For the second instalment of Induce’s Steppin’ Heavy Mix Series, we are excited to share Electro Freaks : an all-vinyl, original-pressings only, live mix of “Electro Funk and Beyond.”
In his own words:
“With this sister mix to Boogie Bangers, I wanted to showcase not just Electro Funk aka Modern Funk aka Electro Boogie, but basically the various niche genres that fall under the umbrella of what was happening at the time that also include Disco Rap, Garage House, and whatever doesn’t fit nicely under the Disco and Boogie labels. Even some R&B cuts like the Mac Thornhill and the unreleased Dez (Prince & The Revolution) record exist somewhere between Boogie and Electro Funk, but can’t be pinned down to either.”
1. Affinity – Don’t Go Away (Mango) 1983
2. Plunky & Oneness Of Juju – Jackpot (N.A.M.E. Records) 1983
3. The Brothers Supreme – We Can’t Be Held Back (Street Talk Records) 1985
4. Double Vision – Clock On The Wall (Profile Records) 1984
5. James Cobbin & Prime Cut – Caught In The Middle (Tuckwood Records) 1984
6. Love Club – Hot Summer Nights (West End) 1983
7. Sha-Lor – I’m In Love (Gertie Records) 1988
8. Formula V – Killer Groove I (Write On Records) 1983
9. Jamie Jupitor – Computer Power (Egyptian Empire Records) 1985
10. Free Style – Are You Lost (Music Specialists Records) 1984
11. Lonnie Love – Young Ladies (Profile Records) 1981
12. Mac Thornhill – Make Life Worth Living (Savoir Faire Records) 1983
13. Yvette Cason – Cash Play (Beantown Music) 1983
14. Hit Man – Computer Game Blues (Philly World Records) 1982
15. Dez Dickerson – Modernaire [Previously Unreleased] (Citinite Records) 2008
Stay tuned for the next mix, and find more from Induce here:
“Geek culture,” replies a frequent visitor, perhaps rather flippantly, when asked to provide an explanation for the Japanese termOtaku. That hardly sounds approving. A relatively recent term,Otakuhas in it short life been linked with obsessive fandom of anime and manga. Also the notoriousOtakuMurderer, who abducted and killed four young girls in the late 1980s. It has been burdened with such negative connotations unfairly.
Rather than a pejorative,Otakucan alternately be defined in a positive light; dedication, learned, committed, passionate, well versed, determined, aficionado. To generalize any ethnic group, using even such laudable attributes, would be wrong, a gross stereotyping. Yet it is true to say that the positive traits ofOtakucan be traced within Japanese culture and society, time and time again, long before even the term was coined, and not least within the Japanese love of music.
“I think the Japanese can be an obsessive people and they often have a great attention to detail,” reckons Irish photographer Philip Arneill who, having spent nineteen years teaching and documenting music culture in Japan, has an informed view. “When they get into something they don’t do it by halves, they really go the whole nine yards.”
Arneill’s previous photography projects in Japan have covered the jazz dance scene and rockabilly culture. But more recently his efforts, alongside researcher James Catchpole (who runs a English language Japanese jazz listingssite), have been directed towards documenting jazzkissabars. These aged outlets, part cafe bar, part shrine to jazz music, have been an integral part and unique expression of Japanese jazz culture for over half of the century in which the country has embraced the music. In their owners’ dedication and knowledge, within the serious record collections they hold and in their often pristine soundsystems, something similar toOtakuis clearly evident.
“We went to this placePithecanthropus Erectus, named after the Charles Mingus album and that’s where it began,” says Arneill of the ongoing project, which has in recent years grown to include institutions far from the Tokyo city boundaries. “We did a couple more and before we knew it we’d done twenty. Then it was forty. Then we were approaching the 100 mark. It’s 120 now.”
While these bars are gradually being edged out of profitability and popularity, Catchpole and Arneill’s increasingly urgent documentation of the venues has found a home both on theirwebsiteand as the artwork of BBE’s newJ Jazzcompilation.
