Maceo Webcast #28 - Dayton Funk '76-'80

 

 Maceo Musiciology Webcast #28_Dayton Funk '76-'80

Maceo Musicology Webcast #28 (The Funk of Dayton, Ohio_'76-'80) by Mace2theo on Mixcloud

"Detroit, Memphis, Philadelipha, Minneapolis, Seattle 
and others all had turns as a musical centers of a 'sound.'   
From 1976 to 1980, Dayton, Ohio was 

the Funk Capital of the World"

Dayton, Ohio, the small industrial city of approximately 200,000 people located 50 miles north of Cincinnati, produced a series of popular funk bands with a string of national hits during the 1970s. Dayton?s Black community, in the 1960s and 70s, had a rich night life with numerous bars, clubs, and after-hours establishments. Street-wise tales drawing from experiences in the places like the Astro House, Fat Daddy's, and the Ebony club frequently surfaced in the lyrical content of Dayton's first nationally-renowned funk band, the Ohio Players.

During the 1970s, industries such as a Chrysler plant, the Harrison Radiator factory, and Wright-Patterson Air Force Base provided a stable income base for a population that was roughly 50 percent African-American. From this base came high-school bands who sought the stardom first achieved by the founders of Dayton funk, the Ohio Players. Their number one pop hits “Fire” (1974) and “Love Rollercoaster” (1975) set a standard for local bands to aspire to, and six different record labels had signed Dayton bands by 1978. 

The Ohio Players, Lakeside, Slave (featuring Steve Arrington), Heatwave, Sun, Faze-O, Zapp (featuring Roger) and Wood Brass & Steel all claimed Dayton as their home. Members of these bands were recent high school graduates in the early 1970s and relatively new as professional musicians, having received formal and informal musical training in Dayton?s public schools and social networks with older musicians.

These bands were among the most prolific hit makers of the era, compiling more than 110 charting rhythm-and-blues singles between 1972 and 1988. Dayton funk bands all featured dance music with an emphasis on heavy bass, aggressive rhythms, complex horn arrangements, ensemble vocals, and showstopping choreography.

 

Slave, which had strong ties to the Ohio Players, scored a national hit with “Slide” in 1977 and continued to make hits through 1983. Crosstown rival Lakeside moved to Los Angeles before striking it big with “It’s All the Way Live” in 1978. Keith and Johnnie Wilder developed their band, Heatwave, while stationed in West Germany and returned to the United States with a global hit, “Boogie Nights,” in 1977. Roger Troutman and his band, Zapp, lasted into the 1990s with a slick, high-tech sound and dynamic show.

 Ricky Vincent/S. Brown

Tracklist

1.  Sun Is Here - Sun (1978)

2.  O-H-I-O - Ohio Players (1977)
3.  Fantastic Voyage - Lakeside (1980)
4.  The Groove Line - Heatwave (1977)
5,  Slide - Slave (1977)
6.  Riding High - Faze-O (1977)
7.  Wanna Make Love (Flick My Bic) - Sun (1976)
8.  More Bounce to the Ounce - Zapp (1980)
9.  Far East Mississippi - Ohio Players (1976)
10. Ain't No Half Steppin'- Heatwave (1976)
11. Welcome To The Party (Extended) - Wood, Brass & Steel (1978)
Bonus Tracks

 

Listen later here   Maceo Webcast #28 - Dayton Funk '76-'80

 

 

Mace2theO Webcast #18 - Return to New Orleans

Mace2theO Webcast #18 - New Orleans #2

Back to New Orleans....in time for Mardi Gras

Come celebrate the indigenous music and culture of New Orleans and Louisiana, with music that encompasses blues, R&B, funk, gospel music, Cajun music, zydeco, Afro-Caribbean, folk music, funk, country music, bluegrass and everything in between. And of course there is lots of jazz...and did I mention funk?

Mardi Gras

Mardi Gras (Fat Tuesday in English) in New Orleans, Louisiana, is a Carnival celebration well-known throughout the world.

The New Orleans Carnival season, with roots in preparing for the start of the Christian season of Lent, starts after Twelfth Night, on Epiphany (January 6). It is a season of parades, balls (some of them masquerade balls), and king cake parties. It has traditionally been part of the winter social season; at one time "coming out" parties for young women at débutante balls were timed for this season.

