Got To Get Funking'....
Let the Funking Spunk Begin - Welcome Aboard All the Funktsers
All Music Lovers and Funk Fans, Welcome "On The Block" That is this Hub, hoping Everyone Will enjoy enjoy this 'Fantastic Musical Voyage'
I have composed and arranged in a funky and improv-like manner the Hub below. This is done with the people who love music and can relate o the sound system below. What I have done in this Hub below is give the listener viewer a picture of the group, artist and so on, and then added the most sweet sounding vibes and licks that many people know and have listened to. I have written and tried to put together various types of Musical Video Hubs, but in this case, I will be doing less talk and more music posting. My intention is for the listener/viewer to listen to Golden Oldies and cut the rug again, whatever their age.
I have even tried to give the listener/viewer some semblance of the bio of the group or musician concerned, just like we used to have on the sleeve of the Vinyl or the vinyl would come with some inserted notes and history/bio of the group/artist. I have tried to keep it as short as possible so's not to take away from the musical videos. Some videos have live performances, others show covers or the vinyl, but the quality and freshness of the music is not lost in either way/cases.
I do not want to take up too much time from the viewer/listener of this Hub, but would venture to say that this will be on the many series I will be composing, and creating as Hubs, purely for musical appreciation enjoyment a series; for that matter, a Hub is on the Works which will be the "B" Side of this type of musical potpourri, which too, I think will be chockfull of polyrhythmic kaleidoscopic melange of vibes, rhythms and sound systems that have entertained us over the decades. I hope everyone reading this and begins to listen to the music remembers that it was music of Yesterday that I am posting and dropping, and it is now the music of today-in these times.. So, Let the Music begin, and enjoy.
Some people who created and know or listened to this music have passed on, and others think that it has been lost, and there are still those who still follow it up, for everyone that is here or in the spirit world, along with the musicians themselves, alive or in spirit form, this is for you. This is the respect one can pay to the composers and listeners of this musical genre that I say, it might have been of yesteryear/yesterday but if one listens carefully, it was music ahead of its time.. It is Today's Music and Vibe.
1984 Paul Hardcastle's "Rainforest"
Paul Hardcastle's Brief Bio
British synth player, born December 10, 1958. Enjoyed success on the 'underground dance' scene in the early 80’s before breaking into the mainstream with "19”, an international smash which spent five weeks at number one in the UK. In the latter half of the 1980s he specialised in TV Soundtrack work. He made the theme tunes for Top of The Pops and Saturday Live, popular British entertainment shows. Paul now records mainly under the pseudonym 'Jazzmasters'.
Early tracks of note include the popular 'Rain Forest’ and King Tut’, both were big dance hits in the U.S.
Paul was also half of the pop-funk duo 'Kiss the Sky'.
Paul has also remixed countless artists including ‘D-Train'’, 'Third World'’, 'Barry White’, Five Star'’ to name but a few!
Lakeside - "Fantastic Voyage ~ 1980
"Fantastic Voyage" was a 1980 funk single by the Dayton, Ohio-based group Lakeside. The song hit number one on the R&B chart and was the group's only entry on the Billboard Hot 100, where it peaked at number fifty-five. It was the title track from "Fantastic Voyage", the fourth album from by the funk band. Released in 1980 on the SOLAR Records label, it was produced by the band's members. Personnel on the album, considered to be the most famous lineup of Lakeside, included Mark Adam Wood Jr., Stephen Shockley, Fred Alexander Jr., Fred Lewis, Norman Beavers, Otis Stokes, Marvin Craig, Tiemeyer McCain, and Thomas Shelby. In 1994, hip-hop artist Coolio sampled "Fantastic Voyage" for his own hit of the same title. This channel is dedicated to all the great 'old school' R&B music I grew up with, the stuff that originally made me tap my feet and want to be a DJ. Funk, soul, disco, R&B, dance, hip-hop, pop . . . 60s, 70s, 80s . . . whatever you call it, it's all 'Old School' and it's all here!
Cameo - "Candy"
The legendary Soul/Funk group CAMEO best known for 80′s hits Word Up, Candy and Single Life will be making a highly-anticipated return to the UK this autumn with a rare series of intimate gigs at the Jazz Cafe.
Led by the charismatic Larry Blackmon, the chart-topping band are considered to be pioneers of their era churning out trailblazing hits and pivotal sounds that are apart of music history! Celebrating more than 33 years of funk Blackmon, along with founding member Tomi Jenkins are once again ready to challenge the way the world listens to music! CAMEO is ready to introduce a new generation to their timeless classics.
The legendary SOS Band were founded in Atlanta, Georgia in 1977. Originally known as Santa Monica, the ‘SOS’ stands for Sounds of Success. The band, fronted by Mary Davis, was initially famous for 2million selling smash the hit “Take Your Time (Do It Right)” in 1980.
In 1983, they joined forces with then new production team of Jimmy Jam and Terry Lewis, who went on to craft a string of R&B hits for the group, including “Just Be Good to Me”, “Tell Me If You Still Care”, “Borrowed Love”, “No One’s Gonna Love You”, “Just the Way You Like It” and “The Finest”.
ZAAP & Roger Band Crew
ZAPP & Roger's Funk
"More Bounce To The Ounce" was an influential funk single recorded by the Ohio-based band Zapp, led by singer-songwriter Roger Troutman. Released in 1980 on the Warner Brothers Records label, the song was originally recorded in 1979 while Troutman's group was part of George Clinton's Uncle Jam Records. When the label folded due to tensions Clinton had with Warner Brothers Records (his label dispute also ended the releases of Parliament and Funkadelic albums after 1981), Troutman and the group moved to sign with the parent label cutting ties with Clinton. The song, which featured Troutman playing nearly all the instruments including his famous vocoder/talk box in which allowed him to perform all the vocals on the song. Roger's production of the song (Bootsy Collins, who played guitar on the song also, co-produced it as well) would later often be sampled by hip-hop artists ranging from classic hip-hop artists such as EPMD to gangsta rappers such as Ice Cube and The Notorious B.I.G. The original song eventually reached number two on the Billboard Hot Selling Soul Singles chart, setting the group and its front man on their way to a successful tenure on the R&B charts throughout the 1980s. Zapp (also known as The Zapp Band or Zapp & Roger) is a soul and funk band formed in 1978 by brothers Roger Troutman, Larry Troutman, Lester Troutman, Tony Troutman and Terry 'Zapp' Troutman. Known for hits such as "More Bounce To The Ounce", "Dance Floor" and "Computer Love", the group was a partial source of inspiration to West Coast hip-hop and G-funk, which came out of the handclapped-drumbeat-styled funk of Zapp's records, with Roger's use of the talk box becoming another reason for the group's impact and its success. This channel is dedicated to all the great 'old school' R&B music I grew up with, the stuff that originally made me tap my feet and want to be a DJ
Since 1955, George Clinton (a.k.a. Dr. Funkenstein, the Maggot Overlord, Uncle Jam) has headed a loose aggregation of musicians known variously as "The Mothership Connection," his "Parliafunkadelicment Thang," or "P-Funk All-Stars." Composed of members of two main groups, Parliament and Funkadelic, and various offshoot bands, the organization made some of pop's most adventurous (and sometimes popular) music of the Seventies. Since then, Clinton and Parliament-Funkadelic have been felt in the music of a wide range of postdisco and postpunk artists, including Prince, Dr. Dre, and the Red Hot Chili Peppers. Clinton's music mixes funk polyrhythms, psychedelic guitar, jazzy horns, vocal-group harmonies, and often scatological imagery. His lengthy concerts are unpredictable, characterized by extended, improvised jams. One of his many quotable mottoes is: "Free your ass and your mind will follow."
As a teenager in Plainfield, New Jersey, Clinton straightened hair working in a local barbershop, where he also founded a vocal group called the Parliaments. They struggled through the Fifties and most of the Sixties, by which time Clinton had moved to Detroit to work as a staff writer for Motown. In 1967, the Parliaments had a major hit with Clinton's "(I Wanna) Testify" (Number 20 pop, Number Three R&B), a straight love song. The Parliaments' next charted single, "All Your Goodies Are Gone" (Number 21 R&B), suggested Clinton's future direction. Hanging out with Detroit hippies and listening to local hard-rock bands like the MC5 and the Stooges influenced Clinton's approach to music, and he began to contemplate making a radical change in the Parliaments' sound.
At the same time in 1967, a legal battle over the Parliament name ensued, so Clinton and the group's singers began recording with their backup band as Funkadelic for Westbound Records in 1968. After winning the lawsuit, Clinton would record Parliament (the "s" was dropped) and Funkadelic separately. Initially Parliament was more commercially oriented and Funkadelic more experimental and gritty, though as time went on these distinctions blurred.
Early Funkadelic albums built a cult audience. Parliament/Funkadelic concert appearances featured Clinton jumping out of a coffin, musicians running around in diapers, smoking marijuana, and simulating sex acts. On both Parliament and Funkadelic albums, Clinton wrote about the dark realities of funk—which he had elevated to a philosophy—utilizing negative imagery from the Process Church of Final Judgment and clear-eyed wit. He wrote for denizens of "Chocolate City" surrounded by "vanilla suburbs."
Parliament's 1974 hit on Casablanca, "Up for the Down Stroke" (Number 63 pop, Number 10 R&B), introduced Clinton's concepts to a wider audience and helped Funkadelic, get signed to Warner Bros. Over the years, the group attracted top R&B instrumentalists, including bassist Bootsy Collins (ex–James Brown), guitarists Eddie Hazel and Gary Shider, keyboardist Bernie Worrell, keyboardist Junie Morrison (ex–Ohio Players), and reedmen Fred Wesley and Maceo Parker (ex–James Brown). Parliament's Mothership Connection and gold single "Tear the Roof Off the Sucker" (Number 15 pop, Number 5 R&B) made Clinton and company a major concert attraction. With a weird, lengthy stage show that included a spaceship descending onstage from a huge denim cap, the P-Funk crew rivaled Earth, Wind & Fire as black America's favorite band. From 1976 to 1981, Clinton's salesmanship and success landed recording contracts for many P-Funk offshoots: Bootsy's (Collins) Rubber Band, Eddie Hazel, the Horny Horns, Parlet, Bernie Worrell, the Brides of Funkenstein, Phillippe Wynne, Junie Morrison, and Zapp.
Parliament's "Flash Light" (Number 16 pop, Number One R&B)—in which Worrell introduced the synthesized bass lines later imitated by many funk and new-wave bands—and the platinum Funkentelechy vs. the Placebo Syndrome in 1977, "Aqua Boogie" (Number One R&B) in 1978, and Funkadelic's funk anthem "One Nation Under a Groove - Part I" (Number 28 pop, Number One R&B) in 1978 were Parliament-Funkadelic commercial peaks in the Seventies.
Beginning in 1980, internal strife and legal problems temporarily sapped Clinton's P-Funk tribe of its energy and key performers. And while P-Funk's sound got absorbed into mainstream funk and hip-hop, Clinton's many projects became entangled. Drummer Jerome Brailey left P-Funk to start his own group, Mutiny, which pointedly devoted its first album to imprecations against the "Mamaship." Other ex-sidemen actually recorded as Funkadelic, although their album (the poorly received Connections and Disconnections) carried a sticker to the effect that Clinton was not involved. After Warner Bros. refused to release The Electric Spanking of War Babies (with guest Sly Stone) as a double album, Clinton cut it to a single LP and began proceedings to end his Warners contract. He recorded two singles, "Hydraulic Pump - Part I" and "One of Those Summers," with the P-Funk All-Stars on an independent label, Hump Records. Then he reemerged with a name that was not in litigation—his own—on a George Clinton solo album, Computer Games(1982), which included P-Funk's core members and the hit single "Atomic Dog" (Number One R&B, 1983).
In 1983, Clinton began a six-year sabbatical from the pop limelight, during which time his music showed up (both in spirit and as samples) in rap and hip-hop (as well as on albums of Clinton's collected works). "Atomic Dog" became one of the most-requested dance-floor songs. In 1985 he produced the Red Hot Chili Peppers' second album, Freaky Styley. Clinton returned to music making in 1989 with The Cinderella Theory (featuring guests Chuck D and Flavor Flav) on Prince's Paisley Park label and regrouped the P-Funk All-Stars for concerts.
In the early Nineties, P-Funk's music was the inspiration for the G-Funk sound largely created by Dr. Dre, who heavily sampled Clinton and P-Funk for his landmark 1992 album, The Chronic, and particularly the breakout single, "Let Me Ride." In the "Let Me Ride" video Dre is on his way to a Parliament concert. G-Funk raised Clinton's profile considerably. In 1993 he and P-Funk performed at President Clinton's Youth Inaugural Ball. Later that year he released Hey Man...Smell My Finger (with an all-star lineup of guests including rappers Ice Cube and Yo-Yo and members of the Chili Peppers), and, though the album was not a commercial smash (peaking at Number 145), it appeared as though Clinton's career was back on the upswing. In the summer of 1994, he appeared on the Lollapalooza Tour. In 1997, Parliament-Funkadelic was inducted into the Rock and Roll Hall of Fame.
A followup album, T.A.P.O.A.F.O.M. [The Awesome Power of a Fully Operational Mothership], reunited Clinton in the studio with Worrell, Collins, and other original P-Funk sidemen for the first time in more than a decade. The record peaked at Number 121 in 1996 and was followed that same year by Greatest Funkin' Hits (Number 138), which gathered modern remixes of his work and included such guests as Coolio, Digital Underground, and Ice Cube. Two years later Clinton returned with a concept album about dogs and the drug war called Dope Dogs.
The solo albums How Late Do U Have 2BB4UR Absent? and George Clinton and His Gangsters of Love — a covers album featuring Sly Stone, Carlos Santana and the Red Hot Chili Peppers — followed in 2005 and 2008, and as the next decade dawned, Clinton continued to tour with the P-Funk All Stars.
