Interview with Lonnie Liston Smith

At this time we need Spiritual vibrations more than ever.
I had the great opportunity to get in touch with one of the great jazzmen
who was and still is very Spiritual in his way of thinking and exploring
jazz.
As you have read in my introduction to Lonnie Liston Smith he was very into
that Spiritual, Creative, Astral , Deep movement, along with Pharoah
Sanders and Leon Thomas (Peace be with him) among others...
As I knew, I discovered a Deep Man, a great musician and a new friend !
He also gave me some unpublished pics that you will see for the first time
here in JAZZMOTEL!!
This is what Lonnie Liston Smith and I talked about...










Lonnie , How have you defined your style, your piano playing style?
Which pianists or musicians have inspired your vision of jazz music?


I always wanted to develop a universal style of music, and when I am playing the piano and keyboards I try to be aware of the importance of using space. Miles Davis told me one time that musicians don't realize that what they don't play is just as important as what they do play.Miles Davis and John Coltrane inspired my vision of music the most!  Also Debussy and Ravel inspired my vision of music.





One of your first important experiences was with Art Blakey, thanks to the help of the player Mickey Bass . Tell me about your experience with Art Blakey and the great jazz scene .

Working with Art Blakey was a great experience because each member of the group would write songs and Art would not come to the rehearsals until we had learned all of the new songs, then he would come in and sat behind the drums and play each song as if he had heard these songs before.  It was amazing how Art could interpret these songs so quickly.




Another drummer who helped to increase your credibility was Max Roach. You played with him for about a year and then later recorded two albums with Rahsaan Roland, right up to 1968 when you met Pharoah Sanders.
what is changed after the encounter with Sanders ?



Working with Max Roach was quite a different experience because Max played in so many different time signatures (5/4, 7/4, etc.).  People don't realize Max Roach taught Dave Brubeck and his band how to play in 5/4 time. When I played with Rahsaan Roland Kirk I had to play all types of music.  Rahsaan liked to play the blues, dixieland music and also straight-ahead jazz.





That period was very much influenced by the spiritual slipstream left over by Coltrane. You started to experiment with the electric piano indian tambura and composed a few songs that later became defined as Cosmic Jazz .
Tell me about that sort of energy that influenced you, Leon Thomas, Pharoah Sanders and many other musicians of that period…
“Thembi “, "Upper Egypt", "Karma", "Creator Has a Master Plan", "Summun, Bukmun, Umyun", and "Jewels of Thought” were a sort of astral journey of jazz.
What kind of feeling was there in that period and how did jazz music blend with spirituality?



Leon Thomas, Pharoah Sanders and myself developed a whole new concept of jazz.  I wrote most of the music for the group when we were together.  We would stretch the music as far out as we could, and then bring the music back down to earth.I wrote "Astral Traveling" for Pharoah and that song really represented "Cosmic Jazz".  In that song I tried to capture the feeling of floating through space.
I want my music to heal all of the problems on the planet Earth, like wars, man's inhumanity to mankind, because if we don't learn to live in peace and harmony, then this whole planet will be destroyed.



You also performed on the recordings of Miles Davis’ “On The Corner” and “Big Fun”. How much did your closeness to Miles contribute to your evolution in jazz, a music that was becoming evermore experimental and open to certain influences and experimentations with electric instruments and free expressions in music.




Working with Miles Davis was the "ultimate"!  Miles was a musical genius on stage and off stage!  Every night working with Miles I had to be very creative because Miles had me playing a new keyboard, "The Yamaha Electric Organ".  He wanted to hear a new sound and the only time I had an opportunity to play the new keyboard was on stage. 




In 1974, after the experience with Gato Barbieri and the Flying Dutchman label, Bob Thiele, who had supported the album by Sanders, helped you to obtain your first contract for an album as a solo artist and leader. That album was “Astral Travelling”
Than the Cosmic Echoes were born .
Did that album allow you to record what you had in mind at the time?



After working with Miles Davis I formed "The Cosmic Echoes".  I saw that Miles had hooked up a lot of pedals to his trumpet, like the wah-wah pedal, etc..  So
I decided to hook up all these different pedals to my Fender Electric Piano and that's how I discovered the Lonnie Liston Smith Sound on the Electric Piano. 



How did the passage to Jazz Funk happen? Which sounds inspired this move?
In 1975, with “Expansions” you defined your style by creating a sort of Funky Jazz, very fresh but still maintaining your spiritual and astral vein. What can you tell me about this album?

After I recorded "EXPANSIONS", The Entire World labeled me "THE GODFATHER
OF JAZZ FUSION FUNK".