 

Celebrations are concentrated for about two weeks before and through Fat Tuesday (Mardi Gras in French), the day before Ash Wednesday. Usually there is one major parade each day (weather permitting); many days have several large parades. The largest and most elaborate parades take place the last five days of the season. In the final week of Carnival, many events large and small occur throughout New Orleans and surrounding communities.

The parades in New Orleans are organized by Carnival krewes. Krewe float riders toss throws to the crowds; the most common throws are strings of plastic colorful beads, doubloons (aluminum or wooden dollar-sized coins usually impressed with a krewe logo), decorated plastic throw cups, and small inexpensive toys. Major krewes follow the same parade schedule and route each year.

While many tourists center their Mardi Gras season activities on Bourbon Street and the French Quarter, none of the major Mardi Gras parades has entered the Quarter since 1972 because of its narrow streets and overhead obstructions. Instead, major parades originate in the Uptown and Mid-City districts and follow a route along St. Charles Avenue and Canal Street, on the upriver side of the French Quarter.

To New Orleanians, "Mardi Gras" specifically refers to the Tuesday before lent, the highlight of the season. The term can also be used less specifically the whole Carnival season, sometimes as "the Mardi Gras season". The term "Fat Tuesday" or "Mardi Gras Day" always refers only to that specific day. (wiki)

Track list

1. Burgundy Street Blues - Dr. Michael White

Crescent City clarinetist Dr. Michael White celebrates the 100th anniversary of the birth of the legendary New Orleans clarinetist George Lewis by performing Lewis' signature piece, the elegant "Burgundy Street Blues," which drips with Spanish moss and humid nights with its melancholy melody.

2. Accentuate The Positive - Paul Sanchez & John Boutte
Singers John Boutte and Paul Sanchez got together and knocked out a record in a single session. What you hear is well-played, well-sung yet laid back session of singer-songwritery, blues jazz. Boutte shows how inventive an interpreter he is on a cover of the Johnny Mercer/Harold Arlen classic “Accentuate the Positive,”

3. Exit To Mystery Street - Paul Sanchez

Singer-songwriter Sanchez' offers up more than most on this solo record made with friends, including the wonderful Matt Perrine tuba track lines on this title track from the album of the same name.

4. On Your Way Down - Trombone Shorty    
Allen Toussaint appears on one cut from Trombone Shorty's debut album 'Backatown.' While he doesn’t lend vocal support, he does play piano on a cover of his classic “On Your Way Down,” a tune that was most recently covered by Toussaint and Elvis Costello. This Trombone Shorty version dances circles around all the other; it’s a loose, funky groove, Toussaint’s piano lines and what sounds like a flute flirting with a dynamite, in-the-pocket rhythm that makes past incarnations of the song sound leaden by comparison. It’s a fairly radical reinvention of a beloved tune, but Toussaint’s presence here seems to signify his approval.

5. Josephine (live) - David Torkanowsky & George Porter Jr. & Herman Ernst

From a radio tribute to the late legend Snooks Eaglin, this is a live version of Snook's "Josephine" with Meters bassist George Porter Jr with Herman Ernst on drums and David Torkanowsky on piano.  Too funky

6. Mr. Big Stuff - Kermit Ruffins w/Rebirth Brass Band

Trumpeter Kermit Ruffins came blasting out of high school with the Rebirth Brass Band, The ensemble stormed for 10 years before disbanding in 1992. Here reconvened, they've lost none of their flair and verve. The Rebirth Brass Band are in fine form, particularly the mighty tuba playing of Philip Frazier, with this cover of Jean Knight's hit - celebratory, soulful and perfect party music yet tied to the brass band tradition.

7. Backwater Blues - Irma Thomas

Thomas is a contemporary of Aretha Franklin and Etta James, but never experienced their level of commercial success. Here, she covers the Bessie Smith tune and it's relevant theme for "Our New Orleans: A Benefit Album for the Gulf Coast" which presents songs recorded in September and October 2005, shortly after Katrina

8. I'll Be Seeing You - James Booker

A mentor of Harry Connick Jr, Booker was highly skilled in classical music and played Bach and Chopin, among other composers. He also mastered and memorized solos by Erroll Garner, and Liberace. His thorough background in piano literature may have enabled his original and virtuosic interpretations of jazz and other American popular music. These performances combined elements of stride, blues, gospel and Latin piano styles. Here, alone on the piano.