On The Funkified, Partied, Soulful and Discograph Tilt
Funk, Soul, R&B and Disco Rules..
The following sets of video/discs below are on my part to cover as much ground on the shifting environment of music. With the Advent of Disco, Funk musicians adapted, and made their incredible contributions to the music meme, zine and musical zeitgeist. This means that, as Disco fever pitched, so did musicians of different related genres thrive under the Disco genre. At the same time, the music who were into soul, R&B, and Jazz funk did their best to adapt, but forged new sound vibes that (those of Jazz funk) will be dealt with in the upcoming Hub which is a sequel t this one and I will label it "Side B". The Present Hub is dubbed "Side A".
When Disco slowly faded away, the radio station DJ were coming up with long Jams on Fridays and Saturday nights and dishing for us programs titled "Saturday Night Dance Party Mixes" in the 80s all through to the Mid-Y2K present-day era. These DJ's gave us a treat of the diet of music they dropped on the Air. These times and artists, cannot be fully captured by this Hub, but the Party Mixes, and Disco Funk videos will take the lester through this time period.
The Addition of Jamaican Funk and the track of Southern Girl, is to keep up with the ever blossoming sounds that postdated Disco, and this too is a very interesting the one should cover in the future Hubs.
The Hub up to this point has some gems and classical golden oldies, but what they have all in common is that they are evergreen and they are the music of today. The Radio DJs of New York stations like Kiss FM and WBLS, Z100, Hot 97, and the like, (although Kiss FM is now defunct), they have kept up with this musical trend and jucnture. What I am attempting to do in this Hub, is to showcase Funk, Soul, R&B and Disco in the multiple varieties and , diversities and this is edifying spiritually, in the soul,mind, body and wholly and completely/totally satisfying and the music keeps on giving.
The Rest Of The Hub is for the listener to judge and enjoyment themselves as much as possible because here in we go into the meat of the Hub- Funkin', digging soul, and Rhythmin', Discoing our hears content and mind and body reawakening and sharpening. Time. With the emerging Media a constant and daily reality in our lives, it should also be use to transport, transmit and bring forth the music that is in our DNA and Here and Now
The history of modern soul music is unfortunately littered with stories of truly magnificent artists who spent much of their adult lives fighting personal demons while creating seminal music. Phyllis Hyman is, sadly, one of those stories. The Philadelphia native was a popular jazz club singer in New York when hot producer Norman Connors witnessed her show and pegged her to perform a cover of the Stylistics' "Betcha By Golly Wow" on his You Are My Starshipalbum. Her emotive, jazzy stylings melded perfectly with Connors' production, and her stunning performance resulted in her being signed by Buddah Records for a 1977 self-titled solo debut.
Her first album was a moderate success, and included a very nice cover of the Spinners' "I Don't Want To Lose You." The next year Buddah merged into Arista Records and Hyman embarked on a series of albums that scored well in the emerging urban adult contemporary format, but with little crossover success. The material provided to her during this period was somewhat uneven, but on each album she demonstrated that she was developing into one of the finest soul vocalists in the world. And while she was not a "singles" artist, she recorded her share of memorable radio cuts, including "You Know How to Love Me," "Riding the Tiger," "Can't We Fall In Love Again" (with Michael Henderson), and the dramatic "Somewhere In My Lifetime" (produced by, of all people, Arista stablemate Barry Manilow). She also emerged as a fine concert performer, and became a headliner in multi-artist soul shows around the world.
Unfortunately as she reached age 40, while she was approaching her creative peak, Hyman was increasingly facing personal problems. Alcohol dependency, weight gain and the fear of losing her fashion model-like beauty haunted her, leading to more erratic behavior. Ultimately, her personal demons overcame her, and she committed suicide before a show in 1995, shocking her legions of fans. Later that year, a posthumous album, I Refuse To Be Lonely, her final work, clearly showed lyrically the problems she was facing in her last days, though at times displaying a hope that she could escape them. Another album of unreleased PIR cuts, Forever For You, was released in 1998 and in 2004 Expansion Records issued In Between the Heartaches, with rare tracks not found elsewhere (including the much talked about "Magic Mona" from the soundtrack toThe Fish That Saved Pittsburgh).
As with many great artists, Hyman has become more appreciated posthumously. Though her popularity during her life was generally limited to soul and smooth jazz audiences, her influence on songstresses from Anita Baker to Tamia is evident, and her music has aged wonderfully, much of it sounding as engaging now as it did a quarter century ago.
A former jazz percussionist, Mtume moved into urban contemporary and funk in the late '70s and became one of the more successful producers and performers in both styles during the '80s. The son of the great jazz saxophonist Jimmy Heath, Mtume was a conga player and percussionist who recorded and toured with Miles Davis and was featured on albums by the Heath Brothers, Sonny Rollins, Herbie Hancock, Joe Henderson, and Freddie Hubbard. He even recorded as a bandleader for Strata-East before turning to funk in the late '70s. Mtume's band included the sassy, sultry vocalist Tawatha Agee, keyboardist Phil Fields, and bassist Ray Johnson. They had a number one R&B hit with "Juicy Fruit" for Epic in 1983 and a number two single in 1984 with "You, Me and He." They recorded for Epic until the late '80s. Agee went solo in 1987. Their final Top Ten hit was "Breathless" in 1986. Mtume also teamed with another ex-jazz musician, Reggie Lucas, who had also been in Davis' '70s band. They produced and/or wrote for such artists as Stephanie Mills, Roberta Flack/Donny Hathaway, Phyllis Hyman, Gary Bartz, Sadane, Lou Rawls, Rena Scott, and Eddie Henderson in the late '70s. The duo worked on the LP In Search of the Rainbow Seekers for Epic in 1980. Mtume worked on his own as a producer with several artists, among them Levert, Tyrone Brunson, Roy Ayers, Henderson, Tease, and Sue Ann.
Lamont Dozier's Roots
"Nice composition but please let everyone know that its ORLANDO JULIUS EKEMODE who composed the original song and handed it over to Lamont and Havens to sign off on and sing. OJ Ekemode also played some of the instruments and arranged for the chorus and choir part of the song.
He needs to be credited with that level creativity!
Lamont Dozier's Bio- Trivia:
Elected the Rock and Roll Hall of Fame (with Brian Holland and Eddie Holland) in 1990.
Has two sons and one daughter with wife, Barbara. His sons are named Beau Alexandre (b. 26 November 1979) and Paris Ray (b. 12 September 1984). His daughter is named Desiree Starr (b. 1 August 1988).
His sons Beau and Paris were once in an R&B singing group called Platune.
His niece, Eden Dozier, is an aspiring actress who lives in Hollywood and works a lot in theatre.
Earth Wind And Fire - The Greatest Band Ever!
Earth Wind & Fire
- The biggest R&B band of the '70s
- Brought black consciousness and spirituality to '70s pop
- A rare nine-piece group with three singers
- Effortlessly melded funk, pop, and polished R&B
- Singer Philip Bailey has one of the most celebrated falsettos in music
- Toured with a legendary, Egyptian-themed stage show
- Scored big hits in disco, R&B, pop, and adult contemporary
Earth, Wind & Fire was the brainchild of Maurice White, a veteran session drummer who had, among other things, performed on Fontella Bass' 1966 hit "Rescue Me." After his original Chicago band, the Salty Peppers, flopped, White moved to Los Angeles and assembled a jazz-fusion big band, which became EWF. After two extensive revamps, a label change to Warner Bros., and several lineup changes, EWF finally scored its first hits in 1973 with "Evil" and "Keep Your Head to the Sky." White's "Kalimba Story" soon became a Top Ten R&B hit, and "Mighty Mighty" followed; their fanbase grew exponentially due to constant touring.
Having already performed a "blaxploitation" soundtrack with 1971's Sweet Sweetback's Baadasssss Song, EWF were called on when that movie's producer, Sig Shore, decided to make a film about exploitation in the music business, starring Harvey Keitel. That film, That's The Way of the World, would be the group's breakthrough to the mainstream, with the title track and "Shining Star" becoming huge hits for the band. The band became a major concert draw, not only for their virtuoso performances but an elaborate stage show featuring African-themed props and pyrotechnics designed to highlight the group's spiritual leanings.
The group remained huge throughout the decade, adopting disco and electro funk into its repertoire in order to stay current. But the scaling-back of the music business, along with the rise of hip-hop, brought an end to big jazz/R&B bands, even ones as accomplished as EWF. Philip Bailey went solo for a while, landing a hit duet with Phil Collins called "Easy Lover," and the band continued to be popular among older R&B fans. Earth, Wind and Fire still record today, mostly in a smooth-jazz mode, and Philip Bailey still leads the group on tour, though White has not toured with the group since 1995 for health reasons
The Bar-Kays Brief Bio
The Bar-Kays were formed in Memphis, Tennessee sometime in the mid-sixties and originally consisted of James Alexander (bass), Ronnie Caldwell (organ), Ben Cauley (trumpet), Phalon Jones (sax), Carl Cunningham (drums) andJimmy King (guitar). In early '67, they were signed to Volt, a Stax subsidiary. Al Jackson, the drummer with Booker T & the MGs, took a special interest in the Bar-Kays from the start and groomed them into a funky, instrumental R&B combo in the Mar-Keys' mold. Soon thereafter, the Bar-Kays became Stax' second house band, supporting Sam & Dave, Otis Redding and many other of the label's premier artists. The Bar-Kays' first single in their own right, "Soul Finger,"became a huge hit on both the R&B and pop charts in the spring of '67 and an album with the same title was issued as well. That summer, Otis Redding chose the Bar-Kays to be his regular backing band and it was on route to a gig on December 10, 1967 that tragedy struck. The plane, carrying Otis and the Bar-Kays, crashed into the frozen lake Monono, near Madison, Wisconsin. Everyone on board was killed except trumpeter Ben Cauley, who miraculously survived and bassist James Alexander, who had not been on the plane.
By 1970 drummer Roy Cunningham had left the band and so had keyboardist Ronnie Gordon. The latter was replaced by Winston Stewart. Under the guidance of manager/producer Allen Jones and with the addition of the band's first lead vocalist Larry Dodson, The Bar-Kays underwent an important transformation: from the small R&B combo they had begun their careers as, to a self-contained band. Complete with a radically new image to fit the musical direction, the Bar-Kays joined Sly & the Family Stone, Norman Whitfield and Funkadelic in their experiments with fusing rock, funk and R&B and released the"Black Rock" LP. Due to lack of support from Stax, the album went nowhere, but modern "black rock" bands like Living Color has acknowledged that the Bar-Kays' pioneering work had a great impact on their sound.
Further alternations in the line-up occurred when trumpeter Ben Cauley and lead guitarist Michael Toles left the Bar-Kays to join Isaac Hayes' band. Vernon Burch (guitar) and Charles Allen (trumpet) were their successors. At this point, the Bar-Kays turned down the volume of the electric guitars and moved closer to funk. They enjoyed their first top-ten hit since the sixties in 1972 when they launched "Son Of Shaft," a sequel to Isaac Hayes' "Theme From Shaft." In August that year, the Bar-Kays performed at Wattstax, the legendary so called "black Woodstock."
The Great Staple Singers
The Staple Singers
First as gospel singers and then as a soul-pop group, the Staples family has maintained a strong following and had several pop and soul hits, usually fronted by Mavis Staples' breathy vocals. The Staples family goes back to Mississippi, whereas a young man Roebuck Staples played guitar and sang in local choirs. In the mid-'30s, he and his wife, Oceola, traveled up the Mississippi River to Chicago in search of work, like many of their contemporaries. The Staples had three daughters and a son, each of whom sang from an early age. They put together a family gospel act (which, until the mid-'60s, included all but the youngest daughter, Yvonne) and by the mid-'50s were considered one of the finest vocal groups in the field. The group made its first recording in the early '50s, for Pop Staples' own label, "These Are They" b/w "Faith and Grace," which they sold at concerts. In 1953 they recorded for United, and three years later for Vee-Jay, both Chicago labels, without success. In the early '60s the Staples made their first pop (secular) recordings for Epic, but had no commercial success, although 1967's "Why" snuck onto the lower reaches of the pop chart, and a version of Buffalo Springfield's "For What It's Worth" also charted later that year. Everything changed after they signed to Stax in 1968. Their new material continued to reflect the Staples' commitment to making secular music with a message, but not until 1972's gold Bealtitude: Respect Yourself did they make the approach commercial. The Staples' first secular hit was "Heavy Makes You Happy" (Number 27 pop, Number Six R&B); and their next two hits, "Respect Yourself" (Number 12 pop, Number Two R&B) and "I'll Take You There" (Number One pop and R&B), went gold. "If You're Ready (Come Go With Me)" was a Number One R&B hit in 1973. The Staples had succeeded in meshing Memphis soul shuffles with their own messages, and might have continued to release crossover hits were it not for Stax's mid-'70s decline and eventual closing.
Curtis Mayfield's Curtom label was their next home, and in 1974 the Staples had a Number One pop and R&B hit with his "Let's Do It Again" and a Number Four hit with "New Orleans," both from the film Let's Do It Again. Mayfield also produced two of Mavis' solo albums. A couple of years later, at Warner Bros., the group changed their name to "the Staples" and released two R&B Top 20 singles: "Love Me, Love Me, Love Me" (Number 11 R&B, 1976) and "Unlock Your Mind" (Number 16 R&B, 1978). None of their singles charted again until 1984, when three, including a cover of Talking Heads' "Slippery People," appeared. Their last R&B Top 40 single was a 1985 version of "Are You Ready?" The group appeared in 1971's Soul to Soul, a documentary of a concert in Ghana, and in Wattstax (1973), and The Last Waltz (1978). In 1999 the Staple Singers were inducted into the Rock and Roll Hall of Fame.