“Visions of a New World” and “Renaissance” were the next step, electric piano with echo and wah-wah effects, percussions and funk. In all of your work percussions are always much involved and you use more than one percussionists on one album.
How important were the percussions to you sound?



The sounds of different percussion instruments are very important because the sounds are so cosmic and universal, so I try to use percussion instruments as much as possible.

thanks Lonnie .

Thanks JAZZMOTEL Peace

Introducing Lonnie Liston Smith

Lonnie Liston Smith The acoustic pianist/electric keyboardist was born in Richmond, VA, on December 28, 1940, should not be confused with soul-jazz organist Lonnie Smith (see also Jazzmotel interview ).. . During the '60s or early '70s, he had been a sidemen for Pharoah Sanders, Rahsaan Roland Kirk, Gato Barbieri, singer Betty Carter, and trumpeter Miles Davis. During Davis collaborations Smith signed with producer Bob Thiele's RCA-distributed Flying Dutchman label and recorded his first album as a leader, Astral Traveling (which Thiele produced).


In the early 70’s He formed the Cosmic Echoes and started he’s new adventure as a Leader .
Hes music as we saw for the Sanders / Leon Thomas period were very influenced by a kind of Cosmic Peaceful Spiritualism also finded in the post-bop works of space explorers like Coltrane, Sanders, Yusef Lateef, McCoy Tyner almongst all .
The first Cosmic Echoes lineup,included George Barron (soprano and tenor sax), Joe Beck (guitar), Cecil McBee (bass), David Lee, Jr. (drums), James Mtume (percussion), Sonny Morgan (percussion), Badal Roy (tabla drums), and Geeta Vashi (tamboura). Astral Traveling .The first Cosmic Echoes was an instrumental work , later on Lonnie added a vocalist to the Cosmic Echoes: his brother Donald Smith.
Their essential discography include Astral Traveling -- 1974's Thiele-produced Cosmic Funk, 1975's Expansions, 1975's Visions of a New World, 1976's Reflections of a Golden Dream, and 1977's Renaissance, all of which were on either Flying Dutchman or RCA proper.Lonnie run now Hes own Company called Loveland records .

Interview to David Axelrod " The Axelrod Tape "

Quote David Axelrod web site :

An award-winning producer for Capitol Records who produced, great jazz, funk, and soul records during the 1960s and '70s, from Stan Kenton to Lou Rawls to The Electric Prunes to Cannonball Adderley. David Axelrod created his own distinct style. He has earned one Grammy and five nominations, along with seven gold records. Serious jazz lovers will recognize his name.
Axelrod freely uses drums, horns, strings, string bass as well as woodwinds along with key board, in his compositions. Poetry has been an influence on his compositions. He is considered a visionary and the father of fusion.





As I wrote in a previous transcript I got in touch with David
Axelrod's son Dana to interview "The Maestro" .
Interviewing him for the first time was a strange sutuation for me, I
was very shy to ask all the normal questions that every Jurnalist would
like to ask, after all what more can I ask to a living legend like David
Axelrod...?
Experience, Sampling, Productions, Origins, Taste...



David Axelrod for me is a kind of " Deep Composer ", I never knew
what to call his Style, so deep so intelligent, a kind of "Baroque
orchestral message". Funk Jazz tinged ...Out of any " regola " Free from
music standards, a kind of Archetypal music.

The first time I heard him was like an illumination,
"Who can mix Classical moods , Jazz , Soul , Funk and Rock together
with God's blessing"?


So I started to research as always... and collecting... new experiences!

Song of Innocence
Song of Experience
Rock Messiah
Earth Riot

Loads of productions, lots of them sampled by big modern artists like
DJ Shadow, DR Dre and many more...



It was like living in the 70's when I received the "tape" with the
recorded answers, it was pretty strange for me receive a tape in 2007
but this is all part of the legend that is Axelrod...

I don’t have a tape recorder any more, shame on me! How times have
changed.
I found the "tape recorded" interview so cool because, Axelrod
answered me directly. Answers without questions... for me it was a type
of poetry.
When I listened to the tape I decided to put the interview here on
Jazzmotel, laid bare without questions, just like a kind of statement,
David Axelrod "SPEAKING BY HIMSELF" to answer me... the interviewer...
A true privilege and one interview I will never forget.




In the internet and electronic era it is quite cool receive a tape,
so this my friends is the "Axelrod tape!"





How you doing Alessio?

Everything is fine here in the States. It couldn’t be better.


Well, sampling and music seems to be here, although they are cutting down on it, and I don’t mind having my music sampled. I think it’s kind of neat, that so many people are interested in it, especially if it’s done right.