9. Unnecessarily Mercenary -Jon Cleary

Kent UK born and New Orleans based, Cleary is a triple threat—with a salty-sweet voice, masterful piano skills, and a knack for infectious grooves.  Later covered by Bonnie Raitt, here Cleary tickles the ivories with a solid boogie foundation with his own take on gold diggers. I love me some Jon Cleary

10. Someone to Love - Eden Brent

Singer and pianist Eden Brent from Greenville, Mississippi recorded this record in New Orleans. She brings her own boogie-woogie style now infused with the City's jazz and soul and, all dipped in Mississippi Delta Blues. Eden's voice gives her gritty music a much raspier and earthy sound.

11. Door Poppin' - John Boutte

Born into a large and musical Creole family, Mr. Boutté has roots in gospel and traditional jazz. While he can tap out syncopated beats on a tambourine, it is the sweetness and grit of his tenor voice that may remind of Sam Cooke but fits no convention. This is a funky track written with Paul Sanchez. "Please get out of the door, fool"

12. Sneakin' Sally Through The Alley - Lee Dorsey

I hate to admit it, but I heard first this song as covered by the late Robert Palmer in 1974, backed by members of the Meters. Later I found out that Toussaint wrote it and Lee Dorsey performed it first.  Dorsey was a versatile performer, capable of rocking R&B, soul, and sang many of Toussaint's songs. The Meters play backing here on the original, with some popping guitar and a stop-time beat that keeps things chugging along in a funky way.

13. Yes We Can, Can - The Pointer Sisters
This Allen Toussaint-penned gem comes from the Pointer's debut album from 1973.  A socially conscious theme that features intricate background vocals by three of the sisters while Anita Pointer handled lead.  That bassline is so funky you will get that 'I-smell-somethin' face as you start moving your head side to side.

14. Tootie Ma Is a Big Fine Thing - Preservation Hall Jazz Band & Tom Waits    
The Preservation Hall Jazz Band derives its name from Preservation Hall, the venerable music venue located in the heart of New Orleans’ French Quarter, founded in 1861. Waits traveled to New Orleans to record songs with the Preservation Hall Jazz Band for 'PRESERVATION: An Album To Benefit Preservation Hall.' Originally recorded by Danny Barker in 1947, “Tootie Ma Was A Big Fine Thing” is one of the earliest known recorded examples of Mardi Gras Indian chants.

Many thanks to Sal over at Burning Wood for turning me on to much of the above.

Listen later here

  

  

Maceo Musicology Webcast #7 - Broadway

Maceo Musicology Webcast #7 - Broadway

Maceo Musicology Webcast #07 (Broadway Musicals - Then and Now) by Mace2theo on Mixcloud

...saluting the music of theatre

Broadway
"Musical theatre is a form of theatre combining music, songs, spoken dialogue and dance. The emotional content of the piece – humor, pathos, love, anger – as well as the story itself, is communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. Since the early 20th century, musical theatre stage works have generally been called simply, "musicals".

The 20th century "book musical" has been defined as a musical play where the songs and dances are fully integrated into a well-made story, with serious dramatic goals, that is able to evoke genuine emotions other than laughter. The three main components of a book musical are the music, the lyrics, and the book. The book of a musical refers to the story – in effect, its spoken (not sung) lines; however, "book" can also refer to the dialogue and lyrics together, which are sometimes referred to (as in opera) as the libretto (Italian for “little book”). The music and lyrics together form the score of the musical. The interpretation of the musical by the creative team of each production heavily influences the way in which the musical is presented."  (wiki)

...about this time, many of you are wondering if Maceo has lost his mind 

Track listing

1.There's No Business Like Show Business - Ethel Merman et al (1946)
Written by Irving Berlin for the musical Annie Get Your Gun and sung by Ethel Merman, this song was my introduction to Broadway songs.  Of course, it was because it also the theme to the Bugs Bunny Show.

