of different brands/models represented here – is, like the vibes in F16Rv.79, one of my all time favorite sounds. Say what you want about the structure/genre of any kind of music, but when you boil it down, there’s something about the way a specific instrument sounds, whether it’s the vibes, electric piano, string bass, oud, flute, what have you, that gets deep inside my head and drills down into my pleasure centers on a primal, vibrational level, to the point where an immersive exercise like the one you see before you is the only prescription.
This has a lot to do with growing up around the piano. My Pop plays, and it was his second job for all of my childhood. If my love of music has a specific source, it’s because I grew up with a pianist/singer in the house. Whether it was on the out of tune upright at my Grandma’s house, the baby grand he entertained on at my wedding, or the electric keyboard he has now, my Dad has always instilled the value of a good (great) song in all of his children (which is why most of them play instruments).
I’ve been wanting to get down to working on this particular mix for a long time, but it was only in the last couple of weeks that I set foot in the record room – which is starting to outgrow its current location – and set to digging out the prime electric piano specimens in my crates.
While there is a funky edge to the majority of the selections herein, there are a couple of mellower things where you really get to hear the dreamy, chiming side of the instrument.
Things get underway with a song that is both a certifiable soul jazz standard, but also an oddity of sorts. Eddie Harris, who appears twice in this mix, but just once on the piano, is best known as a sax man, primarily as the number one proponent of another favorite sound of mine, that being the Varitone electric saxophone. The 1966 album ‘Mean Greens’, from which ‘Listen Here’ originates, is unusual because it includes an entire side on which Harris puts down the sax and works it out on electric piano and organ. Though Harris wasn’t giving any of the past masters of the keyboard anything to worry about, he acquits himself nicely on ‘Listen Here’, building a nice groove against a percussion base.
Herbie Hancock lays down a serious groove on the title track from 1969’s ‘Fat Albert Rotunda’. Featuring Hancock and a band of serious jazz heads (like Joe Henderson and Albert ‘Tootie’ Heath) ‘Fat Albert Rotunda’ (the song and the album) is a landmark of sorts, with the pianist settling into the funk for the first time.
Art Jerry Miller is one of those cats where I wish I could get more than a few, tantalizing clues about his story. He was Memphis-based, wrote for an played with Willie Mitchell, and recorded one very groovy album for the Stax subsidiary Enterprise Records in 1969. ‘Finger Lickin’ Good’ is a classic of the three o’clock in the morning mood, and sounds like a distant cousin of King Curtis’ ‘Soul Serenade’.
Pete Jolly was a serious West Coast jazz pianist and studio musician who recorded steadily from the 50s to the 90s. ‘Prairie Road’ is a cut from his 1970 album ‘Seasons’, which was improvised and recorded in a single four-hour session. The album is sought out for the sample on ‘Plummer Park’, but I’m here to tell you that in addition to ‘Prairie Road’ – which is included here – you really need to get your hands on the entire album (in OG or reissue) because it is one sweet listen.
Mose Allison has long been a favorite of mine, but it wasn’t until last summer, when I was down in DC digging, that DJ Birdman hepped me to the album ‘Western Man’, the only one on which the mighty Mose ever played the electric piano. I finally found myself a copy last month, and it’s both amazing, and a little bit sad that Allison didn’t spend more time working in a similar groove. The mellow tune ‘Meadows’ is included here.
I remember a time when I didn’t know that Lonnie Smith (the Hammond cat) and Lonnie Liston Smith were two different people. It wasn’t until I picked up a couple of his early 70s Flying Dutchman albums that I got hip. Lonnie Liston Smith was a busy sideman (with Miles Davis among others) who broke off in the early 70s to make his own brand of spiritual fusion. ‘Voodoo Woman’ is from his 1974 ‘Expansion’ album, and while it gets off to a funky start, it quickly settles into a late night, quiet storm groove.
Hampton Hawes first made his mark as a hard bop pianist in 1950s Los Angeles. By the early 70s he had moved on to electric piano, and a funkier sound. ‘J.B.’s Mind’ is from his 1972 album ‘Universe’, and manages to whip a little bit of funk into the mix, alongside some serious jazz sounds from Oscar Brashear and Harold Land.
Bob James is known to most people as the man behind the theme to ‘Taxi’, but ask any crate digger, and they’ll let you in on the breakbeats that make his early 70s albums on CTI/Tappan Zee favorites. The most prominent of these comes toward the end of the tune included in this mix, ‘Nautilus’ from 1974’s ‘One’ album (break courtesy of Idris Muhammad).
Larry Willis is a journeyman jazz keyboardist who has played in a wide variety of settings since the 60s (including an early 70s stint in Blood Sweat and Tears!). ‘153rd St Theme’ is a cut from his 1973 Groove Merchant album ‘Inner Crisis’.
Neal Creque has appeared in this space before, in his capacity as sideman for both Grant Green (he wrote Green’s epic ‘Cease the Bombing’) and Mongo Santamaria. He was a versatile keyboardist, working on both piano and organ. His 1972 ‘Contrast’ LP for Cobblestone is a lost classic, with funk, jazz and just a touch of his roots in the Virgin Islands. ‘D Train’ is one of the funkier numbers on the album.
Eumir Deodato, one of Brazil’s most successful musical exports is responsible for the biggest hit CTI records ever had, his reworking of ‘Also Sprach Zarathustra’ aka ‘2001’ which was a Top 10 hit around the world in 1973. The heavily sampled ‘September 13’ is another cut from the ‘Prelude’ album.
Les McCann and Eddie Harris were both jazz veterans when they hit the charts with their live, 1969 recording of Gene McDaniel’s ‘Compared To What’ which appeared on the ‘Swiss Movement’ LP. They reunited in 1971 for the album ‘Second Movement’, which featured the tune included in this mix, the funky, oft sampled ‘Shorty Rides Again’.
No mix focusing on the electric piano would be complete without a contribution from the mighty Ramsey Lewis. Lewis verily wrote the book on soul jazz piano in the 60s, and carrid on making huge contributions to jazz funk in the 70s. His 1974 ‘Sun Goddess’ album was one of his biggest hits, and in addition to his regular trio members (including Cadet house drummer Morris Jennings), the album also featured contributions from several members of Earth Wind and Fire. We close out this edition of the Funky16Corners Radio thang with his extremely cool cover of Stevie Wonder’s ‘Living For the City’.
I hope you dig the mix, and I’ll be back later in the week.
Also, if you’re in or around NYC this Wednesday, I’ll be back spinning with DJ Bluewater and M-Fasis at Master Groove @ Forbidden City, Ave A between 13th and 14th Sts. If I can get my shit (and records) together it’ll be an all Northern Soul set, so fall by if you’re in the area (things get underway at 10PM).