No, I wasn’t angry when I first heard myself being sampled, I thought it was kicks. I broke up laughing. Then came some serious samples, and if you can get someone like the way Dre did it, the way he did Next Episode, when he sampled The Edge, and what I used as the intro, he put behind the first four bars of the band. And it worked, it really did work.

Also Diamond D, the way he did things when he sampled Mental Traveller, when he put the guitars in different places than I did, and I kind of liked it, as much as what I did was the only way I had done it.

So what’s the sense of getting angry, it’s going to be done anyway, you just have to hope that whoever does it does it musically.

Well downloading is here, and it won’t be a problem once the majors figure out how to utilize it and sell their product on it. The only thing I don’t like about it, is the sound itself. Certain things become very tinny, especially if they have any kind of orchestra, the orchestra sounds very bad. If you using a quartet or a quintet or something you’re far better off. I just don’t like the sound

Well before the sixties and seventies, I was just into a great deal of jazz, as a matter of fact as from about 1954/1955 through the early 60’s, that’s all I listened to. But as I said, before that, I was listening to jazz and rhythm and blues,. People like Amos Milburn and Little Milton and others and especially T-Bone Walker.

Learning music on my own was very very difficult. I don’t recommend it. Did it add to my personal style?..Probably. Because I was already writing before I got involved with certain rules that had to be supposedly applied with. I broke those rules and now that I know better, I still break them. But you better learn. Whether it’s your own or whether it’s within a school. I’ve often told Randy Newman, who I’m very very fond of, that I envy his education at USC (*University of Southern California). A degree in music is a great help.

I don’t hear a lot of cohesive albums any more. It’s like concept-albums seem to be out. I don’t know why that is because I love concept albums and I’ve been doing them my whole musical life, starting in 1967. So why that’s not happening now I don’t know. Maybe it’s the labels. If so, they’re making a mistake. If someone has a good idea for a concept, it’s always going to be cool. Check out people like Alan Parsons

Yeah, I would like to tell your readers to check out davidaxelrodmusic.com

They will really enjoy it.
And… thank you


All the pictures curtesy of Davidaxelrodmusic.com

David Axelrod live at Royal Festival Hall

These are my sensations , my feelings about an incredible DVD concert I received from David Axelrod son , together with the Jazzmotel interview answers I send Him some time ago ...
David Axelrod is for me a living legend , His way to see the music is for me so Deep and Intelligent that I was in trouble to ask Him questions for the interview you gonna read very soon ..
It was like a kind of interview to Enoch or Moses or some other "Patriarcas" as we say in Italy .
I was very happy to get the oportunity to make a Jazzmotel style review , I really hope you enjoy it and starts , if you are not already doing it , dig into Axelrod discography cause you will find many many archetypes , style lessions and pure sensations and Deep conversations and interpretations ,
Belive me !



DAVID AXELROD LIVE AT ROYAL FESTIVAL HALL

introduction:

When I received this DVD/CD after contacting Dana Axelrod for an interview with his father (the genius David Axelrod) I decided there and then to write a sort of review so as to give my contribution and spread the word for this disc which again confirms the genius of this composer and arranger who has contributed so much to the history of Jazz.

To start with a little history , David Axelrod was born in Los Angeles in 1936. He begins early to write complex scores, orchestrations and arrangements which will bring him to define that Jazz-Funk sound with rock undertones that will make him one of the most in demand arrangers and producers of the jazz, soul, funk and rock scene from 1959 through 1999 and the present day.

Cannonball Adderley, Nat Adderley, Funk Inc., Lou Rawls, Don Randy, David McCallum, Clara Ward, The Electric Prunes and Letta Mbulu are a few of the artists that Axelrod has produced and arranged , Capitol, Warner Bros, and Prestige a few of the labels with which he has collaborated.




His records have helped to create the Hip-Hop and Trip-Hop sound and have been the source of inspiration for a new generation of musicians, influencing the styles of electronic and contemporary music amongst others.
David Axelrod is considered a genius for his interpretations of the works of William Blake and for creating a sound that to this day is contemporary, or rather, timeless.

The first thing I thought before viewing is: “Has Axelrod kept that lean sparse sound, those linear rhythms of “Song of Innocence” and “Song of Experience”?
The answer is yes , for sure ...

The chosen venue for this event is the Royal Festival Hall in London, a structure of modern architecture, situated between Waterloo and Hungerford Bridge which highlights the English passion for the past, the present and the future. A perfect combination for the music of David Axelrod.

The Hall is buzzing .Musicians, DJ’s, people form the entertainment industry and ordinary fans are waiting for an event that hasn’t been seen in 25 years; David Axelrod will direct an orchestra of 26 musicians and will perform the songs that have helped to create his legend.
Axelrod looks like a high preacher and from his “pulpit” starts to introduce this event recorded in 2005.