Mavis Staples also recorded solo, but without comparable success, in part because her own career was frequently suspended due to group obligations. In 1987 Prince signed her to his Paisley Park label, for whom she recorded Time Waits for No One, which he coproduced with Al Bell (who had worked with the Staples at Stax). She opened for Prince on the overseas leg of his 1990 tour and appeared on his Graffiti Bridge album. In addition, she has appeared on records by a range of artists, including Aretha Franklin (One Lord, One Faith, One Baptism), John Mayall, Ray Charles, Kenny Loggins, and Marty Stuart. Pops, who also released solo albums, appears on Mavis' The Voice. His 1994 releaseFather, Father won that year's Grammy for Best Contemporary Blues Album. He died in 2000, after falling in his home and suffering a concussion; he was 85.
Shalamar - Music To Remember
Formed 1976 in New York, New York, by Soul Train booking agent Dick Griffey and British producer Simon Soussan. The first Shalamar release, Uptown Festival, was recorded by faceless session singers. Griffey and Soussan decided to form a group proper when that single was a success, and plucked members Jody Watley (b. 30th January 1959, Chicago, Illinois, U.S.A.), Jeffrey Daniels (b. 24th August 1957), and Gerald Brown, from the Soul Train set where they were primarily dancers. Gerald Brown was replaced the following year by Howard Hewett (b. 1st October 1955 in Akron, Ohio, U.S.A.) thus completing the group's best known incarnation.
In 1983, Jody Watley and Jeffrey Daniels left the group for solo careers and were replaced by Delisa Davis and Micki Free. Howard Hewitt left the group in 1986 to embark on his own solo career, as well as production for acts such as his then wife Nia Peeples, and was replaced by Sidney Justin. Tha band broke up for good in 1991, though Sidney Justin is touring with a new incarnation of Shalamar.
Imagination - It's Might Be An Illusion
Imagination were a three piece British soul and dance band, who came to prominence in the early 1980s. They had chart hits in twenty eight countries, earning four platinum discs, nine gold disks and over a dozens silver discs around the world between 1981 and 1983.
* Leee John was born John Lesley McGregor in Hackney, London, on 23 June, 1957, of St. Lucian descent. He was educated in New York, later studying drama at the Anna Scher Theatre School. He was working as a backing singer for The Delfonics, Chairmen of the Board, The Velvelettesand The Elgins when he met ...
* Ashley Ingram, a guitarist/bassist born on 27 November, 1960, inNorthampton. John and Ingram formed a songwriting partnership, resolving to start their own 'slinky, sexy and erotic' group, working in a short-lived band called Fizzz. Whilst auditioning for another short-lived band, Midnight Express, they met ...
* Errol Kennedy, born on 9 June, 1953, a drummer who was born inMontego Bay, Jamaica, and learned to drum in the Boys' Brigade and Air Training Corps.
The trio took a demo tape of a track called "Body Talk" to producers Jolley & Swain. It was released as a Single in April 1981 under the group name Imagination, a name that the group chose as a tribute to John Lennon. The track reached number 4 in the UK Singles Chart in May 1981, selling 250,000 copies in the UK and spending eighteen weeks in the Top 50. They had two more hit singles that year, "In and Out of Love" (September) and "Flashback" (November), both of which peaked at number 16, all from their debut album, also called "Body Talk".
Their biggest hit, "Just an Illusion", peaked at number two in March 1982 ("Just an Illusion" would later be used as the end title song to the 1986 movie "F/X"), followed by "Music and Lights" (number five in June), "In the Heat of the Night" (number 22 in September, also the name of their second album) and "Changes" (number 31 in December). This was accompanied by a sell-out tour of Europe, with twenty two dates in the UK. The trio frequently appeared on BBC Television's "Top of the Pops", and other pop music TV programmes, with a distinctive exotic style, reminiscent of Roman Senators, harem orderlies and slaves. John made a guest appearance on "Doctor Who" in 1983. They were also known for their esoteric album sleeve notes.
Following this the success of the group in the UK waned, but they continued to perform, tour and record until the early 1990s. John went back to acting and recently re-surfaced in the reality TV show "Reborn in the USA". Ingram also enjoyed success as a songwriter for Des'ree. Kennedy still lives in London, and is in a band playing covers for weddings and functions, with his son, Spencer.
Two Tons Of Funk Weathering the FVive
Two Tons Of Funky and Soulful Fun
The original Weather Girls were Martha Wash and Izora Armstead. They are best known for their 1982 #1 club and pop hit, “It’s Raining Men,” the recording of which music producer Paul Jabara supervised. Though the mainstream pop market considers the team a one-hit wonder, they were previously known as Two Tons O’ Fun, under which name they recorded three songs which peaked at #2 on the Billboard Hot Dance Club Play chart: “Earth Can Be Just Like Heaven” (1980); “Just Us” (1980 and also made #29 on the US R&B chart); and the Hi-NRG song “I Got the Feeling” in 1981. They also backed Sylvester and Bob Seger (1986). After the success of “It’s Raining Men,” other hits with the original line-up included “Dear Santa (Bring Me a Man this Christmas),” for which, as with “It’s Raining Men,” an accompanying music video was made, and “No One Can Love You More Than Me.”
The core audience of the team’s original lineup consisted largely of homosexual men.
In the 90’s Izora Armstead moved to Germany, where she and her daughter Dynelle Rhodes re-formed the group for touring in Europe, and in 2002 they joined the “Disco Brothers” for a participation in the German National Final for the Eurovision Song Contest with the song “Get Up”. In the end, the group only managed a 13th place out of 15. The current members of the group are sisters Dynelle Rhodes and Ingrid Arthur, who are the daughters of Armstead, who died in 2004. They released a new Weather Girls album, Totally Wild, in late 2005. It scored an underground club hit with “Wild Thang.” Like the original Weather Girls, the duo has proven very successful with its gay male core audience.
Funky Jazzed Up soulful Herbie Hancock
Master of Jazz funk
Herbie Hancock began playing piano at his home in Chicago when he was seven years old. He gave his first public performance two years later. In high school, he picked up an ear for jazz.
Herbert 'Herbie' Jeffrey Hancock was born on 12 April 1940 in Chicago, Illinois, and was given classical music training at home. He started playing the piano at the age of seven and his talents were recognised from a young age.
After he graduated from Grinnell College in Iowa, he moved to New York City and, at age 20, joined with trumpeter Donald Byrd. Byrd introduced him to Blue Note Records executives, and Hancock recorded his first solo album in 1963.
Soon, Hancock won the attention of the legendary Miles Davis, who invited Hancock to join his new group. While working with Miles, Hancock developed an interest in funk.
Hancock then decided to form his own band, The Headhunters. He began to pioneer what would later be called fusion, a mixture of funk and rock with jazz.
'Headhunters' (1973) was the first album on which Hancock used a synthesizer, and went on to become the largest-selling jazz album in history.
After a few years, Hancock returned to his roots as an acoustic pianist, with the V.S.O.P. Quintet, a recreation of Miles' band (without Miles).
In 1983, Hancock released 'Future Shock', which was a pioneering electronic work, but also a hit on both R&B and dance charts. The single 'Rock It' won the Grammy for best R&B Instrumental, and the album went gold.
Hancock released 'Dis is Da Drum' in 1994, an album based on West African rhythms.
In 1997, Hancock released '1+1', a duet session with saxophonist, Wayne Shorter. The following year, he reunited with his old Headhunter bandmates, to record an album, 'Return of the Headhunters', and for a series of summer concerts.
In 2007, Hancock, a longtime associate and friend of Joni Mitchell, released an album, 'River: The Joni Letters', that paid tribute to her work. Norah Jones and Tina Turner were among the stars to record vocals on the album. Mitchell herself also made an appearance.
The album was released in September of that year, simultaneously with the release of Mitchell's album 'Shine'. 'River' was nominated for and won the 2008 Album of the Year Grammy Award, only the second jazz album ever to receive either honour. The album also won a Grammy for Best Contemporary Jazz Album, and the song 'Both Sides Now' was nominated for Best Instrumental Jazz Solo.
In 2010, Hancock released 'Herbie Hancock's The Imagine Project', which was critically acclaimed and won the Best Pop Collaboration and Best Improvised Jazz Solo Grammys at the 2011 award ceremony. It features several fellow musicians including Seal, Pink, Jeff Beck, Dave Matthews and Chaka Khan.
As well as music, Hancock maintains a thriving career outside of the recording studio as Creative Chair for Jazz at the Los Angeles Philharmonic.
He is also chairman of the Thelonious Monk Institute of Jazz, which is an international organisation devoted to the development of the genre. Hancock also founded the International Committee of Artists for Peace.
In July 2011, Hancock was named an honorary UNESCO goodwill ambassador due to his contributions to the promotion of peace through dialogue, culture and music.
On 12 April 2012, his 72nd birthday, it was announced that Hancock has signed a deal with the Viking Press to write his memoirs, which are expected in 2014. During a telephone call from Shanghai where he is on tour, Hancock said: "I am hoping this book will not only appeal to jazz fans."
Mothers, Fathers, Sisters & Brothers - Communal Family Affair
M.F.S.B. - "Let's Clean Up The Ghetto"
Coherent and TIght House Band Of Studio Musicians - MFSB
Bobby Martin is often referred to as The Sound of Philadelphia. Gamble & Huff were owners of Philadelphia International Records since 1970. Bobby Martin was a pioneer of the Philadelphia Sound, producing hit songs back in the early 1960s. He is a producer, conductor, arranger and composer. Most would agree that Bobby Martin is the maestro of The Sound of Philadelphia. He is the bandleader and conductor of the MFSB. Bobby Martin and Bobby Martin Productions started out in Philadelphia. Bobby Martin used the MFSB on most of his productions, yet MFSB was a group as well as a house band of studio musicians. Bobby Martin used the MFSB on songs like Me And Mrs. Jones. Bobby Martin won two Grammy Awards with the MFSB, one for The Bee Gees Saturday Night Fever Soundtrack, the other for Soul Train! The Name of the Soul Train theme song was (TSOP) The Sound of Philadelphia. Bobby Martin, Gamble & Huff and the MFSB were the perfect combination.
Deemed the most sampled song of all time (Billboard Magazine); "SET IT OFF", the Strafe original, club classic, mixed “with love” by the late Walter Gibbons; available exclusively from Hard Soul Recordings as a special 12” vinyl re-issue, worldwide as a digital single and on numerous dance compilations; has now officially got it’s own bag! Tightly packed as a 10 track download & a 12 track Limited Edition Cd; featuring the new "WhaDoYaThink?" single & the 12” length "Outlaw (LuvCity TECH SOUL Remix)", the album includes early Strafe releases "React", "Comin’ From Another Place", "Get Enough" and more.
A very rare inclusion, "Inna Daze (School Daze demo)", a song composed for Spike Lee’s “School Daze” (though not included in the film), featuring Strafe on vocals, tabla, keyboards, sequencing & arranging; with the late Sam Furnace on tenor sax, Owen Romeo, additional keyboards & Lee Twine on nylon string guitar; a tune shared only with a close inner circle of friends & family; is available here now, in its’ “raw state”, for the 1st time!
The Limited Edition Cd contains never before released bonus track: "What Are You Here For", a lengthy, tribal, dance romp, performed successfully throughout the NYC tri-state area at venues including; The Funhouse, The Paradise Garage, Studio 54 & others. When performed, this track would always precede the show closer. As Strafe would chant & sing “what are you here for”, the crowd would shout: “set it off”!! For a time, Strafe management stayed on the lookout for DJ’s traveling from gig to gig, trying to get a good “bootleg recording” of the tune because it was not commercially available. Well here it is now, in all its’ bootleg glory!
Also added is the rarely performed (Village Gate, Roseland Ballroom, Danceteria) "SET IT OFF II (ElectroFunk –’83 demo)", an alternate arrangement produced, recorded & mixed on 8 tracks at the Lenis Guess Studio, 8th Ave., NYC. One of the few tracks where Strafe actually “also” plays…his cornet!
Official Biography (courtesy of Jeff Redd)
While working at General Motors in Tarrytown, NY, Jeff Redd was discovered and signed by Andre Harrell, President of Uptown Records. Once signed, Jeff Redd received a cassette tape from a co-worker. The demo tape was recorded at a local shopping mall and it featured the voice of a young lady singing Anita Baker's "Angel." That young lady became the Queen of Hip-Hop Soul - Mary J. Blige.
Following a discussion with Mr. Harrell, Jeff Redd signed Mary J. Blige to Uptown Records. She traveled with Jeff and performed as a background vocalist in order to learn the performance aspect of the business. In 1990, Uptown Records released Jeff Redd's debut album, "A Quiet Storm," which contained two top ten smash singles, "I Found Lovin'" and "Love High." Simultaneously, Jeff Redd was featured on the soundtrack for Strictly Business with the certified gold single, "You Called and Told Me," which after 18 years is still a top recurring single on WBLS and WRKS-FM in New York.
With a rapidly and progressively successful recording and performing journey, Jeff was propelled into the executive side of the music industry. Submitted proposals to MCA and RCA Records, Jeff began to write and produce for artists on their label including SWV, Bobby Brown, Regina Belle, Allure, Field Mob, and K-Ci & JoJo. When MCA Records offered Jeff a position as the VP of A&R, Jeff took on the corporate aspects of the business, and was later nominated for and became the proud winner of awards such as Grammys, American Music Awards, Soul Train Awards and Billboard Awards for distinguished albums (ie. K-Ci & JoJo, Regina Belle and Salt & Pepper).
Jeff Redd worked on soundtracks including How Stella Got Her Groove Back, The Hurricane, Eve's Bayou; and artists K-Ci & JoJo, Regina Belle, Mary J. Blige, etc. Jeff currently has his own independent record label, Sol Real Records, LLC, which has released a compilation entitled "The Essence of Soul.