Peace

Larry

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By Larry, January 31, 2010 5:52 pm

Funky16Corners Radio v.80 – Forbidden City Organs

Recorded Live in NYC 1-27-10

Playlist

Head over to the Funky16Corners Podcast Archive to hear this mix

Before we get started, I want to say that after serious consideration with the Funky16Corners board of directors, and close consultation with some serious heads (not the least of whom being my man DJ Prestige) I have decided not to deep six the old versions of the blog (WordPress and Blogger). While I did deactivate all active content links on both sites (replacing them with redirects where necessary), since I was unable to do a full export of the WordPress blog, and could not bring over the comments on the old blog posts, AND since I consider reader commentary to be an important part of the process (mainly because so many of you contribute information via those posts) I figured it would benefit all parties to keep the old sites up and running (with any luck as long as this sentence).
Anything you might travel back there to hear, can now be heard here in the new Funky16Corners Radio Podcast and Guest Mix Archives.
The mix you see before you today was supposed to be up in this space on Friday, but I just had too damn much to do, and so I had to put it off for a couple of days. I think, however that you will be pleased when you pull down the ones and zeros and stuff it in your ears.
For you see (hear), Funky16Corners Radio v.80* is just about an hour of high octane, Hammond fueled groove grease guaranteed to get you off your ass, slipping and sliding across the floor, with the hip-shaking, and the wild gesticulation, and the shaking of the hair, gospel wailing and general good times.
Big words those, but I think once the sounds have been ingested, you will concur.
It all started thusly…
Back before Christmas, my lovely wife asked me what I wanted as a holiday gift. I generally reply to these queries with a shrug and a ‘Don’t worry ‘bout me on account of I pretty much have everything I need’. However, this year there was something I had my eye on, so I sent my wife the link, and ‘Bob’s yer uncle’ a brand new digital recorded dropped into my stocking.
My main motivation in requesting this new bit of hardware was so that my casting of the pods would be facilitated, but as is the norm when I get a new toy, I find some other, more interesting way to put it to work, and so I did.
It was at the last Asbury Park 45 Sessions that I brought my recorder along and attempted to record my set right off the board. I thought everything had gone swimmingly, until I got up the next morning, transferred the file onto my laptop and discovered that Einstein (that’s me, heh heh…) hadn’t read the instructions properly, and what I had recorded was not the mix off the board, but all the ambient noise surrounding it. I tossed that one into the old electronic wastebasket and set my sights on my next set at Master Groove.
Well my friends, it was a success.
I had spoken to my host the esteemed DJ Bluewater about what I would play this time, and I suggested a ‘theme set’ of sorts. He thought this was a good idea, so I sat down in the midst of my record vault and started digging. I had originally thought I might do a Northern Soul thing (next time out maybe) but I happened upon a clump of solid Hammond 45s, so I took that as a sign and continued in that direction.
What you have here is an actual live mix, recorded directly from the booth monitor line on the mixer, no fiddling/editing involved.
If you’ve visited with me here over the years, you’ll already be aware that I am a first class Hammond organ nut, and my crates run deep. When I started pulling stuff to compose my set, I extracted enough records for three or four sets, and then sat down with the turntable and selected a little over an hour’s worth of faves.
The records you’ll hear in this mix are the very cream of the dancefloor Hammond crop, with lots of your big keyboard wranglers (Messrs Earland, Doggett, McCall, Lewis, Van Dyke, Frog and Carnegie) a couple of unusual sources (Albert Collins and the Turtles, yes, the Turtles) and a few things you may not have heard before.
As stated previously, my intention here was to whip something up to get the dancers moving, so if you’re playing this inside your corporate veal pen, try not to spill your coffee/disturb your neighbor. If you’re on the bus, piping it in via earbuds, don’t be surprised if your neighbor attempts to administer first aid, since you may appear to be involved in convulsions of some sort.
That said, I will refrain from further comment, letting the sounds speak for themselves.
I hope you dig the mix, and rest assured that I will endeavor to bring you more of the same (both live, and organ mixes) in the coming months.

