By Rodney Jones
As you could tell from reading part one about
the recording session, all of the pieces were in place for some amazing
music to happen... and happen it did!
Maceo was only available for the first day of recording, so we
recorded those tunes he was playing on first. "Groove Bone" Parts 1 and
2 got us going.
Whenever I have done a recording with anyone, there is usually a
certain amount of nervousness that happens during the first tune. Sound
levels are still being adjusted; the musicians are still getting used to
the sound of the headphones; microphones are being re-positioned; etc.
Also, all of the musicians are filled with energy and anxious to play.
This was not the case during this recording. From the first
notes of "Groove Bone" we found the pocket. It was so natural. Maceo's
sound really lit up the room when he began to play. It was as though he
was speaking an invisible language for all of us to hear. We could feel
the vibe that Maceo was playing, and we all tuned in and flowed with it.
After an initial run-through, we discussed solo orders and that was
pretty much about it. We recorded two complete takes and ended up using
the first one. It really felt good.
After the first take, we all went into the control room to listen to
the take. We shared a lot of laughing and smiling and good times. Peter
Darmi, who was the engineer on the date, made some adjustments and
listened to the comments from each of us about how our instruments could
be made to sound better. When you have a great engineer like Peter, he
becomes like one of the musicians. He contours the sounds and works with
us to get the sound that we want. All the while, he's often using his
skills to get an even better sound than we had in mind.
Next up was "Soul Makossa," the Manu Dibango tune. After the
run-through, Maceo said to me, "Hey man, can I have this tune?' meaning
he liked the way it sounded. I thought that was pretty cool. When Maceo
digs the tune, you know that it is funky! I was especially excited
because on this tune Maceo and Arthur Blythe would both be playing.
Rarely has Maceo recorded with another saxophonist and never to my
knowledge with someone with the strength and avant-garde stylings of
Arthur. They were great together. I enjoyed watching them discuss "sax
talk" and practicing together. Music really does transcend stylistic
boundaries when it's played by masters. Their performance together was
awesome. Though they have completely different styles, both Maceo and
Arthur share common roots and values about soulfulness and honesty in
music and playing from the heart. When you hear this track, you will
know what I mean!
"Ain't No Sunshine" is a song that I have loved since the Bill
Wither's version. When I was on tour with Maceo, one of the highlights
of every performance was the tune "Children's World," which is his
version of the James Brown classic, "It's A Man's World." I have never
heard a saxophone played with more feeling that when what Maceo brings
out when he plays "Children's World." Maceo played his heart out on this
tune. If you can't feel his soul on this song, then you may as well be deaf!
I would like to be able to tell you a lot of technical information
about what happened to make this and that work, but there really isn't
any to give. The music played itself. It was magic pure and simple, but
also born of a lot of hours of practice, devotion, tears, and laughs!
The rest of the tunes went down like clockwork. There were no overdubbed
solos; no slickness. What we played was honest music, recorded on tape
as it was performed--filled with groove, feeling and love!
Check out the next installment: After the
recording and the mixdown process.
Share your questions and comments with your fellow AAJ readers.