This collection of music, culled from the personal archives of co-compilers Tony Higgins and Mike Peden, showcases some of the heaviest and best examples of Japan’s rarely recognized, homegrown, modern jazz scene. In their collision, these two endeavors offer a glimpse into a little known and fast fading musical world.
“It’s always been easier to access American records,” reckons longstanding U.K.-based enthusiast and record collector Tony Higgins, whose credits include music management, music TV production and work on several previous compilation. “They were broadly imported, it was easier to go there and buy them and there’s no language barrier. A lot of the music contained on this compilation has never left Japan. Many of the records were pressed in small numbers, never exported and almost none of these artists ever played outside Japan. It has remained largely unknown outside a very small group of die hard collectors.”
Jazz music arrived in Japan in the 1920s and its dances became popular social occasions, but with the rise of the military and a move towards fascism the music was outlawed, viewed by those who came to power as being too American and polluting the culture and identity of Japan. When the war started, jazz effectively disappeared. By 1940 all dance halls had closed and some associated instruments viewed as Western were renamed, like the saxophone which becamekinzuoku seihin magari shakuhachi(roughly translated as “bent metallic flute”).
“After the war, Japan was occupied for about ten years by American troops,” explains Higgins. “And a bit like in Germany and Austria, where the Allies used jazz as part of a strategy of de-Nazification, it was also used in Japan to counter the fascist, isolationist sentiments of the previous two decades.”
“During the war bebop had developed in America. So, when black musicians who were also servicemen brought that to Japan it blew the minds of the Japanese. But there was this crushing sense of inferiority; they’d just lost the war, the Emperor had been proven to not be divine, the Atomic bomb had been dropped on them. It was a massive psychological shock. In the context of that backdrop, Japanese jazz musicians were faced with the arrival of this new music which had a delivery and skill they’d never previously known. They felt an urgency to catch up.”
Japanese jazz players did catch up. And quickly. Playing to segregated bases, their versatility would be put to the test as they catered on differing nights to either white or black audiences. Jazz embarked on a huge revival in Japan and in the 1950s and 1960s the likes of Oscar Peterson, Art Blakey, Horace Silver and Miles Davis would tour there. Initially slow to recover economically from the war, the imported sounds of such musicians were not within the fiscal reach of many Japanese fans and so the jazzkissabars were born. Their owners were often devotees of certain American artists, bars commonly being named after them or their recordings. Within their walls, all of the latest American sounds would be available to hear, their record collections an investment ensuring the venue’s popularity.
“The one that most people know and that many will mention is calledBasie, up in the middle of the northern part of the Honshu island,” says Arneill. “It’s somewhat become the stuff of legend; still run by the original owner, a very colorful character, very slick, wears a lot of jewellery and sunglasses indoors. A very cool guy. He’s met a lot of very famous jazz musicians through the years and he still holds court there every day. The soundsystem in there is particularly great.”
“Swifty” Sugawara at his cafe Basie. Photo by P. Arneill.
The popularity of American jazz in Japan during the 1950s and 1960s, bolstered by kissa bars and the tours of visiting artists, is still evident within some of the documentation by the Tokyo Jazz Joints project. This adoration however proved stifling to Japan’s ability to find its own voice within the music.
“Japanese musicians saw Black jazz musicianship as the touchstone of what they should try to attain,” says Higgins. “But, of course, they could never be Black. They copied the fashions, some even went so far as to take on the drug habits of these musicians. Drugs in Japan were virtually unknown, yet some Japanese players became heroin addicts because they thought it was key to emulating the Americans.”
Higgins identifies classically trained pianist Toshiko Akiyoshi, who was discovered by Oscar Peterson when Peterson was on tour in Japan, and Sadao Watanabe, the saxophonist/flautist from Akiyoshi’s band as key players in the country finding an original sound in jazz. Both went to study at Berklee School of Music in the U.S. and demonstrated to the next generation of Japanese musicians that a new and distinct voice was possible.