The Orchestra is composed of 6 Violins, 2 Violas, 2 Cellos, an Oboe, a Cor Anglais/Piccolo, 2 Saxes, a Clarinet, 2 Trumpets, a Trombone and a solid rhythm section, essential for the Axelrod sound: Double-Bass, Drums, 2 Guitars, Percussion, Vibraphone, Acoustic piano, Electric piano, Organ and a Harpsichord.

The concert begins with a Psycho Jazz re-arrangement of “Paint it Black”, especially created for this event as a tribute to the land of the Rolling Stones. From this first piece you quickly begin to understand and in the same time you have the confirm of the ability to re-arrange that Axelrod possesses. The piece is practically unrecognizable and incredible.

Axelrod seems almost to enjoy directing the orchestra. I have to say that from what I see he his able to put the musicians at ease. On the other hand, to be directed by a living legend can’t be an everyday occurrence, and for this reason the orchestra (composed of young but very competent musicians) shows good participation and perception , moving to the music and at times almost dancing to the “Beats of Axe”. Axelrod introduces The Edge "sampled by DR Dre " by stating “I hate samples” (a note to the lovers of sampled Axelrod)...



The show’s setlist comprises all his compositions from the late 60’s and early 70’s. Songs like “Holy Thursday” and “Unizen”, form “Song of Innocence”, “London”, “The Human Abstract” from “Song of Experience”, and onto “Holy Are You” taken from the album “Release from the Oath” by the “Electric Prunes” sung by the fantastic voice of an emotional and passionate Richard Ashcroft.



“The Sick Rose”, “Smile”, “Tensity” and “So Low” the only new Axelrod piece, brings London and its theater down in a nocturnal atmosphere reminiscent of Blake.
The concert is brought to an end with “Norwegian Wood”, another tribute to an English band, which confirms the deep respect that Axelrod holds for this country.
The whole concert is an alternation of straight Funky Beats , full Orchestration patterns and Deep inpirational moments wich is the perfect main line of all the best Axelrod works .
“David Axelrod Live at The Royal Festival Hall” will contribute to further your collection with intelligent, profound, baroque and timeless orchestral sounds.

I suggest you go to the Axelrod website and maybe commence your collection of his jazz works.

I hope this my review helps you to know a little more of this incredible Artist .
Be ready for the interview wich is coming pretty soon !
Love from Jazzmotel

We know you got soul , BROTHER !

Yesterday was not a great day for me and for all the Funky Soul lovers , Mr Bobby Byrd is gone in Heaven to let everybody know ( if theres someone who does'nt know ) that he got Soul !

Love to you Bobby and thanks for give us Funk , Hubleness and Soul .
Rest in Peace Brother .

Interview to Marva Whitney

Here we are ...Im very excite to have the pleasure and the privilege to make my Thang with Marva Whitney.




What was your taste in music at the beginning? And now ?

I grew up with the music in church. Later I really liked Dionne Warwick, Etta James and Tina Turner.


Is there anybody that inspired your style ?

My mother. She is playing in church with me still today.


How did you first approach making music after being a church singer?

I first toured with a gospel group called the Manning Singers. Later I went on the road Tommy and the Derbys, a classic R&B act.

How did you meet James Brown and how did the collaboration start?

James Brown was playing in Kansas City and my former manager Clarence Cooper got me an audition. Mr Brown's former musical director Alfred Pee Wee Ellis auditioned me and gave Mr Brown a tape. He then asked me to come into his dressing room and hired me on the spot. I went on the road with him right away.

You started with my favourite JB band of my favourite period, what do you
remember about that ?

It was a lot of work. 30 one-nighters in 30 days. They were a great band, that's for sure.

When did you start to do to your own thing?
After I left James I recorded a few tracks for T-Neck, later I married Ellis Taylor who recorded me for his Forte label.


Something I always like to ask. Could you describe the feeling, the vibe
and the sensations and the experience of living through that period at the
end of the 60?s

That's really hard to do, because when you are living it, you don't think about it. I was very young at that time and excited. Of course I loved the attention I was getting, but my party was while I was on stage. After that, I went to my room and that was it. But of course I went to Vietnam with Mr Brown, which was quite an experience.


When recording a track, how much space did you and the band have and how
much of that decision was taken by JB himself?

We had no space. He told me what to sing, but sometimes he would let me write my words. Sometimes I made them up while I was singing. I can't really speak for the band, because usually the tracks where already laid out when I came in.


Could you describe to me a typical working day in the recording studio?

There was never a typical recording day. We usually recorded on the road, on our off-days. Sometimes we'd cut at very unusual hours. "It's my thing" was recorded at 6 a.m.