2.Anything Goes -  Eileen Rodgers et al    (1962)
This is from the musical "Anything Goes" with music and lyrics by Cole Porter in 1934.  The idea of tap dancing in the song pre-dates 'Joint to Joint' by a good 60 years.  

3. I Got Rhythm  -  Judy Garland    (1943)   
George Gershwin wrote and published this in 1934 as a jazz standard for the musical Girl Crazy.  This 1943 version features our girl Dorothy without Toto.

4. Big Spender    Peggy Lee (1966)  
"Big Spender" was written by Cy Coleman and Dorothy Fields for the musical Sweet Charity. It is sung, in the musical, by the dance hostess "girls"; it was choreographed by Bob Fosse for the Broadway musical. Peggy Lee had a US hit with it in 1966, a year before Shirley Bassey did the same in the UK

5. Hello, Dolly! - Louis Armstrong & His All-Stars (1964)
"Hello, Dolly!" is the title song of the popular 1964 musical, with music and lyrics were written by Jerry Herman (who also wrote the scores for Mame and La Cage aux Folles). In December 1963, at the behest of his manager, Louis Armstrong made a demonstration recording of "Hello, Dolly!" for the song's publisher to use to promote the show. His 1964 version reached number one on the U.S. Billboard Hot 100, ending The Beatles' streak of three number-one hits in a row over 14 consecutive weeks

6. The Rain In Spain - Julie Andrews & Rex Harrison (1956)
With Harrison and Andrews in the Professor Higgins and Eliza roles, this is from My Fair Lady and is based upon George Bernard Shaw's Pygmalion and with book and lyrics by Alan Jay Lerner and music by Frederick Loewe. The song is a key point in the plotline where Eliza Doolittle has drilled repeatedly with speech exercises, trying to break her Cockney accent speech pattern.

7. Pinball Wizard (demo) -  Pete Townshend (1969)
Rock music starts coming to Broadway. Townsend's original demo of the classic ended on 'Tommy,' the first musical work to be billed overtly as a rock opera.  The double album tells a loose story about a "deaf, dumb, and blind boy" who becomes the leader of a messianic movement.  Pete never sounded so good as he does here.

8. What's the Buzz - Ian Gillan, Murray Head and Yvonne Elliman (1970) 
I loved this record.  Jesus Christ Superstar is a rock opera by Andrew Lloyd Webber, with lyrics by Tim Rice, highlighting the political and interpersonal struggles between Judas Iscariot and Jesus. The musical was first heard as an album before being staged on Broadway and later in London's West End. On the original album, the part of Jesus was sung by Ian Gillan, the lead singer of Deep Purple who later also worked with Black Sabbath and others, and that of Judas by Murray Head.  Mary Magdalene's role is sung by Yvonne Elliman, who had a hit on the Saturday Night Fever soundtrack a few years later.  Due to the musicians involved with this, Webber never had a rock sound like this album again

9. Ease On Down the Road - Stephanie Mills, Hinton Battle, Mabel King  (1975)
Ease on Down the Road" is from the 1975 Broadway musical The Wiz (an adaptation of The Wizard of Oz) with music and lyrics by Charlie Smalls. Here performed by a then 16 year old Stephanie Mills and Hinton Battle. It was also released in 1978 release as a duet between Diana Ross and Michael Jackson.  Too funky.

10. Seasons Of Love    Original Broadway Cast    (1996)
"Seasons of Love" is from the Broadway musical Rent, written and composed by Jonathan Larson. The song provides the harmonic framework for the entire cast to sing "Five hundred twenty-five thousand six hundred minutes" (the number of minutes in a non-leap Gregorian calendar year). Jonathan Larson actually intended for Seasons of Love to be performed in the 2nd act, however Jonathon Larson passed away a few nights before the opening of the show on Broadway. Therefore the cast sing it at the beginning to commemorate and pay their respects. 