“Their first records would show elements of hard bop, funky jazz, but they were starting to use Fender Rhodes electric piano. They were starting to stretch out,” says Higgins of this next generation of Japanese musicians such as Terumasa Hino and Masbumi Kikuchi. “Elements of freeform, less structured, some of it was almost psychedelic. Impressionistic music. Like in Europe and America, jazz in Japan wasn’t hermetically sealed, so the influence of other music, like rock, started to seep in. By the late ’60s they’d started to make some pretty far-out music. And that’s where our compilation really starts.”
BBE’sJ Jazzcompilation offers an odyssey through such varied, progressive and sometimes experimental post-Coltrane sounds, from the late ’60s to the early ’80s. Though much of it will be new to the ears of even jazz aficionados, it is incredibly rewarding, accessible and distinct.
“The sociological context of jazz in America just didn’t exist in Japan,” says Higgins. “You could never have that political frisson, that charge, that undertow, that weight that’s always there in American jazz. It can’t exist. It’s unique to the Black American experience. Japanese jazz has a different soul to American jazz.”
The tell-tale signs ofOtakurun throughout these selected recordings from the highly considered writing, through the studied, expert musicianship and the faultless engineering and production. The mastering and pressing of the original albums they are taken from are pristine. But what, if not the Black American experience, is the backdrop or soul of the music found herein?
“It’s an interesting question,” ponders Higgins. “Possibly a desire to exert one’s individuality while remaining part of the group dynamic? Several years ago I interviewed the American bass player Gary Peacock. He lived and worked in Japan for several years in the late ’60s and early ’70s, moving there ostensibly to study macrobiotic cooking and meditation. But, of course, he ended up playing there. He told me that he hadn’t realized that at that time the notion of individuality in Japan was relatively alien. There was an amazing album calledThe Individualism of Gil Evansand he told me a story where he had to explain to Japanese musicians what was meant by individualism. Part of their culture was about maintaining the harmony of the group, not being an outsider. It’s different now, of course, but back then it wasn’t a fully formed idea. With that in mind, the music of the late ’60s to late ’70s, saw a lot of musicians trying to break away from that group mentality, that stifling of individuality, yet still remain within a coherent whole. They were trying to redefine the balance.”
Those musical efforts, like the dedication of the jazzkissabar owners, can now be discovered by a new audience far from the restricted locales they have inhabited for the last half decade. In combination, Arneill’s photographs and theJ Jazzcompilation justly set center stage an exciting and undiscovered soundtrack to a beautiful, disappearing backdrop. Not before time.
J Jazzis out now onBBE Records, and the Tohru Aizawa Quartet LPTachibana,which contains “Dead Letter,” among other killers, will be reissued by BBE this summer.
Drummer/composer/producer Pat Van Dyke drops his single “Lotus,” the first from the upcoming album entitled Hello, Summer—a funky, upbeat, and cheerful jazz record that hits the spot for heavy summer rotation.
Written, performed, and produced entirely by PVD, “Lotus” features soloists Zac Colwell (tenor saxophone) and Jesse Fischer (Fender Rhodes) over the foundation laid by Pat’s guitar, keys, bass, and percussion work. The veteran K-Def mastered the record.
“Lotus” hits digital and streaming platforms this Friday, June 1, and the album kicks off the summer season with a Jun 22 release on vinyl and digital (Cotter Records / Stereo Vision Recordings).
Pre-order the “clear pool blue” vinyl via Fat Beats here.
In 1958, a small, dignified, Pittsburgh-born pianist, composer, and bandleader named Ahmad Jamal recorded a show tune entitled “Poinciana” at a hip, Black-owned venue called the Pershing Lounge in Chicago’s South Side. His elegant, Errol Garner–style pianisms, buoyed by drummer Vernel Fournier’s second-line syncopations and the rich, rock-steady bass lines of ex–Benny Goodman sideman Israel Crosby, transformed that song into something rare for the jazz world—a hit record. With the release of “Poinciana” as a single, and on the million-selling LP, Ahmad Jamal Trio at the Pershing: But Not for Me, Jamal emerged as major force in jazz, or as he prefers to call it, “American classical music,” and has been so for five decades.