What do you think about Funk, Soul, and the rebirth of these styles from
the 80?s till the present day.

I never really followed what was going on in the 80s. My son first told me that some groups had sampled my music, which made me upset at first. But there is a lot going on this days, my current band Osaka Monaurail is from Japan, and they sound exactly like the James Brown Orchestra from 1969. They take funk very seriously.

Your records are very expensive now...

.. and I don't get paid a dime.

Are you still in touch with JB and the other musicians ?

I see some of them when I work with my agency, Soulpower. Because they also work with Sweet Charles Sherrell, Bobby Byrd, Vicki Anderson, Martha High, Pee Wee Ellis. Martha is my close friend, so was Lyn Collins. I don't talk to Mr Brown, but his manager, Mr Bobbitt, usually calls me up when they are in Kansas City. But I never went to his show.


What are your future plans?

My new album is coming out in Japan this month, it will be released worldwide in February. I have been performing quite a bit this year, all over Europe and Japan. We are ready to go come back to Europe and Japan in 2007 and we will tour in Australia. And we will definetely record a new album next year. Marva Whitney is back!

Introducing Marva Whitney and Her essential Funk 45's

Introduction to Marva Whitney – The Lady Of Funk

After a lot of Great men now it's time to speak to a Lady , the first Lady of Funk.
Friends and Guests of Jazzmotel I'm proud to introduce you Marva Whitney .
As always i dont know how introduce this kind of personalities , so many things to say ....so Great persons and Artists.
The James Brown experience , her own career , Alfred Pee Wee Ellis , Tommy and The Derbys (who rose to fame with Charles Wright & The Watts 103rd Street Rhythm Band) , "Live At The Apollo Volume II".
His record " It's my thing" spent seven weeks in Billboard's US R&B Hot 100, peaking at #19 in the summer of 1969 (#82 Pop).Other records like" Things Got To Get Better" and "I Made A Mistake Because It's Only You", made their presence too on the US R&B Top 40.
My favourite are " Unwind Yourself " and " I’m Tired I’m Tired I’m Tired" .
Now she's back with a great band and a lot of news so have a read on this Interview DJ Pari kindly maked me do and have a look at her site on the links section.
love!


