{"id":798,"date":"2010-08-15T13:58:38","date_gmt":"2010-08-15T18:58:38","guid":{"rendered":"https:\/\/funky16corners.lunarpages.net\/?p=798"},"modified":"2012-08-03T16:03:18","modified_gmt":"2012-08-03T21:03:18","slug":"funky16corners-radio-v-87-wind-of-change","status":"publish","type":"post","link":"https:\/\/funky16corners.com\/?p=798","title":{"rendered":"Funky16Corners Radio v.87 – Wind of Change"},"content":{"rendered":"

\"Example\"<\/strong><\/p>\n

Funky16Corners Radio v.87 – Wind of Change<\/strong><\/p>\n

Playlist<\/strong><\/p>\n

Rahsaan Roland Kirk \u2013 Ain\u2019t No Sunshine (Atlantic)
\nPaul Horn \u2013 Paramahansa (RCA)
\nMoe Koffman \u2013 Comin\u2019 Home Baby (Jubilee)
\nBobbi Humphrey \u2013 Sad Bag (Blue Note)
\nDavid Newman \u2013 The 13th Floor (Atlantic)
\nKeith Mansfield \u2013 Teenage Chase (KPM)
\nHubert Laws \u2013 Bloodshot (Atlantic)
\nJerome Richardson \u2013 Ode to Billie Joe (Verve)
\nJoe Thomas \u2013 Big Heart Giant Soul (Cobblestone)
\nErnie Fields \u2013 Watch Your Step (Kent)
\nHerbie Mann \u2013 Push Push (Atlantic)
\nJeremy Steig \u2013 Alias (Solid State)
\nFrank Wess \u2013 Signed Sealed and Delivered (Enterprise)
\nTim Weisberg \u2013 Streak Out (A&M)
\nJethro Tull \u2013 Serenade To a Cuckoo (Chrysalis)<\/strong> <\/p>\n

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You can check out this mix in the Funky16Corners Radio Podcast Archive<\/strong><\/a>
\n<\/strong><\/p>\n


\n<\/strong><\/strong><\/strong><\/strong><\/div>\n
<\/div>\n
Greetings all.<\/strong><\/div>\n