Jamal is a true scientist of sound: his use of space and dynamics, along with his tight, intricate arrangements, were a big influence on generations of pianists from Ramsey Lewis to Jacky Terrasson. In his autobiography, Miles Davis declared that Jamal “knocked me out with his concept of space, his lightness of touch, his understatement, and the way he phrases notes and chords and passages.”1 Davis was so enamored by Jamal’s conceptions that he recorded various compositions from the pianist’s repertoire, including “A Gal in Calico” and “Surrey with the Fringe on Top.” Davis and arranger Gil Evans even transcribed Jamal’s “New Rhumba,” a track from his 1955 LP Chamber Music of the New Jazz, note for note on their big band album, Miles Ahead.
Born on July 2, 1930, Jamal started playing piano at the age of three. He was heavily schooled in the European and American classics, and was working professionally at the age of fourteen when the jazz piano giant Art Tatum declared him “a coming great.”2 He left home with bandleader George Hudson after graduating from Westinghouse High School in 1948, and has recorded and performed in a myriad of settings, ranging from big band, choral, symphonic, to small ensembles, executing a number of styles, from straightahead and Latin to fusion and funk. He released over seventy records, and several of his songs have been sampled on hip-hop tracks: “Swahililand” (“Stakes Is High,” J Dilla and De La Soul), “Pastures” (“Feelin’ It,” Jay-Z), “I Love Music,” (“The World Is Yours,” Nas), and “Poinciana” (“Stop Frontin’,” KRS-One).
This year marks the fiftieth anniversary of Jamal’s release of “Poinciana.” In this interview, conducted by phone in Paris, and from his home in Connecticut, Jamal unveils the story behind “Poinciana,” his early struggles in Chicago, and how his artistry lives on in the twenty-first century.
What brought you to Chicago in the early ’50s?
I came to Chicago in 1948 because of my girlfriend at the time. I couldn’t work because there was a [union] restriction. I could work, but only at a different place every night, because there was a six-month period when you go from one union to the other. I was caught doing a job I wasn’t supposed to be on, and I was told, “I don’t think you’ll ever get in this union as long as I’m president,” by Harry Gray. [laughs]
How did you straighten it out?
Well, it was straightened out because the musicians started wanting me to work with them. I don’t remember the name right now, [but] there was a great tenor saxophone player. He said, “I want to have this man on a regular basis in my band.” So Harry Gray relented, and I became a member of the union. And later on, he helped me buy my first house! He helped me get a loan from the credit union. So man cannot play God, Mr. Holley!
What else did you do to make ends meet?
I got me a job making kitchen cabinets for eighty cents an hour. That’s one of the ways I survived. I was [also] playing [solo]. I was working all over the place with various groups. Then I got a job as a maintenance man on the sixteenth floor of the Carson, Pirie, Scott and Company Building for thirty dollars a week, cleaning up the busiest revolving doors in the world—cleaning up the snow at Monroe and State Street. I worked Jimmy’s Palm Garden [solo]. Ike Davis, the legendary drummer, used to come in and sit in with me. And Nevin Wilson, a bassist that I liked very much, came and sat in with me.
It was during this period that you met two musicians who would change your life: Vernel Fournier and Israel Crosby.
Vernel was from New Orleans, one of the great musical towns in the world, like my town, Pittsburgh. He had that wonderful New Orleans [Creole] mixture, which speaks to this ridiculous concept of ethnicity that we have. They say “races.” There’s no such thing as “races.” There’s only one race—the human race. And one of the proofs is the wonderful, wonderful mixture you have, complexion-wise, coming out of New Orleans. I was Israel’s pianist at Jack’s Back Door: a marvelous guy, a wonderful musician, and he had a wonderful sense of humor. He liked my work—like a lot of people did—and, thank God, they did, because that’s how I survived. He hired me as his pianist, and I stayed at Jack’s Back Door with him and [saxophonist] Johnny Thompson for I don’t know how long.