Marva Whitney essential Funk 45's


2006
I am what I am P.1 / I am what I am P.2
RDVB-025

1967
Your love was good for me / Saving my time for my baby
Federal, F12545

1967
If you love me / Your love was good for me
King, K6124

1968
Undwind yourself / If you love me
King, K6146

1968
Your love was good for me / What kind of man
King, K6158

1968
Things got to get better (get together) / What kind of man
King, K6168

1968
I'll work it out / All my love belongs to you
King, K6181

1968
I'm tired, I'm tired, I'm tired / If you love me
King, K6193

1968
What do I have to do to prove my love to you / Your love was good for me
King, K6202

1968
Tit for tat (Ain't no takin' back) / In the middle (Instr.)
King, K6206

1969
You gotta have a job (with James Brown) / I'm tired, I'm tired, I'm tired
King, K6218

1969
It's my thing / Ball of Fire
King, K6229

1969
Things got to get better (Get together) / Get out of my life
King, K6249

1969
I made a mistake because it's only you P.1 / P.2
King, K6268

1970
He's the one / This girl's in love with you
King, K6283

Groovin' with the Beatles

I proposes a look at the more groovy pieces of The Beatles re-interpreted by musicians that, in the 60’s and 70’s, were part of that sound that we all now define as Groovy Beatles! Why The Beatles? Simply for two reasons: above all they are and always will be my favourite band as well as being the ones who opened my mind musically when I was young, in fact I can state that my Karma as a DJ made itself known at the age of six when I used to listen to “Let It Be” (that came out only six years before!). The second reason is that last November 17th of last year “Let It Be” was re-published in its original version, that which the authors themselves would like to have seen pressed. Phil Spector, the producer at the time, remixed unknowingly by them the whole album in an effort to make it less raw and more sweeter, he added angelic choruses and orchestras and created many upsets amongst The Beatles who were close on breaking up, that now, at a distance of 33 years, see again (sadly only Mc Cartney and Starr) published their piece of work just how it was planned at the time! Before closing this Beatles section I want to be precise, once and for all, that “Let It Be” was not their last album that they realised in the studio but was in fact the one but last, even if the last, “Abbey Road”, was published in ’69 and “Let It Be” in ’70. Now, as always, I will list a quick but significant quantity of titles and authors, starting with George Benson, a very famous jazz guitarist, who published an album entitled “The Other Side Of Abbey Road” in which, of them all, stands out the very ‘Soul Beat’ version of “I Want You”. Ramsey Lewis also, another very famous artist, re-proposed with the electric piano that characterised his sound the famous White album in a groovy version, calling it “Mother Nature Son” like one of the pieces of Paul. Ramsey was also a big fan of The Beatles, in fact right from the beginning of the 60’s he proposed many cover versions of the group in lots of his albums. In a precedent appointment that was dedicated to the Sitar I mentioned how The Beatles were the first to introduce this instrument into pop, therefore, what better way, in the swinging sixties, to make a cover of their songs than using a Sitar? Here then is Big Jim Sullivan at work on “She’s Leaving Home” (originally taken from “Sgt. Peppers”) or Lord Sitar who put two pieces on his self titles album, “Blue Jay Way” and “I’m The Walrus”, both taken from “The Magical Mystery Tour”. Moving on to the Hammond organ we rediscover two extraordinary and highly danceable versions of “Get Back” respectively done by Shirley Scott (very jazzy) and the guitarist Dennis Coffey (touching on psychedelic funk rock contained on the album “Hair And Things”). Another great organist, Jimmy Caravan, in his “Look Into The Flower” proposes a great version of “A Day In The Life” in trio where the cacophony orchestra of the original piece, that divided the two ‘separate’ pieces of Paul and John, is substituted by a cacophony organ that gives you goose pimples with the Lesley (for those that don’t know this is a trumpet shaped amplifier that the Hammond possesses, capable of creating an effect like sucking). Rob Franken also, a less noted German organist, proposed his versions of “The Fool On The Hill” and “Ob La De Ob La Da” worthy of noting (they are contained on a very rare record that, however, is well worth looking for). Also Sergio Mendes was another big fan of the ‘fab four’ and, just as you can hear on many of his albums, loved re-interpreting their songs. Staying in South America I will tell you about a wicked version of “Come Together” that has been looked after by the very famous and much sought after Brazilian drummer Wilson Das Neves of whom his 70’s album entitled “Samba Tropi” is at the moment valued at around 250 dollars! El Chicano, a group that was born ‘bad’ like Santana but remained that way, offered us their Latin funk version of “Eleanor Rigby” where the sweetness of the original piece leaves space to a very aggressive Latin beat that is worthy of the most dusty powdered Mexicans! Astrud Gilberto also (an artist that is better known by us) re-proposed “In My Life” (in 1968) and “Here There And Everywhere” (in 1969) including them on her rarest (just for a change) album “Windy” and “17th September 1969”: there is no point mentioning that her Brazilian sweet voice makes these songs even more pleasurable.

Some other titles with Beatles reinterpretations are :

Booker T anbd the MG's Soul Limbo Stax
Ella Fitzgerald Watch whats happens MPS
Shirley Scott and the Soul Saxes Atlantic
Andrew Tartaglia Tartaglian Theorem Capitol
Ramsey Lewis Mother Nature Son Cadet
Steve Marcus Tomorrow never knows Vortex
George Benson The Other Side Of Abbey Road CTI
The Knut Kiesewetter Train Stop!Whatch!and Listen ! MPS
Mongo Santamaria Working On A Groovy Thing Columbia
Shirley Bassey Something UA
Big Jim Sullivan Sitar Beat Mercury
The Harvey Averne Dozen Fania
And loads more .....

the Soul of JB part one .