How are the closing days of summer treating you?
\nI know we\u2019ve got lots of good weather ahead, but it\u2019s only a few weeks until the mass exodus of the tourists, when I will once again be able roam free amidst traffic that is just \u2018bad\u2019, not mind-bogglingly so.
\nThe mix I bring you today is a continuation of a minor series of sorts, in which the Funky16Corners Radio <\/strong>thingy takes time out to focus on a specific instrument. We\u2019ve already surveyed the vibes and the electric piano, and I\u2019m sure that there are a few more such collections huddling in the crates awaiting release.
\nThis time out we take a look (listen) to the much maligned, but very groovy sounds of the (mostly) jazz flute.
\nAs I said when I wrote about the vibes, there are those among us for whom the sound of the flute is too \u2018cool\u2019, which naturally is why I dig it so much.
\nI love the sound of the flute in the hands of a great musician, and what you\u2019re getting in this mix is 15 examples of that very thing.
\nOf course, not every single cut contains a virtuoso performance, on account of that would be boring and a few steps away from the prog sound of my teenage years that I have come to despise.
\nThe vast majority of the players here (although one of them is anonymous) are at least tangentially connected to the world of jazz, with a few having crossed over into pop and rock and one (yes, you know the one\u2026the one who\u2019s name sent a shiver up your spine when you saw it, unfairly I might add) solidly camped out in rock and roll.
\nThis one took a while to assemble, if only because a few of the artists in question have appeared in this space frequently (Koffman, Steig, Wess, Mann<\/strong>), their dulcet tones gracing other Funky16Corners Radio playlists.
\nThings get off to a serious start with Rahsaan Roland Kirk\u2019s<\/strong> epic reading of Bill Withers\u2019<\/strong> \u2018Ain\u2019t No Sunshine\u2019. Kirk, a master on many wind instruments \u2013 often simultaneously \u2013 had a pronounced influence on two of the other players in this mix, namely Jeremy Steig<\/strong> and Ian Anderson<\/strong> (more on him later). His frequent use of \u2018overblowing\u2019, and vocalizing through the flute make him one of the most dynamic stylists the instrument has ever produced.
\nPaul Horn<\/strong> is best known for his pioneering new age recordings like \u2018Inside\u2019, but in the early to mid-60s he was still working a straight ahead jazz style. The Eastern-influenced \u2018Paramahansa\u2019 (which he re-recorded years later) appeared on his 1967 \u2018Monday Monday\u2019 LP, alongside a number of contemporary pop and rock covers. The tune sees Horn playing over a big band producing something that sounds like it\u2019s from the soundtrack to a spy thriller.
\nMoe Koffman<\/strong>, who has been featured here a number of time is one of those cats that started out as a pretty \u2018straight\u2019 jazz player and as the 60s progressed he got further out. In addition to the flute Koffman was a proponent of the electrified saxophone (like Eddie Harris<\/strong> and Sonny Stitt<\/strong>) and he made some very cool, au go go flavored stuff during the era. His take on Bob Dorough<\/strong> and Ben Tucker\u2019s<\/strong> \u201cComing Home Baby\u2019 has a relaxed swing to it, sounding once again like something lifted from era-specific TV or movie soundtrack.
\nBobbi Humphrey\u2019s<\/strong> \u2018Sad Bag\u2019 has a mournful sound, with some very nice, reverbed flute.
\nDavid \u2018Fathead\u2019 Newman<\/strong> is better known for his sax playing, especially in his association with the mighty Ray Charles.<\/strong> I first heard \u2018The 13th Floor\u2019 on an early-90s comp called \u2018Heavy Flute\u2019, shortly after which I grabbed myself a copy of the 45. The tune originally appeared on Newman\u2019s 1968 \u2018Bigger and Better\u2019 LP and is a great illustration of that fact that he certainly knew his way around the flute.
\n\u2018Teenage Chase\u2019 is a Keith Mansfield<\/strong> penned cut from the KPM sound library album \u2018Beat Incidental\u2019. Like many of the cuts it was intended to be used as a \u2018theme\u2019, and so it is relatively short. I have no idea who the flute player us, but it sure as hell sounds like the same cat blowing on the Hawkshaw\/Parker<\/strong> tune \u2018Hot Pants\u2019 (also a KPM selection).
\nHubert Laws<\/strong> went on to great success with radio friendly R&B in the 70s with the CTI label, but in the mid-60s he was recording powerful soul jazz sessions for Atlantic. \u2018Bloodshot\u2019 is the opening track from his 1966 \u2018Flute By Laws\u2019 LP, and is driven by Laws\u2019 flute, powerful brass and spot on Latin percussion.
\nJerome Richardson<\/strong> is best known as a prolific studio musician, but he spent decades playing bop and soul jazz. His take on Bobbie Gentry\u2019s<\/strong> \u2018Ode to Billie Joe\u2019 is from his 1968 \u2018Groove Merchant\u2019 album, which features Richardson on a variety of wind instruments, including a few different kinds of flute (more than one on this track!). Aside from an odd, intermittent chime, this version of \u2018Ode\u2026\u2019 is pretty cool, including some well placed harpsichord.
\nLike many of the players here, Joe Thomas <\/strong>doubled (tripled) on a variety of wind instruments. \u2018Big Heart, Giant Soul\u2019 from his 1970 Cobblestone album \u2018Comin\u2019 Home\u2019 is indicative of the high quality of that funky soul jazz session. You get to hear Thomas (who also played in Rhoda Scott\u2019s<\/strong> trio) vocalizing on what sounds like a Varitone (maybe attached to the flute), and then playing it straight. Thomas went on to record funkier stuff (even disco) in the 70s.
\nErnie Fields\u2019<\/strong> \u2018Watch Your Step\u2019 is one of my favorite 45s, period. I\u2019ve never been able to find out much about Fields, but \u2018Watch Your Step\u2019 is so high-concept, so soulful yet psychedelic and well-arranged, that you can only hope that he did more stuff like this.
\nIf you were to put together a list of cats with serious jazz chops who spent most of their career trying to reach a mass audience (and sometimes succeeding) Herbie Mann<\/strong> would have to be at the top of the list. Mann started out working in a Latin bag, but went on to record a serious grip of soul jazz and even pop through the 60s and 70s. The title track of his 1971 \u2018Push Push\u2019 album shows that Mann was very comfortable in a funky bag (where he spent most of the early 70s), eventually having his biggest hit with 1975\u2019s \u2018Hijack\u2019.
\nJeremy Steig<\/strong> is beloved by crate diggers\/beat heads for his track \u2018Howling for Judy\u2019 which was the main sample behind the Beastie Boys<\/strong>\u2019 \u2018Sure Shot\u2019. Steig\u2019s late 60s\/early 70s stuff for Solid State and Blue Note is generally pretty far out, and skipping right along the border between funky and \u2018out\u2019. \u2018Alias (ALi\u2019as)\u2019 (named for drummer Don Alias<\/strong>) features a wild performance by Steig over bass, drums and percussion., is from the same 1969 LP (\u2018Legwork\u2019) as \u2018Howling\u2026\u2019.
\nI\u2019ve featured a number of very cool tunes from Frank Wess\u2019s<\/strong> 1970 \u2018Wess to Memphis\u2019 LP on the Stax subsidiary Enterprise. Once again I must recommend this album highly, since it\u2019s one of those great sessions where a jazz cat (Wess was well known as a tenor player as well as his work on the flute) really got into a more popular vibe with excellent results. The album, which includes a number of covers is well played and produced, and one I go back to frequently. He wails on his version of Stevie Wonder\u2019s<\/strong> \u2018Signed Sealed and Delivered\u2019.
\nI can\u2019t remember where I first heard of Tim Weisberg\u2019s<\/strong> \u2018Streak-Out\u2019, but I know I was surprised because it was the very same Weisberg who had a mid-70s chart hit alongside Dan Fogelberg<\/strong>! \u2018Streak-Out\u2019 from 1974 (which he apparently performed on the \u2018Midnight Special\u2019, so it must have been a minor hit) is a nice bit of funky rock, with a little bit of a break at the beginning.
\nThis edition of Funky16Corners Radio closes out with what no doubt seems like the oddest of artists, Jethro Tull<\/strong>. All 1970s prog\/hobbit-isms aside, when Tull got started in the late 60s they were a jazz inflected heavy blues band, not unlike Cream<\/strong>. The song presented here is, to bring things full circle, a Rahsaan Roland Kirk tune called \u2018Serenade to a Cuckoo\u2019. It was reportedly the first song Ian Anderson learned on the flute (Kirk being by far his strongest influence), and he and the band acquit themselves nicely.
\nI hope you dig this little survey, and I\u2019ll be back later in the week.<\/p>\n