Nothing Stopping This Tune Now - McFadden & Whitehead
One of the best disco songs of all times... "Ain't No Stopping Us Now" is about succeeding despite having faced all kinds of challenges ("so many things that held us down"). Ain't No Stoppin' Us Now" is a disco song performed by R&B duo McFadden & Whitehead from their debut album, McFadden & Whitehead. In 1979 the song spent a week at number one on the R&B singles chart. It was also a successful crossover hit, peaking at number thirteen on the Billboard Hot 100, and reached number 5 in the UK.
Gene McFadden and John Whitehead are best known for their worldwide hit with the dance anthem "Ain't No Stoppin' Us Now" from 1979. They also composed or produced career-defining tracks for their Philadelphia International labelmates the O'Jays ("Back Stabbers"), Harold Melvin & the Blue Notes ("Wake Up Everybody", "Where Are All My Friends") and Archie Bell & the Drells ("Soul City Walk", "Don't Let Love Get You Down").
In a career stretching back to Stax with the Epsilons vocal group in the 1960s, the duo worked, too, with James Brown, Gloria Gaynor, the Intruders, the Jacksons, Gladys Knight & the Pips, Melba Moore, People's Choice, Teddy Pendergrass, Lou Rawls and Stevie Wonder. In the 1980s, the evergreen "Ain't No Stoppin' Us Now" was used by Philadelphia sports teams and became the anthem of soul weekenders in the UK. It has been covered by the likes of Luther Vandross.
McFadden and Whitehead came from the same poor Philadelphia neighbourhood. They went to the same high school and formed a vocal group called the Epsilons with Whitehead's cousin Ronald "Roame" Lowry (later a member of Maze) and their friend Allen Beatty. When Otis Redding came to Philadelphia in 1966, the group attended his concert and met and sang for their favourite soul singer backstage. The Stax star offered them a gig doing backing vocals on tour with him and they jumped at the chance. They sang background on Arthur Conley's smash "Sweet Soul Music", a song Redding had originally earmarked for them, but, when he died in a plane crash in December 1967, the Epsilons floundered. Stax released "The Echo" as a single in 1968 but the group went back to Philadelphia.
Undeterred, McFadden and Whitehead recruited James Knight and Lloyd Parks and renamed themselves Talk of the Town for two 45s: "Little Bit Of Your Lovin'" and "Don't Be So Mean" on North Bay Records in 1971. They also began working for the songwriters and producers Kenny Gamble and Leon Huff, who had just convinced Columbia to bankroll their Motown-inspired Philadelphia International Records. Originally recruited as chief mailboy, Whitehead watched and learned from his bosses; soon he was determined to get them to listen to "Back Stabbers", the first song he had written with McFadden. Leon Huff added a piano melody and persuaded the O'Jays to record it. "Back Stabbers" became a hit on both sides of the Atlantic, earning the new label its first gold record in 1972. Over the next three years, Talk of the Town released the very collectable singles "Super Groover (All Night Mover)", "Bumpin' Boogie" and "I Apologize" on the Gamble and TSOP offshoot labels but they eventually split up. Notable among their compositions is the gospel-like "Wake Up Everybody (Part 1)" written with Victor Carstarphen for Harold Melvin & the Blue Notes in 1975.
By 1978, McFadden and Whitehead had amassed 22 gold records, two platinum albums and two Grammy nominations but they were itching to record again. "We had been helping other people rocket to the moon." recalled Whitehead. "Gamble and Huff thought we were happy as writers and producers. Finally, they agreed to let us go into the studio record one song. The first thing that came into our minds was: ain't no stopping us now!" They couldn't follow up their huge 1979 smash and "I Heard It In A Love Song" and "I've Been Pushed Aside" were only minor hits before they both signed to Capitol for the "Movin' On" album in 1982.
Whitehead subsequently served a brief prison sentence for tax evasion and issued a solo album, "I Need Money Bad", in 1988. He and McFadden reunited for corporate functions and nostalgia shows in the 1990s.
John Whitehead was shot dead on May 11th 2004 while working on a car in a Philadelphia street. Gene McFadden died from cancer on January 27th 2006.
Rare and Classical Funky Grooves and Vibes
Funky Soul and Rare Grooves
A righteous undertaking of great magnitude, What It Is! Funky Soul and Rare Grooves trawls through a decade-long stretch of the Warner-distributed archive -- taking in the catalogs of Warner Bros., Atlantic, Reprise, Atco, and smaller nodes like Cotillion, Curtom, Alston, and Jonie -- and pulls up 80 soul/funk truffles, almost all of which were left for dead shortly after release. While many of these cuts have been repurposed as vital ingredients of hip-hop tracks, which has in turn fostered a voracious collector's market (it would cost a fortune to collect these songs in their original formats of release), the box is a leagues-deep trawl through an otherwise forgotten past(Kellman)
Funk In Trouble with Trouble funk
Miles off the radar of popular music during the early ‘80s, Trouble Funk energized their D.C. home with the sound of go-go music, an uproarious blend of swinging, up-tempo ‘70s funk and a ‘60s style horn section. The band formed in 1978, and the lineup coalesced around drummer Emmet Nixon, percussionists Mack Carey and Timothius Davis, guitarist Chester Davis, bassist Tony Fisher, trombone players Gerald and Robert Reed, trumpeter Taylor Reed, keyboard player James Avery, and saxophonist David Rudd. Trouble Funk earned a loyal fan base for their notoriously can’t-miss live act, a raw, party friendly version of dance and funk with few songs but plenty of extensive jams organized around audience-friendly vocal tags and call-out hooks. The first go-go record released outside of D.C., Trouble Funk’s 1982 debut “Drop the Bomb” appeared on Sugar Hill, the same label then championing early hip-hop. (The two styles had very similar origins, in the break beat culture of urban block parties.) Also in 1982 they released a single “So Early In The Moring” on D.E.T.T. Records, later reissued on diverse labels as 2.13.61 & Tuff City.
Trouble Funk sometimes shared the stage with hardcore punk bands of the day such as Minor Threat and the Big Boys. This decision was made by promoters. Unsurprisingly, go-go heads didn’t shave down to Mohawks and thus ended the failed marriage of the two scenes. Though the band’s second album, “In Times of Trouble”, appeared only on the local label D.E.T.T., Trouble Funk earned national distribution with a prescient concert record, “1985’s Saturday Night (Live from Washington, D.C.)”, released through Island. After taking the live act nationwide and even worldwide (they played the 1986 Montreux Jazz Festival), Trouble Funk returned in 1987 with the boundary breaking “Trouble Over Here, Trouble Over There”, featuring sympathetic heads like Bootsy Collins and Kurtis Blow. It was a bit of a stylistic misstep, however, Island released the group from its contract. Their song “Pump Me Up” has been sampled by many other artists and is featured in Style Wars and the fictional R&B radio station Wildstyle in the game Grand Theft Auto: Vice City. Also, the song “Pump Me Up” was sampled in Dimple D’s one hit wonder “Sucker DJ” which went to #1 in Australia.
Keyboard player Robert “Syke Dyke” Reed passed away at aged 50 on April 13, 2008 from pancreatic cancer.
Undeterred, Trouble Funk kept on grooving around the city, playing often, even into the ‘90s and 2000’s, for nostalgic party goers as well as the musically curious. Today, Trouble Funk continues to remain a figure on the Washington D.C. area live music scene and you can catch them doing their known tunes as well as some new.
Innet City In The City Having A Good Life
Inner City - "Good Life
With retro House and Techno styles experiencing something of a revival through new artists like Ejeca and Julio Bashmore, it’s a matter of time before renewed interest is shown in old-school artists that originally pushed
While the likes of “Good Life” and “Big Fun” always pop up when people talk about Inner City classics, for me it was the slightly later early 90s material that sent my boat a-floating. Tunes like “Hallelujah” and “Praise” were firm favourites on my turntables and still are to this day.
This period also saw them drafting in some of electronic music’s finest on remix duties, the most notable of which is this phenomenal Future Sound Of London remix, released in 1992.
At 15 minutes long, it’s not for the faint of heart but for those with the patience for the duration, the reward is a truly amazing piece of house music.
Inner City – Praise (The Future Sound Of London Conceptual)
Positive Force with Positive Funky Groove
Positive Force - "We Got The Funk"
An eight-piece funk/soul band consisting of six males and two females (Brenda Reynolds and Vickie Drayton), Positive Force were founded in Pennsylvania through the efforts of Reynolds and Albert Williams. They were discovered by Nate Edmonds, an organist/pianist, writer, arranger, and producer for All Platinum/Stang/Sugarhill Records, who got them a deal with Sugarhill. Edmonds, who served as the group's mentor, also played organ with Curtis Knight & the Squires, a band that included Jimi Hendrix, in the mid-'60s. Positive Force's most-successful performance was an uncredited party ambience performance on the Sugarhill Gang's "Rapper's Delight." However, success under their name eluded them; their debut, "We Got the Funk" (1979), flopped in the States but became a small-ish club hit in the United Kingdom.
Sugarhill issued an album, Positive Force, in 1980 along with a second single, "Especially for You." Again, nothing sales-wise in the States, but they enjoyed a little cult following in the U.K. and appeared on the Top of the Pops television show -- their first and only taste of stardom. "We Got the Funk" made a second appearance on the U.K. charts as part of a medley from Calibre Cuts; the occasion marked their last chart showing. They reemerged in 1982 as Positive Express for a final album, entitled Changing Times, a joint venture by Victory and Sugarhill Records. After the single "Welcome to the Party" b/w "Not on the Outside" (the Moments' debut hit) stiffed out, they disbanded. Though known for funk, Positive Force/Express had a slow side, which they demonstrated on their albums via tearjerkers like "Today It Snowed."
Shannon - "Let The Music Play"
Shannon (born Brenda Shannon Greene, May 2, 1958) is an American singer. She is best known for her 1983 million-selling record, "Let the Music Play". The record re-defined the electro funk sound that Arthur Baker and John Rocca (who produced "I.O.U" by Freeez) developed in 1982, which would eventually be called freestyle music.
In the spring of 1983, Greene was enrolled at York College and toured with the New York Jazz Ensemble. Quintin Hicks, an associate of the production team of Mark Liggett and Chris Barbosa, later saw Shannon singing with a live band in her cousin's recording studio. Shannon auditioned for Liggett and Barbosa with the song "She Can't Love You Like I Do". They introduced her to the track "Fire and Ice", which would later evolve into Shannon's signature song, "Let the Music Play". This title would also be applied to Shannon's debut album.
In July 1983, the "Let the Music Play" single was released and Shannon was invited back to record more songs with Liggett and Barbosa. "Let the Music Play" had become acknowledged as the first Latin freestyle track. The single reached #8 on the Billboard Hot 100 and #1 on the U.S. Hot Dance Club Play chart. It spent six weeks at #1.
Her debut album, Let the Music Play, was released in February 1984. The follow-up single from the album was "Give Me Tonight", which hit the top spot on the Hot Dance Club Play chart. It also became a significant hit on Urban radio. In the U.S., the third single was "My Heart's Divided", another Latin freestyle track, which again featured Jimmi Tunnel on the refrain vocals. "Sweet Somebody", a mid-tempo soul effort, made the Top 40 in Europe.
Let the Music Play went on to sell over 8 million copies worldwide. Shannon was nominated for a Grammy and received numerous other awards, including the Dianah Washington (Jack the Rapper) Award, the Hall of Fame Award, the Gold Ampex Reel Award, a certified gold disc by the Recording Industry Association of America, and the Best Billboard Top 10 female R&B vocalist.
In 1985, Shannon released her second album, Do You Wanna Get Away, which sported a sound similar to that of her debut album. The title track became her third #1 on the Dance charts and became her third and final chart hit on the Billboard Hot 100 to date. She scored three more dance hits from the album, including "Stronger Together", a cover of "Urgent" by Foreigner, and "Stop the Noise", with a video sponsored by Pepsi and Black Angus. Her third album, 1986's Love Goes All the Way, was not as successful as her previous LPs.
Shannon asked to be released from her recording contract with Atlantic Records in 1987. Earlier that year, she recorded one last single, "Criminal", for the movie Fatal Beauty. While touring the world, Shannon attended and graduated from the American Academy of Dramatic Arts in New York City.
In the late 1990s interest in Shannon rekindled, when VH1 spotlighted her on their One Hit Wonders series.Entertainment Tonight also taped a special about her life. In 1998, she co-wrote and sang on the track "Take a Little Time" by Les Rythmes Digitales.
In 2000, Shannon released her fourth studio album, The Best Is Yet to Come, on which she is credited as a co-writer. Chris Barbosa was invited back as a producer, along with Andy "Panda" Tripoli and Tony Moran. A Greatest Hits album was released in November 2004.
On April 20, 2006, Shannon participated in the Freestyle Extranvaganza concert along with Judy Torres, George Lamond, Cynthia, Lisette Melendez, Lisa Lisa and Cult Jam, the Cover Girls, Hanson and Davis, Coro, and Stevie B.. The event was sponsored by WKTU, WSKQ, and WCAA in New York.
Brass Construction - The Best Ever!