This is a very hot topic hotter than ever , im writing a small but very hard breakdown of vinyl from the ‘Godfather of soul’ Mr. James Brown. Everybody knows that his career started about 40 years ago with a very soulful piece but it hasn’t finished yet because our Godfather is still playing all over the world, he is also recording an album that will be the soundtrack to the new ‘Rocky’ film! The part of his discography that I would like to recommend is that which goes up to the end of the 60’s and beginning of the 70’s, the same years that have become a habit for ‘The Soul Beat’. That which follows doesn’t wish to be a detailed list of his records but just a taste of his capacity in inventing a sound that still goes today… frightening! We shall start the journey with “Grits And Soul” where James might not even be recognised because he doesn’t sing but instead plays the Hammond organ: we are talking about a collection of pieces that range from soul to honky tonk right up to orchestral R’n’B with “Who’s Afraid Of Virginia Wolf” (a classic that was even done by Jimmy Smith) that I would strongly recommend to all those who love soul from the mid 60’s. Following there is “It’s A New Day” (that begins to be more R’nB even if Soul is still in charge) in which groovy pieces such as “Let A Man Come And Do The Popcorn”, “Give It Up Or Turn It Loose” and “It’s A New Day” alternate with big dance numbers like “It’s A Mans Mans World” or “Georgia On My Mind”. The album “Say Loud I’m Black And I’m Proud” starts to show us that Brown has some clear ideas about politics, about Soul and about what he wants… this is because he is beginning to become a kind of God and many are beginning to take note! In this case also songs like the title track or “Licking Stick” alternate with other cooler ones like “I Love You” or “Maybe I’ll Understand”. To keep under observation, also, are a few instrumental singles that represent rare material because James likes so much to sing. Not many know that he, apart from dancing, is an orchestra leader as well as arranger, he also plays the organ, therefore there comes out 7”’s such as “Shhhhhh For A Little While” (remember that I mentioned this in the Boogaloo edition of ‘The Soul Beat’) or “The Soul Of JB” b/w “Funky Soul” on the KING label as well as the very rare and much sought after instrumental “The Drunk” on BETHLEM that, with the difference to the others, is not contained on any album. To follow there was “The Popcorn” that, apart from being the name of a dance that he invented, is also the title of the album where ‘our man’ leads and dances with the JB Band! In it, even picking with your eyes closed, we can find brilliant songs such as “The Popcorn”, “Soul Pride”, “In The Middle pt. 1 & 2”, “The Chicken” or “The Chase” (just to name a few). In these pieces you can hear that things are slowing down and that the groove is getting ever deeper: next is the birth of true funk! On the album “It’s A Mother” James invented definitely the ‘Funky with feeling’ sound with pieces such as “Mother Popcorn”, “Mashed Potatoes Popcorn” and “You’re Still Out Of Side” (there is no use mentioning “Pop Corn With A Felling” and the others!). In 1970 James Brown changed his band and published another instrumental album entitled “Ain’t It Funky” in which there is (in my opinion) the first true Funky pieces such as “Ain’t It Funky”, “Nose Job” (the title says it all!!), “Use Your Mother” and “Cold Sweat”: in my opinion this album will remain a milestone in the JB story, even if it is one of the lesser known ones. Before finishing off the first part of this edition of ‘The Soul Beat’ I want to mention another album, also instrumental, one of which I redefined my opinion on JB… It is entitled “Sho Is Funky Down Here” and represents a monumental parenthesis that James opened and closed during his long career. The mentioned album is nothing but a Funky Trip of Hammond, Clavinet, Fuzz Guitar and Wah Wah Grooves whilst the sound that it unleashes is a kind of cross between the soundtrack to a porn or police film. I highly recommend that you hunt it out and take a careful listen: you will be nicely surprised! It is now time to say goodbye so see you in the nest edition with ‘The Soul Of JB part 2”… naturally in ‘The Soul Beat’! Peace all around and make it funky!

Interview to Marcos Valle

Like a dream come true i went in contact with one of my great Idols , my favourite Brasilian composer , Mr Marcos Valle.
I discover a great man , humble and cool , a man with an open mind , an artist always ready to experiment and create new sounds always with his great and unmistakable sound and touch ...heres a chat with Marcos Valle




I read you studyed classical music , wich one is your favourite classical
composer , theres someone who inspired your musical taste and style?


M: Ravel and Debussy were the pricipal ones.


Listening to some of your records like " Garra " or " Marcos Valle " from
1970 i heard that in songs like " Des Leis " i can feel some kind of 60's
European or American infuence , wich bands were an ispiration for you?



M: Steely Dan,Chicago, Earth,Wind And Fire, Beatles, Harold Melvin And The
Blue Notes, War, Blood,Sweat And Tears, were some of them.



My Marcos Valle favourite tunes are " Ele e Ela "," Viagem " and "Pigmaiao
" also because i love that kind of waltz tempo , can you tell me something
more about " Ele e Ela " and waltz tempo in Bossanova?



M: Jobim,Menescal and I have written some waltz tempo songs.. I think it
blends well with the the softness and sensuality of the Bossanova mood.
I have written at least 6 of them,and "Ele e Ela" is also one of my
favorites,because of the chords changes and the smooth melody.




Most of your songs are about love how love influenced your musical life .



M: I can´t understand the world without love,so my songs talk about it.Not
only love between 2 persons,but also love for your people,for all the
races,for the ones who need care.



What you think about mixing Bossanova with other styles like Funk or
Psychedelic sounds in the 70's or electronics today..




M:I love these experiments and mixings.They inspire and excite me.



How important were the traveling in North America for being in time with the
music , like you are already now.