Peace<\/strong><\/p>\n

Larry<\/strong><\/p>\n

<\/strong>\"Example\"<\/strong><\/p>\n

Check out the Funky16Corners Store at Cafe Press<\/a><\/strong><\/p>\n

 <\/p>\n

PPS – Make sure to fall by Iron Leg for some freakbeat supreme!
\n
\n<\/strong><\/a>PPPS Make sure to hit up Funky16Corners on Facebook<\/a><\/strong><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Funky16Corners Radio v.87 – Wind of Change Playlist Rahsaan Roland Kirk \u2013 Ain\u2019t No Sunshine (Atlantic) Paul Horn \u2013 Paramahansa (RCA) Moe Koffman \u2013 Comin\u2019 Home Baby (Jubilee) Bobbi Humphrey \u2013 Sad Bag (Blue Note) David Newman \u2013 The 13th Floor (Atlantic) Keith Mansfield \u2013 Teenage Chase (KPM) Hubert Laws \u2013 Bloodshot (Atlantic) Jerome Richardson […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[58,11,17,14,15,66,19,49,30,12,18,13],"tags":[163,166,164,165],"class_list":["post-798","post","type-post","status-publish","format-standard","hentry","category-cover-songs","category-funk","category-funk-45","category-funky16corners","category-funky16corners-radio","category-instrumental","category-jazz","category-jazz-funk","category-lp-tracks","category-soul","category-soul-45","category-soul-jazz","tag-funk","tag-funky16corners","tag-soul","tag-soul-jazz"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pMKgo-cS","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/funky16corners.com\/index.php?rest_route=\/wp\/v2\/posts\/798","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/funky16corners.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/funky16corners.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/funky16corners.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/funky16corners.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=798"}],"version-history":[{"count":6,"href":"https:\/\/funky16corners.com\/index.php?rest_route=\/wp\/v2\/posts\/798\/revisions"}],"predecessor-version":[{"id":3045,"href":"https:\/\/funky16corners.com\/index.php?rest_route=\/wp\/v2\/posts\/798\/revisions\/3045"}],"wp:attachment":[{"href":"https:\/\/funky16corners.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=798"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/funky16corners.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=798"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/funky16corners.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=798"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}