Spring Awakening 2006
11. The Bitch of Living     - Jonathan Groff et al
12. Mama Who Bore Me    -  Lea Michele 
Spring Awakening is a rock musical adaptation of the controversial 1891 German play of the same title by Frank Wedekind. It features music by Duncan Sheik and a book and lyrics by Steven Sater. Set in late-19th century Germany, it concerns teenagers who are discovering the inner and outer tumult of sexuality. Spring Awakening received eleven 2007 Tony Award nominations, winning eight, including Tonys for best musical, direction, book, score and featured actor. Lea Michele debuted the role on Broadway at 20 and went on to become a star in some US show called 'Glee'
   
Passing Strange - Original Broadway Cast Recording - Stew And Heidi Rodewald 2008
13. Prologue (We Might Play All Night) - Stew
14. What's Inside Is Just A Lie / And Now I'm Ready To Explode - Stew et al
15. Stoned - Stew et al
16. Come Down Now
This gets 4 tracks as is one of my favorite albums.  Debuting in 2006 in Berkeley CA before heading to Broadway in 2008, Passing Strange is a musical with lyrics and book by Stew and music and orchestrations by Stew and Heidi Rodewald. Stew and Heidi originally formed the LA rock group The Negro Problem. Stew wanted to combine the energy of a rock show in a theatre setting in a story about finding oneself.

I never saw the show, but felt like I lived part of the story - A Youth grows up, "passing" through place to place (LA, Amsterdam, Berlin) trying to express his true self through a number of musical styles, including gospel, punk, blues, jazz, and rock.

Ymaginatif said:

I listened all the way through!! In one go (as my bus didn't turn up)

True, a few times I thought oh-no-what-is-this (!), but most of the time I really enjoyed it. In fact, these songs suited the summery sunshine mood here in Aberystwyth quite well. I prefered the early 60s and 70s bit. The more modern stuff was sometime a bit hit and miss, but I got into too.

You sounded like you know a lot about these things - being introduced to it chronologically was definitely part of the fun too!! (the question remains: what happened in the 1980s??)

Response:  Andrew Lloyd Webber and $$$$$$

Listen later Here 

  

 

Maceo Musicology Webcast #6 - New Orleans

Maceo Musicology Webcast #6 - New Orleans

Maceo Musicology Webcast #06 (New Orleans) by Mace2theo on Mixcloud

featuring the music of the Crescent City

New Orleans

"New Orleans is a major U.S. port and the largest city in the state of Louisiana.


New Orleans has always been a significant center for music, showcasing its intertwined European, Latin American, and African cultures. New Orleans' unique musical heritage was born in its pre-American and early American days from a unique blending of European instruments with African rhythms. As the only North American city to allow slaves to gather in public and play their native music (largely in Congo Square, now located within Louis Armstrong Park), New Orleans gave birth to an indigenous music: jazz. Soon, brass bands formed, gaining popular attraction that still holds today. The city's music was later significantly influenced by Acadiana, home of Cajun and Zydeco music, and Delta blues.

The terms "Mardi Gras" refer to events of the Carnival celebrations, beginning on or after Epiphany and ending on the day before Ash Wednesday. Mardi Gras is French for "Fat Tuesday" (in ethnic English tradition, Shrove Tuesday), referring to the practice of the last night of eating richer, fatty foods before the ritual fasting of the Lenten season, which started on Ash Wednesday. Popular practices included wearing masks and costumes, overturning social conventions, dancing, sports competitions, parades, etc.


The tradition has expanded to the point that it became strongly associated with the city in popular perception, and embraced by residents of New Orleans beyond those of French or Catholic heritage. Mardi Gras celebrations are part of the basis of the slogan, Laissez les bon temps rouler, (Let the good times roll) and the nickname 'Big Easy'." (wiki)

Ymaginatif at Entropy MC said:

And I listened to it this afternoon! - alone in the office

Great collection of surprisingly funky songs!! Of course, I should have expected, with Funkmeister Maceo having a hand in this, but somehow I had expected more of the mardi gras tinkly Allen Toussaint piano and clarinetty brass bands. Wrong again

I love the breath-taking musicianship throughout and the funky tuba really made me smile (Elvis Costello once made a funk song with a tuba - I considered him out of his mind, but now I see what he was trying to do!)

Tonight I subjected this Podcast to the highly critical ears of Mrs Y ...