M:Well,besides having my songs recorded there,my personal contacts were very
interesting.
I had good times touring with Sergio Mendes in the Sixties.
The success of my song "Summer Samba "in 67 took me to some of the most
important musical American TV shows;I had the chance to record then 2
albuns:one for Warner,named "Braziliance-The Music Of Marcos Valle" and one
for Verve:"Samba 68".I had a chance to meet important artists as Henry
Mancini,Quincy Jones,Johnny Mandel,Ron Carter and others.And from 75 until
80,when I stayed 5 years there,I met Sarah Vaughan,with whom I
recorded,besides having my songs recorded by her;the group Chicago also did
it;I had a chance to write many songs with Leon Ware,partner of Marvin Gaye
(Leon recorded many of our songs);I collaborate with Airto Moreira writing
the arrangements for his album "Touching You,Touching Me",and also had songs
recorded by my friend Deodato.



You wrote the Azymuth song that inspired Azymuth band , can you tell me
something about that soundtrack , i mean "O fabuloso Fittipaldi".


M: I had written the song "Azymuth",with my partner Novelli,in the 60s,for
the opening of a TV film,about racing driving.And recorded in the accoustic
piano myself. Then,years later 2 important movie makers,Roberto Farias and
Babenko decided to Make a film about the 2 times World Formula One Champion
Brazilian Racing Driver Fittipaldi,and they asked me to write the score; and
as they loved the song "Azimuth",they asked me if I could write a new
arrangement of that song for the opening of the film,which I agreed.To
record the soundtrack with me,the producer of the album decided to call 3
talented musicians: Jose Bertrami(Keyboards),Alex Malheiros(bass) and
Mamao(drums),and I playing the accoustic piano.
Bertrami and I wrote the arrangements together.We wrote a new arrangement
for "the song "Azymuth",but basically,my piano solo was the same,and I wrote
new songs for the rest of the film.
I could not put my name in the record as a performer,once I had a contract
with EMI,and this was being recorded in Phillips(Universal today).So,we had
to find a name for the performers.The producer thought about "Conjunto
Azymuth" ("Azymuth Band"),because of the opening song.I agreed.
After the record,those 3 musicians decided to stay together,and asked me if
they could use the name "Azymuth" for the band.I agreed,and I became the
"Godfather" of the group.And I really think they are probably the best
Brazilian instrumental band .



You collaborate with a lot of Brasilian musicians , wich collaboration were
the most important for you .



M: Joao Donato , Milton Nascimento , Edu Lobo , Menescal , Lulu Santos ,
Carlos Lyra , BossaCucaNova , Cidade Negra , are just some of them.




Its very difficult to find Marcos Valle original vinyls , the vinyls you
find are very expensive . what you think about this ?



M: I wished they were less expensive , so people who enjoy my music were
able to buy them.



Can you describe me the felling of Rio de Janeiro in the 60's .




M: It was very stimulating.I had my first song,entitled "Sonho de Maria",
recorded in 1963,by Tamba Trio.And a little bit after that,Os Cariocas
recorded 2 songs of mine,"Amor De Nada" and "Vamos Amar".And in 64,I signed
a contract to record to EMI for 5 years.
What was fantastic is that all the composers,musicians and singers use to
get together almost every week,in someone,s house,and I always wanted to get
there with a new song to show Jobim,Carlos Lyra,Menescal,and all the
others.So,I had to look for quality.I did not think in what would be
comercial,never.We just wished to write good songs.And that was the same for
film producers,plays,books,all kinds of art.The sixties were very creative.
Even when we had the military government,we were very productive.We had
problems with the censors,but did not give up.The lyrics started to change
to social and protest subjects.The meetings now were not only musical,but
also political,to discuss what we could do against the government.They
included all kind of art people.



When i listen to your 60's and 70's records i feel a kind of energy and
positive thinking about that period , it's Brasil changed today ?




M: As I say,I was very stimulated to do things and write a lot.
Today we have democracy,thanks God.Elections are free,we choose who we
want.But we still have the social problems.The population is much bigger,the
poverty also.We must fight that to find peace in our country.
We do not have anymore those weekly meetings,but I love to get together with
other composers of other generations,other music styles,and write songs with
them.That moves me.




What are you doing now , i know you are playing a lot in this period , can
you tell me something about your future projects?




M:I just came back from a great European tour,with my band,including 17
shows in different countries.
I Have recorded a new CD,all instrumental,with new and old
songs,produced,arranged and performed by me,playing the Rhodes,Accoustic
Piano,Guitar,Mellodica and keyboards,with my band,and have achieved the Tim
Award (the most important music award in Brasil) as the best instrumental CD
of the year.The CD was released in Europe,Japan and USA by Universal.
I will be perfoming 5 shows in Australia next January,in Sydney and
Melbourne Festivals,and in May I will start a new European tour.
And in Brasil,I will be perfoming a lot, also with my band .
And I will be recording a new record in 2007,I still do not know were.Let´s
see.

Marcos Valle