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The arrival of these two compilations of 1970s jazz/funk begs one simple question: what took RCA so long?
The fact that the mini-revival known as acid jazz peaked about five years ago puts these otherwise intriguing packages in the unfortunate position of sounding outdated... a second time. But if you can get past that little detail there’s quite a bit to enjoy in these two flashbacks.
Though Flying Groove and Flying Funk draw from the RCA and Bluebird catalogues, they rely most heavily on material from Bob Thiele and his Flying Dutchman label. As a longtime jazz producer and shrewd businessman, Thiele kept one eye on the past and the other on the charts. Thus we find the neo-Coltrane wailings of Gato Barbieri on Flying Groove and the proto-rap street poetry of Gil Scott-Heron, who’s included on both discs.
Flying Groove will appeal more to the traditional jazz lover, with the aforementioned Barbieri sharing disc space with Wild Bill Davis, Count Basie and Lambert, Hendricks and Bavan. And speaking of Hendricks—I mean, Hendrix— what ’70s acid jazz flashback would be complete without a dollop of Gil Evans’ tribute to Jimi (represented here by the spaced-out “Crosstown Traffic”)? Similar head trips from David Axelrod and Oliver Nelson (!) will put you in a psychedelic mood, capped off with the set-closing classic from Leon Thomas, “The Creator Has a Master Plan” (this four-and-a-half minute version omits Thomas’ yodeling).
Flying Funk will appeal more to soul fans and listeners in general, since the more out-there stuff is replaced with solid grooves. Not surprisingly, keyboardist and urban jazz pioneer Lonnie Liston Smith gets not one, but two cuts here (including “Expansions”), and Scott-Heron’s “Home Is Where the Hatred Is” is possibly the most harrowing first-person account of drug addiction ever set to music. The inclusion of tracks by the Main Ingredient, New Birth, and the Jimmy Castor Bunch show in an eye-opening way just how much jazz and soul music borrowed from each other in the ’70s.
One can imagine many of these tunes sampled by today’s hip-hop artists, and no doubt most of them already have been. But the question remains: Can this music start a revival—again?
Track Listing: Flying Groove: 1. Crosstown Traffic - Gil Evans & His Orchestra 2. Mama Soul - Harold
Alexander, Bernard Purdie, Richard Davis, Richard Pablo Landrum, Neal Creque 3. Baby That's
What I Need (Walk Tall) - Esther Marrow 4. I Can't Keep From Crying Sometimes - The Dierdre
Wilson Tabac, Dierdre Wilson 5. Yeh-Yeh - Jon Hendricks, Lambert Hendricks & Bavan, Dave
Lambert, Yolande Bavan
6. Hit the Road Jack - Wild Bill Davis
7. Head Start - Tom Scott
8. The Revolution Will Not Be Televised - Gil Scott-Heron
9. Skull Session - Oliver Nelson
10. Afrique - The Count Basie Orchestra
11. Messiah (Overture) - Albert Aarons
12. El Pampero - Gato Barbieri
13. Night Thing - Spontaneous Combustion
14. The Creator Has a Master Plan (Peace) - Leon Thomas
1. Save Me - Nina Simone
2. Afro Strut - The Nite-Liters
3. It's Just Begun - Jimmy Castor, The Jimmy Castor Bunch
4. We Getting Down - Weldon Irvine, Jr.
5. Expansions - The Cosmic Echoes, Lonnie Liston Smith
6. Home Is Where The Hatred Is - Gil Scott-Heron
7. Mama - Esther Marrow
8. No More Tears - The Loading Zone
9. Funkier Than a Mosquito's Tweeter - Nina Simone
10. Tite Rope - Harold Alexander
11. A Chance For Peace - The Cosmic Echoes, Lonnie Liston Smith
12. This Is The Me Me (Not The You You) - Brenda Jones, Richard 'Groove' Holmes
13. Got To Get A Knutt - The New Birth
14. Happiness Is Just Around The Bend - The Main Ingredient
15. What's Going On?/Ain't No Sunshine When She's Gone; What's Going On? Ain't No Sunshine
When She's Gone - Bernard Purdie
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.