Jazz Muzik
As-Salamm-Alakum
“The Signers and players of Instruments will be there.”
JAH Love Music!
“Common blood flows through Common veins.
Common eyes see the same.
Now more than ever, all the family must be together.
The time is in the air.” Gill Scot Heron – 1970s.
A time of African global uprising in creative music, was the 1970s. Below are some personal notes, and reflections about that era. It was all about sharing new ventures, new avenues of creativity, and directives to step into the future, that is now!
Old Masters
In the early 1970s, Senior Jazz Composers in America, and highly skilled, young, gifted and talented jazz musicians, decided to modernise and popularise the genre.
At that time, the dominance of dance music was sweeping across the airwaves; Disco-Fever and its Inferno, was burning up the dance floors. Queen-Donna Summer was in her element, while Chic to chic, were all Freaking Out!
Out to lunch for hours and hours, to name a few in the disco-dance arena, and music crew. let’s begin with Evelyn ‘Champagne’ King, Shalamar, The Gap Band – and many many more, too many to mention. Michael ‘Off The Wall’ was my favourite treat. Funk & Boogie Down Disco Dancing, was ablaze and took over the dancehalls. Up and Downtown. Even younger teenagers, were all going roller-disco-skating. In the UK, a teenager myself in the later stages, and member of the lovers’ posse. We roller-disco at Alexander Palace, North London.
Jazz-Fusion
Among the musicians, through agreements, in the spirit of love and respect, it was all experimentation, and shared results. The theme was, find your method to join the good-times, everyone are having with the beloved music – “Let There Be Jazz.”
Remember, without sacrificing and diluting its purity, in the ‘spirit and soul.’ Don’t forget, move the lazy bodies, must dance, prance and romance! Sweeter than Sugar!
Styles & Genre
The composer and music directors, already working with the major jazz recording companies, were the leaders with new ideas, innovation, navigators. Pulsating beats, rocking grooves, poly-rhythms, textures within patterns. Virtuoso Instrumentations with finesse, found the right sound, with upbeat tempos. On first hearing the results, the feelings were similar on realising, the first rays of sunlight- facing you, locked in perpetual darkness for years. “Free at Last, Thank God, Musically Estatic!
Jazz-Funk
You heard the music, but the energy of motions came from inside your body, on its way out. No doubt about that.
No matter your circumstance, you must dance, even when you don’t have clue how!
After all the hard work, achieving comes at a price. Immediately, all music recording businesses are on the case. Plundering, diverting, on the band-wagon attempting a take over.
New genres and styles appeared in the same vein as Jazz-Funk, as if overnight, out of nowhere. Later on, things settled down. it was the 1980s. Some of the deviations are these; Fusion-Jazz, Acid-Jazz, jazz-Dance, lounge-Jazz, Dinner-Jazz. Soul-funk-Jazz, in a synergy of sounds, also made headlines for a number of years. The similarities of Jazz-Funk to Rare Grooves, among Disc-Jockeys, are ironic.
It’s all good, when music is played with quality, tight, and organised together in harmony. It was great to know the worlds of music we’re all inspired, to point of participating by any means, necessary. In the business of music then, usually, every 5 years on a regular basis, major changes occur.
Creators & Innovators
Try to remember, lots of low selling units of produced music, are eventually unavailable for public purchase. Lack of demand, means they simply fade away, and disappear.
The creative works of all these musicians set the standards, the benchmark at the pinnacle of supreme creativity.
All working together in the Academy of Professional Excellence, with tolerance, vision, and a love that is way beyond vainglorious vanities. Learn to give, and accept in gifts return, without exceptions.
Love Life – Live & Let Live!
The disgrace and dis’service of new business management, is the failure to name all performers and producers, involved in creating and producing the music, they own?
All about ownership! In no particular order, the short list of names that follow, are some I have chosen as good examples. They are among the giants of the genre. It is not an opinion, the works created, produced, and the evidence are available for all to listen, and know.