Brass Construction - Changin'
Brass Construction - "Moving'"
Led by singer and keyboards player Randy Muller (Guyana), Brass Construction was a leading group in the disco movement of the 70s. Muller originally formed the band in Brooklyn, New York, as Dynamic Soul, mixing funk, salsa and reggae rhythms with a more orthodox jazz line-up to create a highly danceable sound. Renamed Brass Construction, the nine-piece group was signed by United Artists in 1975. The members included Michael Grudge (b. Jamaica) and Jesse Ward Jnr. (saxophones), Wayne Parris (b. Jamaica) and Morris Price (trumpets), Joseph Arthur Wong (b. Trinidad; guitar), Wade Williamson (bass), Larry Payton (drums) and percussionist Sandy Billups. With infectious polyrhythms and minimal, chanted vocals, the group’s first release, ‘Movin’’, topped the R&B charts and was a number 14 US pop hit in April 1976. It was followed by ‘Changin’’, ‘Ha Cha Cha (Funktion)’ and ‘L-O-V-E-U’, which were all bestsellers. Later singles were less successful, although successive Brass Construction albums rode the disco boom. Muller also wrote for and produced New York disco group Skyy and B.T. Express. The group’s popularity dwindled in the 80s, although the remix craze brought numerous versions of their early hits into the clubs in 1988, including ‘Ha Cha Cha (Acieed Mix)’.
98.7 kiss fm Mastermix _ New York 1981 _ part 1
The Closing Of 98.7 KISS FM In New York
For over three decades, 98.7 Kiss FM gave the Big Apple all the Soul and R&B it could handle … but no more. Citing failing ratings, the legendary radio station stopped broadcasting at midnight Sunday. Taking its place? Ugh, another sports talk radio station. Kiss was renowned as part of the local African American community — in particular, it helped bring hip-hop to the mainstream back in the ‘80s. Some of the station's most popular programs will be carried over to longtime rival, WLBS.
This was a radio station that was loved and partly owned b African Americans, and now it has been wiped off the face of radio. ESPN is said to have bought the Airtime for an indefinite time, and the intellectual property of KISS FM has been sold to to WBLS. This was a great loss for the Africa community
Marcia Griffiths's "Electric Slide"
Marcia Griffiths - Electric Boogie (Long Version) 1983
Marcia Griffiths has been performing and recording as a top class artist for four decade. She says “I started singing professionally as a vocalist in 1964, for Byron Lee and the Dragonaires band.” Her recording years started soon after, at Coxsone Dodd - Studio One where she recorded her first hit “Feel Like Jumping.”
It was while recording at Studio One that Marcia teamed up with Bob Andy on ‘Really Together,” the first of many duets that the two would record. “Luckily for me, Bob Andy was always a strong and wise person”, says Marcia. “He was there for me in the early days and that gave me confidence”. Then the pair moved to the Harry J Label, hitting the British, as well as the International charts with “Young Gifted and Black” and “The Pied Piper,” recording two albums of the same titles.
Following that duet success, she went solo again on the High Note label with Reggae’s sole established female producer - Sonia Pottinger - hitting with several songs including her own original “Stepping Out of Babylon.” and releasing two albums “Naturally” and “Stepping”. When asked to express her opinion on female reggae vocalists, Marcia said “Its been a rough, tough job standing up as a woman in this business, that’s why my album before “Land of Love” I chose to call “Indomitable”, which means not easily discouraged or defeated. My views on women in reggae are positive; most of the new or upcoming female singers in reggae started out singing my songs before doing their own originals. I feel very good about that; to know that I have influenced my people positively.”
Ten years after entering the music business, Marcia united with Judy Mowatt and Rita Marley to form the I-Threes as an important part of the Bob Marley entourage. “Words are not enough to express my experience with the I-Threes and Bob Marley and the Wailers”, says Marcia. “What a blessing to be so privileged…to have shared this experience”.
Currently Marcia is one of the leading female artists on the Reggae scene.
Marcia gained solo international recognition with her monster hit “Electric Boogie.” This song was first recorded in 1982 and went to the #1 spot on the Jamaican charts. Sales continued over the years and in 1989, a Washington, DC Disc Jockey started playing it regularly and in no time, it caught on and hit the station’s regular rotation list.
A new dance, the Electric Slide, was created from the “Electric Boogie” song and as a result, sales soared and the “Electric Slide” became popular all over the U.S. The song and dance have been featured on the Oprah Winfrey and Phil Donahue shows, and the video has been aired many times on the Black Entertainment TV (BET) and other nationwide music networks.
Marcia Llyneth Griffiths was born on November 23, 1949 to Joseph and Beatrice Griffiths. The family hailed from a poor section of West Kingston, but as bad as things were, Marcia considered those days glorious, because there was always one thing in abundance - one thing that made them the wealthiest family in the world - one thing that no one could take from them… Love.
Funky And Sassy Stargard
Stargard - "Wear It Out"
"Which Way Is Up" - Stargard
Stargard - Which Way Is Up
Stargard - "Runnin' From The Law"
Heavily influenced by Labelle and the Pontr sisters, Stargard was a female R&B vocal group that was best known for providing the theme song from the 1977 film Which Way Is Up. Rochelle Runnells, Debra Anderson, and Janice Williams -- who comprised Stargard's original three-woman lineup -- didn't go for the type of breathy, sweet, girlish vocals that the Supremes and the Three Degrees were known for. Like Labelle and thePointer Sisters, Stargard favored robust, aggressive belting and brought a gospel-like passion to its funk, soul, and disco.
Stargard signed with MCA in 1977, when its first single, the ultra-funky "Theme from 'Which Way Is Up'" (a Norman Whitfield gem), soared to number one on the R&B singles charts. Stargard's self-titled debut album came out in early 1978, and later that year, MCA released the trio's sophomore effort What You Waitin' for. That album's funky title track (also written by Whitfield) became a Top Ten R&B hit, but after that, Stargard lost its commercial momentum. In 1979, Stargard left MCA for Warner Bros. and recorded its third album, The Changing of the Guard, which was produced by Robert Wright and Earth Wind & Fire's Verdine White (Maurice White's brother) and contained the single "Wear It Out." That superb album had the makings of a smash, but regrettably, it didn't do nearly as well as it should have. In 1980, Anderson left the group, and Runnells and Williams decided to carry on as a duo instead of hiring a replacement. As a duo, Runnells and Williams recorded 1981's Norman Whitefield-produced Back 2 Back for Warner Bros. and 1982's Nine Lives (which Runnells produced) for MCA. Both of those LPs received very little attention, and in 1983, Stargard broke up. ~ Alex Henderson, Rovi
The Sledge Sisters
Sister Sledge - We Are Family - 1979
Sister Sledge - He's the Greatest Dancer (1979)
Debbie, Kim, Joni and Kathy Sledge sang in church before conquering the charts in the 70s and 80s with Grammy-winning disco classics. But as disco died, so did their careers.
Siblings Debbie, Kim, Joni, and Kathy Sledge - collectively Sister Sledge - began singing at an early age at the Williams Tempe C.M.E. church in their hometown of Philadelphia.
Grandmother Viola Williams (a former opera singer) had the girls performing at charities, civic and political affairs and other philanthropic events under the name 'Mrs. William's Grandchildren'.
Since the 1979 release of their breakthrough album ‘We Are Family’, this remarkable group has continued to develop and expand their diverse talents, and has received over one hundred awards and commendations for outstanding work in the entertainment field.
Sister Sledge are established as one of the world's most successful female groups. The album, ‘We Are Family’ soared past the RIAA Platinum mark, reaching the top of both Pop and R&B charts.
In the 1980s, the world witnessed the full flowering of four college graduates, with subsequent hits, ‘Lost in Music’, ‘Love Somebody Today’, ‘Reach Your Peak’ and the international Gold Record, ‘Frankie’.
In the following years they sold millions of records worldwide, and travelled extensively in Asia, Africa, Europe, the Middle East, South America, Australia and the United States, earning rave reviews.
Despite the odd line-up change, Sister Sledge continue to tour and make music together
Eve - "Who's That Girl"
Show Business News (US) -With her long-awaited Lip Lock album just a couple months away from dropping, former Ruff Ryders rapper Eve, in an interview with hip-hop site SOHH.com, to give the inside scoop on taking a music hiatus and what’s changed over these past 10 years.
When asked what motivated her to get back into the recording booth to add to her already impressive résumé, Eve cited music as one passion she will never abandon for good.
“I’m a musician, you never stop being a musician, it’s just like how artists never stop painting,” E-v-e told SOHH when asked about her motivation for dropping a new album. “Poets never stop writing poetry. I’m a musician, I’m an artist, I’m a hip-hop artist. Music is my passion, it’s my therapy, it’s my first love and I feel like yeah, it took a minute for me to come back out but I needed to be inspired again. And I wanted to make sure the business was right. Right now, it did take a minute, but everything’s so great. I’m inspired again, I’m excited, it feels like I’m a new artist. It just feels right, right now.” Although a decade has passed since her last full-length studio effort dropped, Eve promised fans could rest assured her lyrical skills are still sharp.
“It’s a huge change, obviously that [Eve-olution] record came out ten years ago,” Eve added when asked about how she’s changed since her 2003 release. “Obviously I’ve definitely grown. Lyrically, I feel people will still be like, ‘D*mn, that’s my girl," But, yes, the music is different. I’ve traveled the world now. I travel all the time, actually. I live in London so it’s like my whole ear is different but lyrically, hopefully people will be like, ‘D*mn, that’s my girl!’ That’s the one thing I wanted to keep the same as far as how I flow and things like that. I think the music is more worldly, more global, maybe.”
Lee Oscar His Harmonica and his Musical raod
LEE OSKAR (1948.03.24/Copenhagen, Denmark - ) is a harmonica player born in Copenhagen, Denmark in 1948, Oskar was six years old when a family friend gave him his first harmonica. “Everyone in my neighborhood was playing one that year,” he remembers. “The next year, the fad was the yo-yo, but I had fallen in love with the harmonica, and stuck with it.” He grew up listening to Danish radio, enjoying all types of music and cites Ray Charles as the biggest influence from that period.
Oskar moved to the United States at the age of 18 with little more than a harmonica in his pocket. Arriving in Los Angeles, CA via a few other cities, Oskar soon met and joined forces with Eric Burdon who had recently disbanded the Animals and was searching for new collaborators. Together, the harp-playing Danish and the British blues-rock singer made the rounds of the L.A. clubs, eventually hooking up with the soon-to-be members of WAR.
Burdon agreed to the novel idea of pairing up Oskar’s harmonica with Charles Miller’s saxophone to form a horn section. This team-up set WAR apart from the start, giving Oskar room to display the full spectrum of his improvisational prowess.
Oskar’s signature harp solos helped to define the WAR sound from the band’s beginning in 1969, adding dashes of color to their R&B/Jazz/Rock and Latin influences.
Manu Dibango - ABELE!
Manu Dibango - "Abele Dance" Original 12 inch Version 198
Soul Makossa - Manu Dibango (funk/break beat)
12 December 1933, Douala, Cameroon. Sent to France to complete his education in 1949, Dibango lived in Paris until 1956. By now a proficient saxophonist and classically trained pianist, he then moved to Brussels, Belgium. In Brussels, he played regularly at the Black Angels Club, developing his fusion of jazz and Cameroonian makossa music. In 1960, he joined the band led by the father of modern Zairean music, Joseph Kabasele, then toured Europe with African Jazz. Returning to Zaire with Kabasele, he stayed with African Jazz until 1963, when he returned to Cameroon and formed his own band. In 1965, just as the soul music explosion was hitting Europe, Dibango returned to Paris, where he supported himself as a studio musician, also backing up visiting black American and African musicians.
Dibango recorded his first album, Manu Dibango, in 1968, followed by O Boso (1971) and Soma Loba (1972). Informed by jazz and R&B, all three albums were essentially in the same urgent - at times fantastically raucous - makossa mould, which Dibango successfully introduced to the international marketplace. The beginnings of his big-time international breakthrough, however, came in 1971, during a brief visit to Cameroon. President Ahidjo commissioned Dibango to write a patriotic song for the Africa Cup football match to be played in Douala, and on the b-side Dibango recorded a throwaway instrumental titled ‘Soul Makossa’. It took two years for the ‘Soul Makossa’ seed to sprout, but when it did, it grew fast. In 1973, New York radio disc jockey Frankie Crocker played the track on station WLIB and unleashed a tidal wave of makossa fever in the city. A total of 30, 000 import copies were sold within a week, and 23 cover versions recorded within a month. Atlantic Records then bought the USA rights and shipped an initial 150, 000 copies over from France, to tide them over until they could get their own pressings into the shops. Dibango went on to win a Gold Disc for USA sales of the record, and was nominated for the annual Grammy Award for the Best R&B Instrumental Performance Of The Year. Similar success stories occurred all over Europe and Africa. In the 90s Dibango won a legal suit against Michael Jackson for his use of ‘Soul Makossa’ on ‘Wanna Be Startin’ Somethin’’, included on one of the 80s biggest selling albums, Thriller.
For the rest of the 70s, Dibango divided his time between Paris and Douala, having further singles successes with ‘Big Blow’ and ‘Sun Explosion’ and recording a string of superb albums for a variety of labels - most notably Super Kumba, Ceddo, Afrovision, Big Blow and A L’Olympia. Signed to the UK label Island Records in 1980, he recorded two reggae-infused albums, Ambassador and Gone Clear, featuring the leading Jamaican rhythm team of Sly And Robbie. In 1983, Dibango recorded the live album Deliverance, the strings-accompanied Sweet And Soft, and two solo piano albums, Melodies Africaines Volumes 1 & 2, before collaborating with French producer Martin Meissonnier on the single, ‘Abele Dance’. The avant funk/African collisions explored on this single were further developed on the Bill Laswell -produced albums Deadline and Electric Africa.
Late in 1986, Dibango returned to the studio to record Afrijazzy, which included a Laswell-produced remake of ‘Soul Makossa’. Dibango’s autobiography, Trois Kilos De Cafe, written with D. Rouard, was published in France in 1990. The same year he released an album of re-recorded hits from his pan-African back catalogue, including ‘Pata Pata’, ‘Independence Cha Cha’ and ‘Merengue Scoubidou’, also under the title Trois Kilos De Cafe. The following year he returned to the studio with Working Week producer Simon Booth for Polysonik, in tandem with international touring commitments. An autobiographical film, Silences, and further studio records followed during the remainder of the decade.