Isn’t it true that you started working at the Pershing as far back as 1952?
I was able to get in there one night. They didn’t want to hire me. But I begged [manager] Sonny Boswell to let me work there. I think he paid me fifty-one, fifty-two dollars for one night [laughs]. But I had to go to Harry’s Show Lounge. I was working in the back room there. And then I ran into Miller Brown and Grant Smith, who bought the Pershing, and they gladly hired me. But that was after I left New York and decided to come back to Chicago.
The record producer/impresario John Hammond signed you to the Okeh label around 1951 and brought you to New York for an ill-fated Manhattan engagement at the Embers.
The Embers was a noisy club. You’re an intermission group; you’re not the headliner. People are not paying you any attention. They want requests, and some drunken bum comes up and spills a drink on the piano keys, and his red wine is flowing all over the white keys. So that was it for me. I jumped up, got in my car with Israel Crosby, and we drove all the way back to Chicago.
So you come back to Chicago from New York for an extended period at the Pershing. What was the club like?
It was located on Sixty-fourth and Cottage Grove Avenue. And it drew everyone from Lena Horne and Billie Holiday, with her Chihuahua dog, to Sammy Davis Jr.—he was in the Pershing the night before he lost his eye in Las Vegas in that car accident. Everyone came to the Pershing.
The classic Ahmad Jamal sound emerged during your long association at the Pershing. What were your musical influences during that crucial period of your development?
I had my Pittsburgh influences. I grew up with all sorts of orchestras playing in venues all around the surrounding area. I worked with [pianist/saxophonist] Carl Arter, one of the prominent musicians around Pittsburgh, and Joe Westray hired me. He was one the more successful bandleaders. I was playing at ten years old with people like Honeyboy Minor, a legendary drummer who had all of the best jobs. My aunt sent me a lot of music from Wilson, North Carolina. So I had a vast repertoire. When I was eleven years old, I could play with guys sixty years old. I was making more money in the eleventh grade than my father was making in the steel mill!
So you were a child prodigy.
Well, whatever you want to call it. I studied Art Tatum, Bach, Beethoven, Count Basie, John Kirby, and Nat Cole. I was studying Liszt. I had to know European and American classical music. My mother was rich in spirit, and she led me to another rich person: my teacher, Mary Cardwell Dawson, who started the first and only Afro-American opera company in the country. That’s were I met violinist Joe Kennedy, one of the great masters of all time. She put Afro-Americans in the Metropolitan Opera. And she surrounded herself with all ethnicities. She worked out of the New England Conservatory of Music. She was a unique person: always dressed to the max. You could hear her heels coming down that stairway. If you didn’t have your lessons ready, you were in trouble. [laughs] She was wonderful. And I went to another teacher, [pianist] James Miller: a wonderful man and an exponent of Liszt.
So now you’ve established the Jamal sound. But before you recorded your monumental record with Crosby and Fournier, you were part of an influential, drumless trio called the Three Strings with guitarist Ray Crawford.
The group was a carryover from the Four Strings with violinist Joe Kennedy. I joined his group. And after he decided to go back home [to Pittsburgh], it became the Three Strings: Ray Crawford, [bassist] Tommy Sewell, and myself. So we had string instruments only. Ray Crawford started playing the percussive effects on the frets of his guitar. And everyone adopted that, [including] Oscar Peterson’s group, with [guitarists] Barney Kessel and Herb Ellis. Many, many people emulated Ray Crawford. He was replaced, because he stayed in New York when it didn’t happen [for me] in the Embers. He didn’t come back to Chicago, and that’s why I added drums.
Talk about some of the people who helped make At the Pershing in 1958, starting with Leonard Chess. Who decided that it was a good idea to record there?