ROY AYERS – THE CRUSADERS – AVERAGE WHITE BAND – QUINCEY JONES – LIGHT OF THE WORLD – GEORGE BENSON – HERBIE HANCOCK – LARRY MIZELL – BOB JAMES – PATRICE RUSHEN – WAYNE SHORTER – DONALD BYRD – BOBBI HUMPHREY –
Feminine Gender
Although females in jazz, play lots of instruments. Unfortunately, they are usually featured, and known only as vocalist. Yet still, there are not many women located in the deeper roots of creating Modern Jazz Music. Here are two that were there from the beginning of Jazz-Funk. From a teenager, I love them both, from the he’art!
Bobbi Humphrey, instrument of choice is the Flute, which she began playing in high school, and continued playing all through university in the Southern State of America.
I have much affinity with her, that was also my choice of an instrument, as a teenage hobby playing music, for myself and family only.
Dizzy Gillespie, saw Bobbi at a talent contest, a church organisation. He urged her to pursue a music career in New York City.
On the advice, during an amateur performance night. She performed at Apollo Theatre in Harlem,The spotlight shone brightly on the young girl from down South. After that event, Bobbi began getting regular work performing with Jazz professionals, including Duke Ellington.
At 24 she signed a recording contract with Blue’Note Records. Starting with ‘Flute In,’ Bobbi recorded six albums with the label.
At Blue’Note, she began working with Larry Mizell, they recorded in Hollywood Sound Factory. Playing on the tracks written and composed by Larry, the results were spectacular. One of the most successful album of the year, 1973.
In an Interview Bobbi explained, the tracks were already laid, there were no written melodies. It was agreed, I would play what I felt off the top of my head, body and soul.
She also began singing on the track ‘Just a Love Child.’ After the success at the Montreux Jazz festival, she was named ‘Best Female Instrumentalist’ by Billboard in 1976.
In 1977, Bobbi left Blue’Note, and signed with Epic Records. In the same year, she played on Stevie Wonder Platinum Album, ‘Song In The Key Of Life.’
Pop’Princess
Patrice Rushen, first instrument among many was the Piano. A truly great instrumentalist, she is a composer, songwriter, singer, music director, and producer.
Her Jazz-Funk single ‘Forget Me Nots’ received a Grammy Award in 1982. A timeless masterpiece of original music, it is still fresh after 40 years.
At 17, she was performing at the Montreux Jazz Festival. Her Album, ‘Straight From The Heart’ was nominated for best instrumental musician.
She signed a business deal with Prestige Records, and produced three albums. In 1978, she moved her music production to Elektra, Patrice At 23, was already an experienced and seasoned professional.
With her own Music Publishing Company ‘Baby Fingers inc.’ Patrice is continuing to compose music for Movies, Television Shows, including Documentaries.
In 2005, Patrice received an honorary doctorate of Music degree, from Berklee College of Music. She is also an ambassador of artistry at the college.
Her numbers of achievements and awards are too many to list here. In any case her personal music making has not stopped since the 1970s. Her most recent album was released in 2016.
Dorothy Ashby
Out of the Funk-Jazz in the 1970s, and into the Jazz of the 1950s-60s. “Say it loud, I am Black and Proud!” Dorothy Ashby is a woman well worth a mention here.
An African American Jazz Harpist, composer, and singer, she became notable as the most accomplished Modern-Jazz Harpist.
She established the instrument for Jazz improvisation. Proving the harp could play the standards, including Be’Bop.
Many musicians disliked the idea of a harp in a Jazz band. They associated the instrument with classical music, and orchestras.
All throughout her career, she faced obstacles in that manner. Seeing a Black woman in a Jazz band playing the harp, was a strange sight among her circles in Detroit, during the 1950s.
Grown up in a family of musicians, she started playing the piano at a young age. From the early 1950s, the Harp became her main instrument. Similar to the wife of John Coltrane, Alice Coltrane, as harpist. playing free range jazz. Both artiste, approached the music with themes of perception, creation, and space. Incorporating all forms of music, from different cultures around the world.
Dorothy first Jazz album titled, ‘The Jazz Harpist, was recorder by the company -Savoy, in 1957.
In 1958, her recording titled ‘Hip Harp,’ for Prestige Records, is considered to be one of her best. Her range of talents are huge, she also mastered the ‘Koto’ a traditional Japanese musical instrument.
She ventured and remain in theatre productions, and music composition. Dorothy worked closely with Bill Withers, and Stevie Wonder.
Sadly, Dorothy Ashby is no longer with us, but her music remain eternally beautiful, and soulfully sublime.