Down To The Bone - Jazz/Funk Group
Down to the Bone - "Staten Island Groove"
Down To The Bone ft Roy Ayers - Electric Vibes
Down To The Bone
Down To The Bone is Stuart Wade as producer, writer and mastermind behind the whole groove project, working with other talented musicians and co-writers to bring together a project of good grooves.
Set up at the tail end of 1995 when Wade decided to take a track from the soul band he was in at the time, Think Twice, and remix it to give it a rawer and stripped down feel. The result was the Down To The Bone remix of the track ‘Joy Is Free’ which had great success.
Following on from the success of his remix he teamed up with Think Twice keyboard player, Simon Greenaway, to put together a string of songs. This resulted in the first release on a 12” single of “Staten Island Groove”. Released on Internal Bass Records, a label Wade set up with another member of Think Twice. This resulted in rave reviews for the single and club and radio play in the U.K.
It was at this time that Stuart decided to try to complete an album. Wade had to look for future musicians to work with, whilst still working with Internal Bass Records. This resulted in the introduction of musicians like Richard Sadler, Richard Wargent, Neil Cowley, Tim Best in order to complete the first album.
After the completion of “From Manhattan To Staten”, a title Wade came up with to show his influences from across the pond, it was decided to try to take the whole sound over to America to see what would happen .Not expecting anything, Wade was astounded by the huge response after two important guys at U.S. Jazz radio, Blake Lawrence and Steve Williamson decided to take it upon themselves to play DTTB on their stations. With support from people like DJ Chillfreeze, Marc E Copeland, Rick Laboy, Cozmic Cat and Andrea â€˜DJ Sun and some Urban radio interest, DTTB was introduced to a US audience.
It was clear DTTB happened to be in the right place at the right time. The momentum grew and “From Manhattan To Staten” reached No.2 in the National US Billboard Jazz Chart, No.3 in the Gavin Jazz chart and No 4 in the Radio and Records Jazz Chart. DTTB was also the No.1 top selling independent Jazz artist of 1999, No 5 top selling Jazz artist and album of 1998 and No 5 top selling Jazz artist and album in 1999 and with a string of radio hits in the U.S it shows how DTTB have been able to accumulate well over half a million sales worldwide.
Wade later signed to Verve Records to enable him to record his fourth album “Crazy Vibes and Things” in 2002 after releasing three on Internal Bass Records after splitting from the label he co-ran. With more and more demands for live appearances DTTB was becoming a well established act, especially in the U.S. So much so that Wade had to concentrate on the U.S for the live side of things, much to his frustration at not being able to gig so much in his home country of the U.K .Something he hopes to change with his new signing to Dome Records in the UK.
After a short spell on Verve Wade decided to move on and sign with Narada/Blue Note where he recorded three albums “Cellar Funk” , “Spread Love Like Wildfire” and “Supercharged” and then “Future Boogie” on Shanachie in the US, Freestyle Records in the UK and Swanky in Japan.
It has always been Wadeâ€™s aim to pay respect to his mentors and he is thrilled to actually be working with some of them as guests on his albums. Such greats as, Rueben Wilson, Brian Auger, Jeremy Steig, and Roy Ayers and multi talented vocalists like N’Dambi, Flora Purim, Corrina Greyson, Hil St Soul and Guida De Palma and most recently Imaani.
This all leads up to Down To The Bone's new album “The Main Ingredients”, which gets released in the summer of 2011 on Dome Records for the UK/ Europe/ SouthAfrica/ Australia and New Zealand. Trippin’n Rhythm Records for the US/Canada and P-vine Records for Japan.
The Main Ingredients takes the band into near double digit territory marking their 9th release and one that takes the band back to its original roots with 10 tracks still steeped in groove but with a heavy dose of 21st century glaze. There is plenty of meat on the Bone here with tracks like “Uptown Hustle” and “Second Nature” that will find welcome satisfaction among their minions along with a heaped helping of non-signature flavours like the sides “Watch Me Fly” a two step soul inspired groove co-written by Trippin label mate Oli Silk and the Brand New Heavies inspired “Closer”, both featuring vocals and co-writing skills from Imaani. All in all a funk/groove feast sure to invigorate the taste buds of all who crave music that makes you move.
The Main Ingredients has, as the title suggests, amalgamates all the base ingredients that got the band from Wade’s early concept to the massive success it is today yet purposefully sprinkled with some surprise spices to keep the sides interesting, funky and on the edge.
Some media comments about “The Main Ingredients”
“Second, to sheer brilliance with which the ten tracks are recorded, a primeval, but very down to earth thing that reverberates far and really gathers speed, especially if you really turn the speakers up.” (Michael Arens-Soul Train Online- Germany)
DTTB bring an abundance of instrumental funky jazz that deserves it’s own individual merit and is a throwback to the early 80â€˜s Brit Funk era. To be commended, good stuff!!! (Soul Survivors Magazine - UK)
DTTB have pulled out all the stops on this with a sense of infectious optimism. The grooves are as solid as ever .The Main Ingredients is one of their strongest, if not their strongest sets to date . (Echoes Magazine - UK)
Tyronne Brunson - "FresH)
The Fresh Vibe of Tyrone Brunson
Bassist - Singer - Songwriter - Producer Hails from Washington, D.C. He played in local funk bands in the 70's, most famous of them Osiris . In 1982 he was signed to the Columbia-distributed Believe in a Dream. His first single, the instrumental "The Smurf", tapped into what was then a New York dance craze, and the song won international club recognition. But when the smurf trend cooled, so did Brunson. He did not followed the success of this single although he released three albums through the 80's. Later he did background vocals for Levert. He went on to become teacher of computer networking.
The Whispers - It's A Love Thing Official Video
One of R&B music's most beloved and consistently popular vocal groups, The Whispers, began their legendary and timeless career in 1963. Twin brothers Walter and Wallace Scott joined with friends Nicholas Caldwell, Marcus Hutson, and Gordy Harmon to form a local singing group. They perfected their tight harmonies on the street corners in the Watts section of Los Angeles and in nightclubs in the in the San Francisco/Oakland Bay Area.
They began singing together as "the Eden trio" created by Nicholas Caldwell and Marcus Hutson. Later, they were renamed "The Whispers" by Lou Bedell of Dore Records. The group recorded nine singles for the Dore label between 1964 and 1967. Their fame grew in the Bay Area while performing in a series of what was known as "The Battle of the Bands" where they competed against other local acts for their fans appreciation and affection. In 1969 they released "The Time Will Come" for a small L.A. based label Soul Clock Records, and subsequently recorded their first Top 10 R&B hit, "Seems Like I Gotta Do Wrong," in 1970 when the group switched to Janus Records. By 1971 Gordy Harmon decided to leave the group and was replaced by Leaveil Degree who had previously sung with "The Friends of Distinction".
The Whispers produced a string of hits over the next two decades and emerged as the leading romantic singers of their generation, racking up one gold album after another and charting numerous R&B hits throughout the seventies and eighties. The Whispers were the first artists featured on the newly formed Soul Train label (co- owned by the TV show's creator and host Don Cornelius and entrepreneur Dick Griffey). They gained national attention with their seventies albums, "One For The Money", "Open Up Your Love", and "Headlights" producing two singles that graced Billboard's Top 20 R&B Charts: "(Let's Go) All the Way" and "(Olivia) Lost and Turned Out".
Patrice Rushen - She Still Feels Good, Sounds Fantastic and Very Pretty
Keyboardist/singer/songwriter/arranger/musical director Patrice Rushen has had an outstanding career with several Top Ten R&B hits, including “Haven't You Jeard,” “Forget Me Nots,” “Feels So Good” and “Watch Out.” Arguably she has received much of her popularity through other acts copying or sampling her material. “Forget Me Nots” was the basis of Will Smith’s “Men In Black” from the blockbuster movie of the same name on Big Willie Style and George Michael extensively used the same track for his hit ‘Fastlove', R Kelly's “Remind Me” was sampled from her “You Remind Me,” a popular radio-aired LP track from Straight From The Heart. Others who have sampled Rushen’s music include Def Jeff (Rushen’s “Hang It Up”) Zhane (“Groove Thang”) and a dance act called Daddy's Favorite who remade ‘Haven’t you heard’ into a track called “I Feel Good Things For You",”.
Born September 30,1954, in Los Angeles, CA, Rushen’s parents enrolled her in music classes at U.S.C. when she was three. In her teens, she won a solo competition at the 1972 Monterey Jazz Festival. The attention garnered from this earned her a contract with Prestige Records. After recording three albums and becoming an in-demand session player, Rushen signed with Elektra Records in 1978. Forging an engaging jazz/R&B/funk fusion, she regularly hit the R&B charts. Her five albums for the label were Patrice, Piizzazz, Posh, Straight, and Noe. Some of these sides can be found on Haven’t You Heard:The Best of Patrice Rushen.
Tania Maria - The evergreen and SoulfulBrazilian Songstress
Tania Maria - "Come With Me Now"
The Brazilian singer, Tania Maria
Tania Maria (born May 9, 1948) is a Brazilian artist, singer, composer, bandleader and piano player, singing mostly in Portuguese or English. Her Brazilian-style music is mostly vocal, sometimes pop, often jazzy, and includes samba bossa, Afro-Latin, Pop and Jazz Fusion.
Born in Sao Luis, Maranhao, northern Brazil, she has a degree in law, and married early and had children. Tania Maria began playing the piano at the age of 7, became a leader at the age of 13, when her band of professional musicians, organized by her father, won first prize in a local music contest and went on to play for dances, in clubs and on the radio. Her father, a metal worker and a gifted guitarist and singer, had encouraged her to study piano so that she could play in his weekend jam sessions, where she first absorbed the rhythms and melodies of samba, jazz, pop music and Brazilian chorinho. Since then, she has never worked in anyone else's group. Maria's first album Apresentamos was released in Brazil in 1969, followed by Olha Quem Chega in 1971, but it was a move to France in the late 1970s that exploded Tania onto the international scene. At a concert in Australia, her formidable musical precision and freewheeling spirit caught the attention of the late American guitarist, Charlie Byrd, who recommended her to the late Carl Jefferson, founder of Concord Records.
Tania has played virtually every important jazz festival in the world and has appeared on countless television and radio programmes. Tania has recorded more than 25 albums, and in 1985 was nominated for a Grammy Award in the category "Best Jazz Vocal Performance, Female. Tania performed at prestigious venues like The Blue Note and famous festivals like the Monterey Jazz festival in '81, '83 and '89, Saratoga Jazz Festival, JVC Jazz Fest 1991, Montreux Jazz Festival, New Orleans Heritage Festivals, Puerto Rico Heineken Jazzfest 2001, Malta Jazz Festival 2003 at Maltese Islands, Novosadski Jazz Festival 2004, Belgium's Jazz Middelheim 2007, and has played with such greats as Steve Gadd, Antony Jackson, Sammy Figueroa and Eddie Gomez.
Herb Alpert - Rise (1980)
It was no less than Miles Davis who once opined, "You don't have to hear but three notes before you know it's Herb Alpert." True enough, while Alpert's name isn't often mentioned in the same sentence as the other icons of West Coast jazz (many of whom appeared on records produced by his and Jerry Moss' A&M label), his trumpet has one of the most recognizable and iconic voices in postwar instrumental performance. While Latin rhythms had already gotten their foot in America's door, thanks to artists like Tito Puente and Desi Arnaz, as founder and star of The Tijuana Brass in the 1960s, Alpert introduced a whole new sound based in upbeat Mexican mariachi and banda rhythms, crossed with romantic balladry and vibraphonic vocabularies.
On Feb. 7th, 2011, Alpert and his highly accomplished wife, vocalistLani Hall, released their latest CD on the Concord Records label, I Feel You.The album, driven by Hall's sultry and drivingly authoritative vocal stylings in counterpoint to Herb's mellow yet trenchant horn, feature their reimaginings of vocal jazz standards like "Fever," "There Will Never Be Another You,"and "'Till There Was You," along with pop classics that parallel A&M's golden era.
Before the '60s went psychedelic, Alpert's sound defined the decade, from swinging spy movies to jazz bars and bachelor pads across the country. No self-respecting "Mad Man" in the Don Draper era would have been without an album or two from the TJB, or their equally iconic covers. To this day, perhaps no album cover is as well- remembered—or parodied—as 1965's Whipped Cream and Other Delights (A&M, 1965). Using the TJB's success to build A&M Records into a powerhouse perhaps second only to Motown among the major indie labels of the era, Alpert watched A&M's revenue go from $500,000 in 1964 to nearly $30 million just three years later. The performers who called A&M home during the late 1960s and '70s read like a veritable Who's Who of rock, pop and jazz royalty. From Karen Carpenter, Supertramp, The Police, The We Five, Cat Stevens, Joe Cocker, Billy Preston, the Captain and Tennille, and Peter Frampton to straight-ahead and Latin legends like Stan Getz, Gerry Mulligan, Chet Baker,Gato Barbieri, Chuck Mangione, George Benson, Sergio Mendes, andBurt Bacharach—all recorded at A&M's historic studios on La Brea in Hollywood, the former site of Charlie Chaplin's studio lot.
The Jazzy, Soulful and Funky Mark Whitfield
AQUI & AJAZZ, MARK WHITFIELD - "South Street Funk"
Mark Whitfield graduated from Boston's prestigious Berklee College of Music in 1987 where he studied composition, arranging, film scoring and conducting as well as all styles of guitar performance. Later on that year, he returned to his native New York, and immediately began his professional career. Within a few months, he had begun to perform and record with many well-known artists including Dizzy Gillespie, Jimmy Smith, Herbie Hancock, McCoy Tyner, Art Blakey, Jack McDuff, Betty Carter, Carmen McCrae, Dianne Reeves, Joe Williams, Cleo Laine, Wynton Marsalis, Branford
Marsalis, Terence Blanchard, Stanley Turrentine, Clark Terry and many more.