I decided! I told Leonard I want to do a recording on location at the Pershing. Leonard was always cooperative when it came to whatever I wanted to do musically; he never interfered, so he said okay. He sent a two-track machine out there with [engineer] Mal Chisholm—one of the spectacular, great engineers at that time—and that was it. Four nights and forty-three tracks later, here comes At the Pershing!
What about disc jockey, Soul Train producer, and voice-over artist Sid McCoy?
Sid McCoy was instrumental in encouraging that session. He was very prominent in Chicago. He had one of the very, very important shows in Chicago. Great speaking voice—he had a manner about him and was a nice man.
I want you to set the record straight: in Len Lyons’s book, The Great Jazz Pianists, which also features you, Sun Ra claims that he worked downstairs in the Pershing when you were there and implied that you were influenced by some of his concepts.
He had nothing do with my career. I had nothing to do with his. Nothing! We never worked together, and never socialized, and never interacted musically. He was on another planet. And I was another level!
When did you first hear “Poinciana”?
I was introduced to “Poinciana” by way of Joe Kennedy [in the late ’40s]. That song was a part of his repertoire [with the Four Strings]. Joe Kennedy was a master at composition, a master at playing the violin, a master of orchestration, and so many things. So he introduced me to a different type of repertoire.
Your first recording of “Poinciana” was made in 1955 and reissued on The Legendary Okeh and Epic Recordings.
We did the [LP] version with Ray Crawford, Israel, and myself. It was one of my favorite recordings—gorgeous! It was so pure and so elegant and great to listen to.
The song, by Buddy Bernier and Nat Simon, was originally from a Broadway show.
Yes, I don’t know too much about “Song of the Tree,” better known as “Poinciana.” It was a hit, of course, but we revived it. I don’t think anything was ever as big as “Poinciana” was on 628 [the original label number of Ahmad Jamal Trio Live at the Pershing] turned out to be. And so many people tried to cover that and tried to emulate that. When we developed “Poinciana,” we developed it chorus after chorus, until it got to the point where I said, “We got to record this.”
The biggest change from the epic, drumless trio rendition of “Poinciana” to the Pershing version was, of course, Vernel Fournier. Talk about how he anchored you and Mr. Crosby and created the “Poinciana” that made you into an international star.
It was a combination of things: Israel Crosby’s lines, what I was playing, and Vernel—if you listen to his work on “Poinciana,” you’d think it was two drummers! [laughs] He was so multidimensional: a master of brushes, master of content, master of metronomic time, and feeling. All of those elements from all three of us made that recording. [The song] was seven minutes and some seconds long. There are five different choruses, and each chorus is an entity into itself: a statement that builds and builds and builds. Each chorus became a stepping-stone to something higher. And when we got to the fourth chorus, [laughs] that was it! We had a hit on our hands!
The album stayed on the Cash Box and Billboardcharts for 108 weeks. How did it change your life?
You mean, how is it still changing? [laughs] It’s still changing, Eugene! It never stopped because of that. I’m sitting on the phone with you, talking from Paris, and you’re in Delaware, so I’m all over the place because of that record.
Yes, but at least financially your life changed?
Well, life has many challenges than it did before. Success has to be measured on all levels. And if you’re not content, you’re not successful. Just because you got fame and money coming in, [it] doesn’t make you successful. The successful person has peace of mind. And if you don’t have peace of mind, the money can be a very difficult thing to handle, let me put it that way.
Was it difficult for you at first?
It’s difficult for all Afro-Americans who have ever been exposed to financial gain. Look at Joe Louis; what happened to him? He was very successful, wasn’t he? He worked for the government and ended up owing the government taxes. And I don’t know if they relented or what—the rumor is that Frank Sinatra bailed him out. Maybe I’m just talking nonsense. But Joe Louis had all kinds of people come along and tell him to invest in this, and invest in that. So most of us in the Afro-American community weren’t educated as to the whys and wherefores of how to handle money, and, in many instances, that’s still true.
After At the Pershing, you did something that most Black people at that time didn’t do: in 1959, you went to Egypt and the Sudan. There was a New York Times report of your trip.