Peace

Larry

*I was rapping with my man DJ Bluewater last week about how I can’t beleive how many mixes are in the Funky16Corners and Iron Leg Archives (combined mounting up to well over 100 mixes in less than four years)

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Comments (1)

By Larry, January 24, 2010 2:25 am

Roy Meriwether rocking a Nehru…

Listen/Download -Roy Meriwether Trio – Think

Listen/Download -Roy Meriwether Trio – Mean Greens

Greetings all.
I hope the end of another week finds you well.
I for one will stroll into the weekend with some pep in my step.
Last week, when I was on my way to spin at the Asbury Park 45 Sessions, I noticed the harsh glare of flashing lights in my rearview mirror, as the local popo requested my presence at the side of the road. Naturally, law abiding citizen that I am, I was shocked and stunned to hailed in such a manner, but I kept my cool, pulled to the curb and presented my papers to the officer, all the while wondering what the deal was.
Not too long after that the officer informed me that I had been pulled over because I had a headlight out (which I did not know, really…) and because my inspection was- gulp – almost five months past due (which I should have known but did not).
I was let go with a warning and sent on my merry way, a tale which I relate only because I dragged my butt over to the inspection station first thing this morning and was reminded once again that sometimes the fair winds of good fortune blow in my direction.
Not only was I spared the customary wait (there was no line at all, which in NJ is almost unheard of) but when they did the inspection they failed to check my headlights, and so, a short ten minutes later, I rolled out of the inspection station, onto the highway with a fresh, purple inspection sticker affixed to my windshield.
Of course this week I’ll have to go to the dealer to get the headlight fixed (yet another part of the modern car that the owner is no longer capable of maintaining themselves), but this is – as the kids say – ‘small potatoes’, considering how much of a given week I have to spend motoring my offspring around hither and yon, and how difficult that would be if my car were taken out of commission by the automotive commissars at the DMV.
So I raise my glass of iced coffee to you, inspection station ladies and gents, and say ‘Huzzah!’.
That said, I also have another appearance coming up, Wednesday next at Master Groove, at Forbidden City (NYC, Ave A between 13th and 14th) alongside your compere DJ Bluewater and our fellow Asbury Park 45 Sessioner M-Fasis for a set of high quality funk and soul a la 45RPM. I have been considering putting together a theme set of sorts (not sure which kind yet), but if you’re in the city, and you feel the need to absorb some groovy sounds, and have nothing else to do, may I invite you to fall by and join us? I assure you that no matter how cold the night is, the heat will be brought.
I yet more news…this week saw the death of my trusty Numark portable, which served me well these last few years. The motor gave up the ghost, so It had to be replaced. I’ll let you know how the new one works out.
Now, as far as music goes this Friday, how about some more soul jazz??
Last week, as I eulogized the mighty Freddie McCoy, I made mention of the fact that he was – as a vibist – one of the purest examples of a musician working a soul jazz vibe (pun intended, sort of…).
As pianists go, were you to seek someone similarly inclined, you might be persuaded to turn your ears in the direction of Mr. Roy Meriwether.
Meriwether – who got his start out Indiana way – and his trio recorded a grip of solid soul jazz LPs for Capitol in the 60s, before splitting off into the world of private press rarity, where they would wax their sought after version of the music from ‘Jesus Christ Superstar’ (some of which was previously featured in Funky16Corners Radio v.64 and my guest mix for Fleamarket Funk, ‘Six Million Dollar Groove’ ) and the super rare, crate digger white whale LP ‘Nubian Lady’.
The tunes I bring you today are from his late 60s Capitol LP ‘Soul Knight’, which I bagged during my trip into the Berkshires late last year.
The LP features a number of very nice cuts, but the two I bring you today illustrate Meriwether’s powerful keyboard style.
The first is a cover of the Aretha Franklin classic ‘Think’, which is taken at a brisk pace, with some tight, funky drums on the bottom.
The second is a version of a tune by another master of soul jazz, saxophonist Eddie Harris. I included Harris’s original version of his tune ‘Mean Greens’ in a mix I did for Fufu Stew called ‘Outta Sight aka Mancini King of Monsters’. The OG is taken as a fairly relaxed pace, but the cover by the Meriwether Trio is a killer, with Roy sounding as if he was about to pop the keys off of the piano. The group gets deep inside the quasi-latin rhythm of the tune and really work it on out. If you get the chance, listen to the OG and the cover side by side to see how two great musicians create their own takes on a standard.
I hope you dig the tunes, and I’ll be back next week.

Peace

Larry

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