As a result of the popularity awarded gained while amassing this impressive resume, Whitfield was dubbed “The Best Young Guitarist In The Business”, by The New York Times. In September of 1990, Warner Brothers Records released Whitfield's debut solo recording, “The Marksman” to widespread critical acclaim and impressive sales.
In the decade to follow Whitfield released two subsequent recordings for Warner Brothers, five for Polygram's Verve Label, and two for Herbie Hancock's ground breaking label, Transparent Music. Along the way, Whitfield's musical interests began to expand, taking him out of the realm of traditional jazz and into collaborations with popular music superstars like D'Angelo, Mary J. Blige, Take 6, The Roots, Chaka Khan, Al Jarreau, George Benson, B.B. King, Ashford and Simpson and the great Quincy Jones.
Mark's music has also found its way into the world of television and feature film. These projects include twelve episodes of the ABC television series “Moon Over Miami”, performing with Wynton Marsalis on the soundtrack for the film Tune In Tomorrow, starring Peter Falk, and for one season of NBC Television's “Shannon's Deal”, performing the soundtrack and making cameo appearances with Harry Belafonte and Jennifer Jason Leigh in the Robert Altman film Kansas City and performing with Terence Blanchard on the soundtrack for the HBO film The Soul of the Game.
In addition, a Whitfield original composition entitled “The Blues From Way Back,” taken from his CD The Marksman, aappears on the soundtrack for the feature film One Night Stand starring Nastassia Kinski, Wesley Snipes and Robert Downey Jr.
Kevin Donovan (born April 19, 1957), better known by the stage name Afrika Bambaataa, is an American DJ from the South Bronx New York He is notable for releasing a series of genre defining electro tracks in the 1980s that influenced the development of hip hop culture. Afrika Bambaataa is one of the originators of break-beat deejaying and is respectfully known as the Godfather and Amen Ra of hip hop culture as well as the father of electro funkThrough his co-opting of the street gang the Black Spades into the music and culture-oriented Universal Zulu Nation, he is responsible for spreading hip hop culture throughout the world.
Rose Royce - "Car Wash"
Rose Royce ~ Car Wash 1976 Disco Purrfection Version
Royce Royce by last.fm
Rose Royce was a U.S. soul and R&B band formed in 1973 in Los Angeles, California, U.S.A. The group is best known for several hit singles including “Car Wash”, “I Wanna Get Next to You”, “Wishing on a Star”, “Love Don’t Live Here Anymore”, and “I’m Going Down”. Their style varied over the years, and included disco and funk. They were very successful in the mid to late 1970s. Their last release was out in 1998.
Jack Ashford, Kenji Brown, Kenny Copeland, Walter Downing, Freddie Dunn, Henry Garner, Lequeint Jobe, Michael Nash, Rose Norwalt, Terral “Terry” Santiel, Wah Wah Watson, and Michael Moore
Jimmy "Bo" Horne's ~ "Spank"
Jimmy Bo Horne - "Spank" - (12 Disco Version) ~ 1979
Jimmy "Bo" HOrne
Jimmy “Bo” Horne (born Jimmie Horace Horne Jr. on September 28, 1949 - in West Palm Beach, Florida) is an American musician, singer, and recording artist.
He enjoyed some success in the 1970s, recording dance-oriented songs and novelty tracks for such labels as Alston and Sunshine Records. “Dance Across the Floor” was his lone R&B Top 10 hit in 1978, and it was written and produced by Harry Wayne Casey, of KC and the Sunshine Band fame. It has been sampled by controversial Gangsta rap group Da Lench Mob for their 1993 song “Freedom Got an AK”, as well as by DJ Cash Money & Marvelous in their 1988 song “The Mighty Hard Rocker”.
Horne’s other Top 20 R&B single was ”You Get Me Hot” in 1979 for Sunshine Records, although the prior release, ”Spank,” (sampled in 1998 for D’Menace’s “Deep Menace”, as well as Ultra Naté’s “Release The Pressure”) also received airplay in many clubs. “Spank” featured in the 1998 film 54.
Horne’s last single was the disco flavoured “Is It In” in 1980, which (due to the decline of disco’s popularity) flopped, but later featured on the fictional radio station, Paradise FM, on Rockstar Games’ Grand Theft Auto: Vice City Stories. It was also sampled by Jungle Brothers for the 1989 song “Beyond this World” as well as Kasino for their 1998 song “Nasty Girl”.
Horne’s 1978 song “Let me (Let Me Be Your Lover)” was sampled by the Stereo MCs in their 1992 song “Connected”
For a year between 1997 and 1998, Horne’s 1977 song “Get Happy” was played in the background of The Chris Rock Show on HBO. It is also sampled in The Council’s “Prepare For The Shining”.
The Ghetto; The Slum - By Donny Hathaway
Donny Hathaway - "The Ghetto"
Donny Hathaway - The Slums
Donny Edward Hathaway (October 1, 1945 – January 13, 1979) was an Grammy Award-winning American soul musician. He signed with Atlantic Records in 1969, and with his first single “The Ghetto” (1970), Rolling Stone magazine marked him as “a major new force in soul music.” His collaborations with Roberta Flack took him to the top of the charts and won him the Grammy Award for Best Pop Performance by a Duo or Group with Vocal for the duet “Where is the love” in 1973. On January 13, 1979, his body was found outside the luxury hotel Essex House in New York City; his death was ruled a suicide.
Hathaway, the son of Drusella Huntley, was born in Chicago, but spent most of his youth in St. Louis. He lived with his grandmother, Martha Pitts, also known as Martha Crumwell, in the Carr Square housing project. Hathaway began singing in a church choir with his grandmother, a professional gospel singer, at the age of 3. He also played the ukulele and, fascinated by Liberace, began studying piano as a child. Hathaway began singing professionally as “Donny Pitts, The Nation’s Youngest Gospel Singer”. By the time he was a student at Vashon High School, he was known as a piano prodigy, which earned him a fine-arts scholarship to Howard University in 1964 where he was initiated into Alpha Phi Alpha Fraternity. He attended Howard for three years and performed with The Ric Powell Trio, a jazz trio. Hathaway received so many job offers that he left Howard without a degree in 1967.
Brothers Johnson Live- Ain't We Funkin' Now & I'll Be Good To You
Brothers Johnson - Ain't We Funkin' Now 
Brothers Johnson - I'll Be Good To You (with lyrics) - HD
The Brothers Johnson - "Stomp!"
The Funking Brothers Johnson
Brothers Johnson (aka The Brothers Johnson), is a band consisting of the musicians George Johnson (‘Lightnin’ Licks’) and Louis Johnson (‘Thunder Thumbs’). After touring with various artists like Bobby Womack and Billy Preston, Quincy Jones hired them for a tour in Japan and produced their debut LP Look out for Number 1, released in March 1976 (#9 US). Their Right On Time album was released in May 1977 and reached number 13 on the Billboard 200. Blam!! came out in August 1978 and reached number 7 on the Billboard 200.
Their popular album Light Up the Night was released in March 1980 and got as high as number 5 on the Billboard 200. It was number 46 on the “Top 100 LP’s of 1980” list in Rolling Stone Magazine. The subsequent album, Winners, was self-produced by the brothers and released in July 1981, but was less successful, going only as high as number 48 on the Billboard 200.
Among their most popular songs are “I’ll Be Good to You” (Hot 100 #3 in 1976), “Strawberry Letter 23” (Hot 100 # 5 in 1977), “Ain’t We Funkin’ Now” (1978), and “Stomp!” (Hot 100 #7 and Hot Dance Music/Club Play #1 in 1980). Their styles include funk, disco, and R&B ballads. The duo split up in 1982.
Guitarist/vocalist George Johnson and bassist/vocalist Louis Johnson formed the band Johnson Three Plus One with older brother Tommy and their cousin Alex Weir while attending school in Los Angeles. When they became professionals, the band backed such touring R&B acts as Bobby Womack and the Supremes. George and Louis Johnson later joined Billy Preston’s band, and wrote “Music in My Life” and “The Kids and Me” for him before leaving his group in 1973. In 1976, The Brothers covered the Beatles song, “Hey, Jude”, for the ephemeral musical documentary All This and World War II.
Quincy Jones hired them to play on his LP Mellow Madness, and recorded four of their songs, including “Is It Love That We’re Missing?” and “Just a Taste of Me.” Jones took them on a Japanese tour, then produced their début LP, Look Out for Number 1, after they signed with A&M, which was also his label at the time (1976). They scored a number-one R&B and number-three pop hit with “I’ll Be Good to You,” and enjoyed R&B chart toppers in 1977 and 1980 respectively with “Strawberry Letter 23” and “Stomp!,” while sustaining a consistent hit presence via such songs as “Get the Funk Out Ma Face” and “Runnin’ for Your Lovin.” Jones remade “I’ll Be Good to You” in 1989 with Ray Charles and Chaka Khan on his Back on the Block release.
The Brothers earned platinum records for Look Out for Number 1 and Right on Time. Jones produced both of these, along with their third and fourth LPs, Blam and Light Up the Night. The group produced its single “The Real Thing” in 1981. It reached number 11 on the R&B charts, and the Brothers had another hit with “Welcome to the Club” in 1982. They started doing separate ventures; Louis Johnson played bass on Michael Jackson’s Thriller LP and recorded a gospel album, while George Johnson worked with Steve Arrington. Leon Sylvers produced their mid-’80s return LP Out of Control; it didn’t equal their past success, but got them another R&B hit with “You Keep Coming Back” in 1984. They recorded Kickin’ in 1988, and co-wrote “Tomorrow” with Siedah Garrett for Jones’ Back on the Block in 1989.
The Intruders is a former American soul music group most popular in the 1960s and 1970s. As one of the first groups to have hit songs under the direction of Kenny Gamble and Leon Huff, they had a major influence on the development of Philadelphia soul.
Formed around 1960, the group originally consisted of Sam “Little Sonny” Brown, Eugene “Bird” Daughtry, Phillip “Phil” Terry and Robert “Big Sonny” Edwards. In 1969, Sam Brown was replaced as lead singer by Bobby Starr, only to rejoin the group in 1973.
In 1965, when songwriters and record producers Kenny Gamble and Leon Huff first contemplated leaving the Cameo-Parkway record label to risk launching their own label, the vocalists on which they pinned all their hopes and venture capital were The Intruders. Like many other subsequent acts the duo produced, which includes the popular Harold Melvin and the Blue Notes and The O’Jays, The Intruders had already developed a vocal sound that was both theirs and uniquely Philadelphian.
Brown, Daughtry, Terry and Edwards had been recording and performing one-off singles together since 1961, blending Philly’s street corner doo-wop tradition with black gospel fervor. The result was neither as pop-infected as Motown, nor as funky and blues-inflected as Stax. The sound which The Intruders refined for the Excel, Gamble and Philadelphia International imprints reflected a different attitude than either Stax or Motown.
We Did Get Funked Up With The Classics...
Ain't We've beenFunking right throughout the Hub. This was created specifically for people who are born today or were there during the times when the music was at its peak, in the past, Now that we are today on the viral Web, this has given us a chance to revisit, re-live and re-experience what we had been listening to when the time and place was for this type of music posted within the Hub above,.
It is still the same old Tunes, and they are even much more fresher today. Our children and their children are beginning to discover the Funk, R&B and Soul of the times that now seem like ancient times. but today, as we listen to these old classics, we become renewed and reminded to the times that some say will never come come back.
Well by composing and putting down the video licks of the different artists and the melodies they left us-whethther they are dead of alive, their music surely lives on, and it promises to do so right into a future we cannot even fathom ourselves. I will be making a follow oup of the same sound systems, because one Hub will not do it. I will be comoposing a sequel of the same time-period vibes and funk, and hope that , the next Hub, will keep on raising the spirit, souls, minds, memories and all that this music engenders in us. I close this part of the Hub with the Intruders just to wind down the rhythm, soul, vibe and music that was played, and remind ourselves that we need to pass on this music of yesterday, but it is still now today's music, and we can Save the Children by teaching them the music. Our Children should say like "Isaiah872000" put it:
"I'm only a quarter century old and this is...strangely appealing. They say the same thing over and over again & it still sounds good. It's all my mom & dads fault! They played this throughout my childhood. I grew up listening to the same music they listened to because they kept blasting it up. Now I actually like this. Hell, I even know the lyrics to some songs they played. I feel like growing a 70's mustache and 'Gettin' funky' in some way, shape or form.'
Now, we'll be Funkin'! or "Ain't We Funked Throughout This Hub, I hope.. Look Forward to the next Jam and Classic Tunes that made life meaningful and fun in the next Hub following this one.... I hope to have left you all "Jammin"....
R&B-Soul - Funk.. All The Way To the Vinyl Zoo
Funk, Soul, R&B, Disco Mixes - 1982 - 1986
The Soul of House Vol. 12 (Soulful House Mix)
Personell in the Groove
Husky & Matt Meler feat. Bru Fave & Ron E Jones - This Time (Richard Earnshaw Remix)
DJ Angelo - Let the Music Play (Original)
Steven Stone & Pete Simpson - I Found My Way (Original)
DeepEchoes feat. Linnette - Bring It On (DeepEchoes affection mix)
New Acid Wave & Dawn Tallman - From Another Dimension (Louis Benedetti Exended Vocal Mix)
Michele Chiavarini - 1 World (Sean McCabe Remix)
The Soul Creative feat. Vangela Crowe - Greener (The Soul Creative Vocal Mix)
Roy Vice & S.u.z.y - Another Love (Original Mix)
Tracy Hamlin - Never Too Much (Spen & Thommy Club Anthem Mix)
DJ Jorj & Rob Care - Amor De Verao (Rob Care Boogie Remix)
Selected & Mixed by eXo
The Fusion of Funk Jazz, Funk, soul, R&B and Disco Sound Systems
The Two Videos above are a syntis of the sounds that have and are still dominating the music scene and serve us with a good mixture of Classics and the are presented here in the Hub to give another spin and Whole James of various genres of Funk, R&B, Soul And Disco, as has been plied and appled by the DJ's in various station and musical outlets. I posted them to give a flavor to the music in exended jams so's to give the listener the sound of other congs that one does not necessarily hear everyday.