Oh, I’ve been planning the trip since I was eleven years old. I always had some great, philosophical dreams of going to Africa, because I knew that’s the background of our folks here in the United States. So I was planning this way before the Pershing [LP]. What the Pershing did was implement that [trip].
Who told you about Africa at eleven years old? That’s extraordinary.
I was always thinking. I was always an introvert—always a loner and a thinker at that time, and music made me more introspective. And I thought of faraway places. My faraway dream was to go to Africa, and I accomplished that by way of my recording. I broke Count Basie’s record at the Blue Note in Chicago. Frank Holzfeind was going under, and I saved his club. Frank gave me an extra five hundred dollars to enjoy my trip to [Africa], and there I went. The ex-minister of the interior of the Sudan hosted me, and Dr. Mahmoud Shawarbi was my host in Egypt. I didn’t play a note, and that what was so surprising to the New York Times reporter, because I didn’t go there to play piano. I spoke at Al-Azhar, the oldest university in the world.
Another benefit of your “Poinciana” success was your own South Side restaurant, the Alhambra, which opened for a few months in 1961.
The Alhambra was a very nightmarish venture, encouraged by a lot of people around me. It was conceived as a place for me to work whenever I wanted to. But it didn’t work out that way. And I hired the wonderful bass player, Ahmed Abdul-Malik in my absence. I had forty-three employees. I didn’t need a restaurant. Who needs a restaurant if you’re a musician? So I left Chicago, moved to New York, and have been here ever since.
Here’s another attempt to set the record straight. Your club did not serve alcohol, and there were rumors that you were forced to close the club by gangsters.
Oh no, no, nothing like that at all. That’s what people want to hear. But I had no constraints. To the contrary, I was more dictatorial than anyone else. I closed it myself, because I didn’t need a restaurant. And the headache that goes with the restaurant. I had a big house at 4900 Greenwood that time—sixteen rooms, six baths. I didn’t need that either. The only major, major conflict at that time was my divorce, so I moved to New York.
After you moved to New York, you thought about retiring to study at Julliard. But you eventually formed a new trio with drummer Frank Gant and bassist Jamil Nasser.
Before I put that trio together, I had Papa Joe Jones, who used to be with the legendary Count Basie, and a bassist from my hometown, Wyatt Ruther, with me at the Embers. That was the first job I took, coming out of semiretirement. Jamil and Gant had a reputation long before they joined me, so I hired them based on their backgrounds as great musicians. They stayed with me for ten years.
At various stages of your career, you’ve specifically hired drummers from New Orleans.
I had four drummers from Louisiana: Vernel Fournier, Idris Muhammad, Herlin Riley, and James Johnson, from Shreveport, by way of Pittsburgh. Idris is one of the great, great legends out of New Orleans, drumwise. He’s really a sensational musician, and he has more [stuff] on the Internet than I do!
I want to talk about something I’ve seen every time you play live. Please decode for me your mysterious hand signals.
I’m conducting. [laughs] My finger pointed to the top means I’m going to the top of the composition. When I cross my wrist, that means either I’m going to the bridge, or I’m going to cut the time. And sometimes I do verbal cues. I don’t always confine myself to hand signals.
You recorded some great LPs in the ’60s and ’70s with your new trio: Extensions, The Awakening, and one of my all-time favorites, Outertimeinnerspace.
I knew you were going to mention that. That was done in Montreux. The interesting thing about that [LP] was that the Fender Rhodes was broken; it was only working on one side of the speakers. So it’s an interesting record, because the Fender Rhodes was giving half of what it was supposed to. [laughs] It was an “electronic malfunction.”
Fifty years after “Poinciana,” you still take songs, put the Jamal touch on them, and make them your own, like on your new CD, It’s Magic, a collection of original compositions and selections from motion picture soundtracks.
It’s the strongest thing I’ve done since At the Pershing! Most of the time, I’m not entirely pleased with everything. But this is a special, special gift from the Creator. It was produced with the same formula I used for 628. I used the same editing formula. I recorded for four days in Strasbourg, and I only chose nine tracks. So, history repeats itself!