You have to know, this is the very first podcast I've summoned the courage to do so! Maxim's podcasts might have been a bit too scary with the spooky voice, Purpleblues's might have been too bluesy, and I certainly wouldn't have played mine, because she would laugh outloud at my truly silly attempts at DJing. The Sound Of Scoop? Just not her style I think ...

But this one, this exuberant slice of piano, brass, and guitars music, topped off with Maceo's cool late-night voice ... this one I thought she might appreciate?

I waited for the right moment ... somewhat tired after a busy but fullfilling day. Good mood. Hannah joyfully playing by herself. A glass of white wine and the salmon frying in the kitchen. A few candles on (because the lamp isn't working). I carefully put the ipod in its player ... scrolled down to the section 'Maceo' and clicked play ...

The intro raised a few eye-brows (I have to admit ), but when the piano suddenly came in and switched to a swinging version of 'When The Saints Go Marchin' In', I saw that everything was alright! Hannah started dancing along (while at the same time making a drawing) and ... Eva liked it.

Halfway through she even commented that she really liked the music - and that she thought Maceo's voice really sounded like a professional DJ's!

Yes! Success!!!

Anyway – all this to say: this is a really good podcast! I keep listening to it, and it should be compulsary listening material for every single Entropy member here!

Tracklist, with special thanks to Sal at Burning Wood

1. When the Saints Go Marching In - Sidney Bechet
A classic with the great Sidney Bechet on clarinet.

2. My Dawlin' New Orleans - Little Queenie & The Percolators
A more modern sound, this track was eventually featured on the tv show "Treme"

3. Shake What Your Mama Gave You - Henry Butler & Corey Harris
This little gem breaks current blues stereotypes in a number of ways. First of all, by being all-acoustic and without a rhythm section.  With Harris bring the acoustic blues feel and Butler bringing the jazz piano, this 2000 original sounds as if it was written in the 1930s.

5. Groove Me -         King Floyd
At first, "Groove Me" was a B-side to another Floyd song, "What Our Love Needs." New Orleans radio DJ's started playing "Groove Me" and the song became a local hit. The bass line is a master class in the use of space.

6. Ocean -         Bonerama
The trombone and tuba were definitely not cool instruments when I was growing up, but here they are weapons of funk.  Here is the brass rock funk group Bonerama covering a funky Led Zepplin track.

7. Right Place, Wrong Time - Dr. John
My 1st exposure to New Orleans through the Top 40.  Still the jam.

8. Louisiana 1927   -   John Boutté
My apologies to both Mr Boutte for mispronouncing his name and to Randy Newman for not knowing he wrote this timely tune. 

9. Kooks On Parade   -  Stanton Moore
This is what Madhouse would have sounded like if it had been a couple of New Orleans jazz musicians. Features Stanton Moore on drums

10.Zydeco Mardi Gras  -  C.J. Chenier
C. J. Chenier is the son of the Grammy Award winning "King of Zydeco", Louisiana musician, Clifton Chenier. Chenier followed in his father's footsteps, and led his father's band as an accordion performer of Zydeco, a blend of Cajun and Creole music. Here is some Zydeco funk.

11.Best Ain't Good Enuff  -  Jon Cleary
12.So Damn Good -   Jon Cleary & The Absolute Monster Gentlemen
Two track from Jon Cleary, who is a funk and R&B pianist and guitarist based in New Orleans for the last 20 years, but originally from Cranbrook in Kent, England.  The 1st cut is an acappella track and the 2nd features his funky band, The Absolute Monster Gentlemen.

13. If Serving God Is Wrong   -   Rev. J. Cheeks
Based on the soul classic "If Loving You is Wrong, I don't want to be Right", it's now time to go church

14. Mr. Big Stuff  -  Jean Knight
Recorded as the same Stax sessions as "Groove Me" and sampled by Heavy D, Queen Latifah, TLC and others, this was big crossover hit for New Orleans born Ms Knight.

15. Rockin Pneumonia and the Boogie Woogie Flu - Huey "Piano" Smith
I grew up with the Johnny Rivers version (he of "Secret Agent Man" fame), so it was great to turned on to the original.




Listen later Here