The aim of this Hub was to cover as much ground possible in giving the appreciating listeners grooves that some grew up with or discovered from a younger age and recall a time when one can say it was the Golden Age of Funk, Soul, R&B, and Disco. The drops above cover just as much ground of individual artists that I hope will suit the musical palate of the listen and viewers of this music within and throughout the hub.
Quincy Jones - Back On The Block (ft. Big Daddy Kane, Ice-T, Kool Moe Dee, Melle Mel)
Quincy Jones - Ultimate Collection
FYI: Back On The Block by Quincy Jones
Having let eight years pass since his last A&M album, Quincy Jones made his debut on his own label with his most extravagant, most star-studded, most brilliantly sequenced pop album to date -- which could have only been assembled by the man who put together "We Are the World." Jones was one of the first establishment musicians to embrace rap, and one of the first to link rap with his jazz heritage; it's hard not to be moved by the likes of Miles Davis, Dizzy Gillespie, James Moody, Ella Fidzgerald, Joe Zawinul, Sarah Vaughn, and George Benson electronically appearing on "Birdland" and trading brief licks with the likes of Kool Moe Dee and Big Daddy Kane on "Jazz Corner of the World." Later, jazz buffs would vilify Jones for not taking fuller advantage of this one-time constellation of jazz stars, but at the time, it seemed like a marvelous dialogue between the old and the new. Of course, as he well knew, celebrating jazz history is not the surest route to a blockbuster hit record, so there are plenty of radio-friendly urban pop productions here, with Herbie Hancock and Gerige Duke on keyboards, and Sieda Garrett and 12-year-old Tevin Campbell on vocals. Despite the presence of an enthused Ray Charles, Chaka Khan, and the Brothers Johnson, the overly busy techno remake of "I'll Be Good to You" doesn't cut the Johnsons' original -- nor does "Tomorrow." Ultimately the most popular track would be the most tedious for the jazz listener, "The Secret Garden," with a parade of smooth soul balladeers producing make-out music at length. Yet, "Back On The Block" remains a strikingly durable piece of entertainment, and in hindsight, a poignant signpost of the changing of the guard.
Funkin' In Soulful and Rhythming Blues and Discotheque of Rare Grooves
This has been a very Funky, soulful and Discotheque moments in time which will foever remain evergreen and fres and contemporary. the closing last two videos, one of Quincy, and the other other one of Donald Byrd were dropped for two reasons.
The Quincy studio version of "Back on the Block" was inserted because I opened with the Live version of this Hip-hop/Funk/Soulful and Funky ditty. This was to give the lister another more and very interesting version of the same Tune, but evokes some very definite and good times emotion.
The second video of Donald Byrd, Love has come around" was put at the end to tease-out from the viewer/music loving and appreciating persons of the Side B of this Hub. The Side B of this Hub, which is a logical sequel, will be Jazz Funk, and this too, I hope, that the Music appreciator and musical artists will love just as the appreciation of this Funk version of Funk, Soul, R&B and Disco has attempted to do.
Like I have said above, this hub was composed and designed just for pure listening enjoyment, to bring back the memories that were, and to keep the musical system in the forefront of the viral stream. I hope that all those who visit this Hub, will enjoy thee bit of music I tried to deliver in here. One cannot really do justice to the Funk sounds out there, but this bit, I hop, hits the rights notes and tickles the musical sensibility and appreciation of those who still love this sounds, Vibes and Grooves.
I will be amiss if I do not close the gig and concerts without adding some hardcore Masterjam Mastermixes and this we are Down Home Vibey Grooves. I will close this Hub/Set With to of a multi volume Funked Up songs belo. I will only post two volumes, and I hope the listeners will find these appropriate and fitting as a summary to the musical melange above
Very Best of 100 R&B Classics [Box Set, Import]
Ultimate Old School Funk Mixes ~ 2
Gene Harris - "Listen Here"...
Eddie Harris - Is It In
Charles Mingus - Mingus Ah Um
A Riff on Jazz: A Historical Synopsis
This Week in Jazz... as Chronicled by The Smithsonian Jazz..
This Week in Jazz History: December 30 to January 5
By John Anderson December 30
- Pianist/arranger Jimmy Jones born 1918 in Memphis, TN.
- Trumpeter Dizzy Gillespie records “Manteca,” with percussionist Chano Pozo, 1947.
- Duke Ellington records “The Clothed Woman,” 1947.
- Trumpeter Jonah Jones born 1909 in Louisville, KY.
- Bassist John Kirby born 1908 in Baltimore, MD.
- Vibraphonist Milt Jackson born 1923 in Detroit, MI.
- Pianist Albert Ammons records "Shout for Joy," 1939."
- Bassist Al McKibbon born 1919 in Chicago, IL.
- Drummer Nick Fatool born 1915 in Milbury, MA.
- Gene Krupa records "Blue Rhythm Fantasy," 1940.
- Vocalist Arthur Prysock born 1929 in Spartanburg, SC.
- Count Basie records Blues In The Dark, featuring vocalist Jimmy Rushing, 1938.
- Pianist/composer Herbie Nichols born 1919 in New York, NY.
- Alto saxophonist John Jenkins born 1931 in Chicago, IL.
- Trumpeter Frankie Newton born 1906 in Emory, VA.
- Charlie Parker and Dizzy Gillespie record "What's The Matter Now?" with vocalist Rubberlegs Williams, 1945.
- Saxophonist/flutist Frank Wess born 1922 in Kansas City, MO.
- Cornetist "Wild" Bill Davison born 1906 in Defiance, OH.
- In 1959, Trumpeter Blue Mitchell records Out of the Blue with Art Blakey, Wynton Kelly, Benny Goldson and Sam Jones.
- Trumpeter Jerry Gonzalez born 1949 in New York, NY...
Thi Week in Jazz December 23 to December 29..
- Coleman Hawkins records “The Man I Love,” 1943.
- The first Spirituals To Swing concert is held at Carnegie Hall, 1938.
- Louis Armstrong records “Sweethearts on Parade,” 1930.
- Drummer Warren ‘Baby’ Dodds born 1898 in New Orleans, LA.
- Wayne Shorter records Speak No Evil, 1964.
- Miles Davis and Thelonious Monk record “Bag’s Groove,” 1954.
- Trombonist/bandleader Kid Ory born 1886 in La Place, LA.
- Pianist/organist/composer Don Pullen born 1941 in Roanoke, VA.
- Bandleader/singer Cab Calloway born 1907 in Rochester, NY.
- Bassist Monty Budwig born 1929 in Pender, NE.
- Tenor saxophonist John Coltrane records “Do I Love You Because You’re Beautiful?” with trumpeter Freddie Hubbard, 1958.
- Guitarist John Scofield born 1951 in Dayton, OH.
- Tenor saxophonist Ben Webster records “Old Folks” with alto saxophonist Benny Carter and bassist John Kirby.
- Bassist/author Bill Crow born 1927 in Othello, WA.
- Pianist Walter Norris born 1931 in Little Rock, AR.
- Bassist/composer Charles Mingus records Changes I with trumpeter Jack Walrath, tenor saxophonist George Adams, pianist Don Pullen, and drummer Dannie Richmond, 1974.
- Lester Young records first session as a leader (“Sometimes I’m Happy”), 1943.
- Two pianists born: Earl Hines 1903 in Duquesne, PA, and Michel Petrucciani 1962 in Orange, France.
- Tenor saxophonist Joe Lovano born 1952 in Cleveland, OH.
- Pianist Art Tatum records “Without A Song,” 1953.
- Snub Mosely born 1909 in Little Rock, AR.
The Week In Jazz History: December 16 to Dcember 22..
- Vocalist Sarah Vaughan records “You’re Not The Kind” with trumpeter Clifford Brown and pianist Jimmy Jones, 1954.
- Jelly Roll Morton’s Red Hot Peppers record “Grandpa’s Spells,” 1926.
- Saxophonist Joe Farrell born 1937 in Chicago Heights, IL.
- Pianist Bud Powell records A Portrait of Thelonious with drummer Kenny Clarke, 1961.
- Alto saxophonist Charlie Parker records “Crazeology” with drummer Max Roach and trumpeter Miles Davis, 1947.
- Arranger Sy Oliver born 1910 in Battle Creek, MI.
- Jimmie Lunceford records “Rhythm Is Our Business,” 1934.
- Two saxophonists born: Eddie ‘Cleanhead’ Vinson 1917 and Harold Land 1928, both in Houston, TX.
- Bandleader/arranger Fletcher Henderson born 1897 in Cuthbert, GA.
- Drummer Lenny White born 1949 in New York, NY.
- Trumpeter Dizzy Gillespie records Sonny Side Up with tenor saxophonists Sonny Rollins and Sonny Stitt, 1957.
- Valve trombonist and composer Bob Brookmeyer born 1929 in Kansas City, MO.
- Clarinetist Sidney Bechet records “Blue Horizon,” 1944.
- Saxophonist Arne Domnerus born 1924 in Stockholm, Sweden.
- Pianist Larry Willis born 1940 in New York, NY.
- Drummer Panama Francis born 1918 in Miami, FL.
- Ornette Coleman Double Quartet records Free Jazz, 1960.
- Composer/conductor/cellist/trombonist David Baker born 1931 in Indianapolis, IN.
- Red Onion Jazz Babies record “Cake Walking Babies From Home,” with trumpeter Louis Armstrong and soprano saxophonist Sidney Bechet, 1924.
- Pianist Ronnie Ball born 1927 in Birmingham, England.
- Four bands record, 1947 - Stan Kenton (“Interlude”), Dizzy Gillespie (“Woody ’n’ You”), Duke Ellington (“On a Turquoise Cloud”), and Fats Navarro/Dexter Gordon (“Index”).
This Week in Jazz History December 9 to December 15..
- Two trumpeters born: Donald Byrd 1932 in Detroit, MI, and Jimmy Owens 1943 in New York, NY.
- The John Coltrane Quartet records A Love Supreme, 1964.
- Louis Armstrong records “Struttin’ With Some Barbecue,” 1927.
- Trumpeter/violinist Ray Nance born 1913 in Chicago, IL.
- Clarinetist Irving Fazola born 1912 in New Orleans, LA.
- Bassist Bob Cranshaw born 1932 in Evanston, IL.
- Duke Ellington records “The Controversial Suite,” 1951.
- Tenor saxophonist Coleman Hawkins records “Angel Face” with pianist Hank Jones, 1947.
- Pianist McCoy Tyner born 1938 in Philadelphia, PA.
- Pianist Earl Hines records “Fifty-Seven Varieties,” 1928.
- Vocalist Joe Williams born 1918 in Cordele, GA.
- Drummer Tony Williams born 1945 in Chicago, IL.
- Drummer Sonny Greer born 1895 in Long Beach, NJ.
- Louis Armstrong records “Hotter Than That,” 1927.
- Bennie Moten’s band makes its last recordings, including “Moten Swing,” featuring pianist Count Basie, tenor saxophonist Ben Webster, trumpeter Hot Lips Page, and arranger/guitarist Eddie Durham, 1932.
- Trumpeter Clark Terry born 1920 in St. Louis, MO.
- Jelly Roll Morton records “King Porter Stomp,” 1939.
- Two saxophonists born: Budd Johnson 1910 in Dallas, TX, and Cecil Payne 1922 in Brooklyn, NY.
- Bandleader/composer Stan Kenton born 1911 in Wichita, KS.
- Drummer Dannie Richmond born 1935 in New York, NY.
- Pianist Cecil Taylor and drummer Max Roach record a duo concert at Columbia University, 1979.
This Week in Jazz History: December 2 to December 8..
- Vocalist Sylvia Syms born 1917 in New York, NY.
- Composer/arranger Eddie Sauter born 1914 in New York, NY.
- Two pianists born: Wynton Kelly 1931 in Jamaica, and Ronnie Mathews 1935 in New York, NY.
- Tenor saxophonist Booker Ervin records The Freedom Bookwith pianist Jaki Byard, 1963.
- Valve Trombonist/arranger Brad Gowans born 1903 in Billerica, MA.
- Alto saxophonist Benny Carter plays and sings his composition “Goodbye Blues” with The Chocolate Dandies, 1930.
- Guitarist Jim Hall born 1930 in Buffalo, NY.
- Duke Ellington records “Daybreak Express,” 1933.
- Duke Ellington’s band historic opening at New York’s Cotton Club, 1927.
- Bassist Art Davis born 1934 in Harrisburg, PA.
- Louis Armstrong and pianist Earl Hines record their duet “Weatherbird,” 1928.
- The BeBop Boys, featuring trumpeter Fats Navarro, recordNostalgia, 1947.
- Guitarist Remo Palmier born 1923 in New York, NY.
- Bassists Slam Stewart and Major Holley record “Shut Yo’ Mouth!” 1981.
- Pianist/composer Dave Brubeck born 1920 in Concord, CA.
- The Casa Loma Orchestra records “Casa Loma Stomp,” 1930.
- Bandleader Teddy Hill born 1909 in Birmingham, AL.
- Pianist Matthew Shipp born 1960 in Wilmington, DE.
- Organist Jimmy Smith born 1925 in Norristown, PA.
- Louis Armstrong records “That’s My Home” with drummer Chick Webb’s band, 1932.
- The Sound of Jazz is broadcast live, setting a standard for jazz television that has yet to be equaled, 1957.