Eugene Holley Jr. is a Delaware-based journalist. His work has appeared in many publications, including Down Beat, JazzTimes, Hispanic, The New York Times Book Review, Philadelphia Weekly, Vibe, and The Village Voice.
1. Miles Davis and Quincy Troupe, Miles, the Autobiography (Touchstone/Simon & Schuster, 1990) 178.
2. Eugene Holley Jr., “Ahmad Jamal: A Lasting Impression,” American Visions, (October/November 1994) 47.
German label Habibi Funk has dug up some more African rarities for our ears, this time from Sudan. Local musician Kamal Keila—dubbed the Fela of Sudan—never had a chance to release his music on vinyl or even cassette, as Sudan didn’t quite have the thriving musical scene as neighboring Ethiopia or metropolitan Egypt, or West African nations like Nigeria or Ghana.
“He did, however, record sessions for Sudanese radio,” the label explains. “In Sudan, the radio stations were not allowed to play the recordings produced by music labels on air, therefore they had their own studios and invited musicians to record music for their program. In most cases, the musicians would not receive a copy of the recordings out of fear that they would release the music themselves. But luckily, Kamal Keila had gotten his hands on two sessions and had kept those two studio reels all these years. Both tapes were in the most horrible condition with mold everywhere and obvious signs that they had gotten very wet at some point. Much to our surprise, they played very well.”
One of the ten tracks discovered is called “Muslims and Christians,” debuting here.
What sounds like a recording from the mid-’70s, with Ethiopian musical influences noticeable, the recording is actually from much later. The Habibi Funk guys were shocked when they found a sheet in one of the reels that dated the recording August 12, 1992.
Wax Poetics are excited to present the Steppin’ Heavy Mix Series, a fresh mixtape series curated and compiled by our good friend Induce.
Induce breaks down the first mix Boogie Bangers in his own words:
“In the first installment of the series, I wanted to come in heavy, strong and long. I’ve been wanting to put a mix like this together for a while – somewhere between the quintessential and the obscure, there’s a little for everyone here, be it timeless classics, or under the radar neck-snappers. And since all but one of the songs here are from the original 12” pressings (although no recent represses), I wanted to let the tracks stretch out a bit, foregoing the quick mixes for the fulfillment of maximum funk.”
1. Gwen McRae – Funky Sensation 12” (Atlantic) 1981
2. Bill Withers – You Got The Stuff – Special Disco Version 12” (Columbia) 1978
3. Syreeta – Move It, Do It 12” (Motown) 1981
4. Michael Wycoff – Looking Up To You 12” (RCA) 1982
5. Conway And Temple – Love Lights 12” (Old Town) 1982
6. Kinky Foxx – So Different 12” (Sound Of New York) 1983
7. Leroy Burgess – Heartbreaker 12” (Salsoul) 1983
8. Candy Bowman – I Wanna Feel Your Love 12” (RCA) 1981
9. Roberta Flack – Lovin’ You 12” (MCA) 1981
10. Fresh Band – Come Back Lover 12” (Are’N Be) 1984
11. Mystic Merlin – Mr. Magician 12” (Capitol) 1982
12. C-Brand – Wired For Games 12” (Spring) 1982
13. Mel Sheppard – Can I Take You Home 12” (The Sound Of Brooklyn) 1981
14. Barbara Jane – I Like The Way You Move 12” (Blue Parrot) 1983
15. Oliver Cheatham – Something About You [from Saturday Night LP] (MCA) 1983
16. Colors – Am I Gonna Be The One 12” (First Take) 1983
17. Take Three – Tonight’s The Night (All Right) 12” (Dance-Sing) 1983
18. Mikki – Dance Lover 12” (Renaissance) 1985
19. Raw Silk – Just In Time 12” (West End) 1983
20. Opal – Nice And Slow 12” (Silver Cloud) 1983
Stay tuned for the next mix, and find more from Induce here: