Many contemporary music and cultural commentators disparage the UK's '80s pop scene as a time seemingly in thrall to new technologies, and whose throwaway commercial hits are long forgottenand rightly so. Is that really how it was though? Others look far more fondly on the decade's music, remembering its brief dalliance between pop culture and jazz with affection. This is, after all, the decade which saw the emergence of Loose Tubes, saxophonist Courtney Pine and Working Weekand which put those acts on primetime television. This comprehensively annotated and extended rerelease of Working Week's debut, Working Nights (originally released in 1985 on Virgin Records), is a happy reminder of the best of those times.
Working Week was the brainchild of guitarist Simon Booth and saxophonist Larry Stabbins, who worked together in Booth's previous band, Weekend. Stabbins was also a leading light on the European improvised music scene. Julie (now Juliet) Roberts joined them for this album, adding her soul singer's power and sensibility. Stabbins and Booth wrote most of the songs, skillfully matching killer grooves and memorable melodies with lyrics that drew on political inspirations (Booth's "Venceremos" was dedicated to the Chilean singer and activist Victor Jara) as well as the familiar theme of loves lost.
The original vinyl release consisted of the first eight tracks on this reissue; a set of tunes that still sounds sharp and exciting almost 30 years after its release. The additional tracksa mix of alternative versions, live recordings and remixesare no mere fillers. The extensive list of guest musicians and singers is a veritable who's who of the best, most forward-looking, performers of the time, such as trumpeters Guy Barker and Harry Beckett, saxophonist Chris Biscoe, trombonist Annie Whitehead and drummer Louis Moholo-Moholo.
These players add a real spark to the music: Dave Bitelli's clarinet on "Venceremos" heightens the song's intensity; Whitehead's powerful, raw solo energizes "No Cure, No Pay"; while Beckett adds his own fiery solo to the same track. Stabbins is also an emphatic presence on the frontline, showing his technical and emotional range with a soprano sax solo on "Autumn Boy" and tenor solo on Marvin Gaye's "Inner City Blues."
The guest vocalists are also stellar. Tracey Thorn, of Everything But The Girl, and Robert Wyatt duet on all three versions of "Venceremos (We Will Win)," while Julie Tippetts leads on "Storm Of Light." These three voices have their own soulfulness, a contrast to Roberts' more raw-edged sound but still full of emotion and commitment. There's also a fluid, intense rap from The Last Poets' Jalal on "Stella Marina."
Working Week's central trio remains active: Booth, now under his original surname of Emmerson, formed the Afro-Celt Sound System and leads The Imagined Village; Roberts is one of the UK's best singers, working in the jazz and dance scenes; and Stabbins leads the excellent Stonephace. The superb Working Nights is a testament to their early talents.
Track Listing: CD1: Inner City Blues; Sweet Nothing; Who's Fooling Who; Thought I'd Never See You
Again; Autumn Boy; Solo; Venceremos; No Cure No Pay; Stella Marina (Main Mix); Storm Of
Light; Bottom End; Venceremos (We Will Win) Jazz Dance Special Edit.
CD2: Venceremos (We Will Win) Jazz Dance Special 12”; Afoché; Murphy's Law; Pape's
Samba; Inner City Blues (Urbane Guerrilla Mix); Storm Of Light (instrumental); Who's
Fooling Who (dance version); Sweet Nothing (instrumental); Where's The Bridge (longer
mix); Venceremos (We Will Win) 7” Bossa version; Stella Marina (full rap).
Personnel: Larry Stabbins: saxophone, flute; Simon Booth: guitars; Julie Roberts: vocals; Kim Burton:
piano; Ernest Mothle: bass (CD1#2, CD1#5-6, CD1#8-9; CD2#11); Chucho Merchan: bass (CD1#1, CD1#3-4, CD1#7, CD1#12; CD1#2, CD2#10); Dawson Miller: percussion (CD1#2, CD1#5-9, CD1#12; CD2#10-11); Bosco
D'Oliveira: percussion (CD1#2, CD1#5-9, CD1#12; CD2#10-11); Martin Ditcham: percussion (CD1#1, CD1#3-4); Roy Dodds: drums (CD1#2, CD1#5-6, CD1#8-9; CD2#11); Nic France: drums (CD1#1, CD1#3-4);
Mark Taylor: drums (CD1#7, CD1#12; CD2#1, CD2#10); Louis Moholo: drums (CD1#9; CD2#11); Guy Barker: trumpet, flugelhorn (CD1#1, CD1#3-4; CD2#5, CD2#7); Harry Beckett: trumpet (CD1#2, CD1#5, CD1#9;
CD2# 8, CD2#11); Stuart Brooke: trumpet (CD1#1; CD2#5); Paul Spong: trumpet (CD1#6, CD1#8); Paul Nieman: trombone (CD1#1; CD2#5); Malcolm Griffiths: trombone (CD1#3-5; CD2#7);
Annie Whitehead: trombone (CD1#2, CD1#6, CD1#8-9; CD2#8, CD2#11); Dave Bitelli: clarinet, baritone
saxophone (CD1#12; CD2#1, CD2#10); Chris Biscoe: alto saxophone (CD1#1, CD1#3; CD2#5, CD2#7), baritone saxophone (CD1#4); Ray Warleigh: baritone saxophone (CD1#1, CD1#3; CD2#5, CD2#7);
Robin Millar: guitar (CD1#1, CD1#3, CD1#5); Tracey Thorn: vocals (CD1#12; CD2#1, CD2#10); Robert Wyatt: vocals (CD1#12; CD2#1, CD2#10); Julie Tippetts: vocals (CD1#9-10; CD2#11); Jalal:
vocals (CD1#9; CD2#11); Claudia Figueroa: vocals (CD1#7, CD1#12; CD2#1, CD2#10); Leroy Osborne:
backing vocals (CD1#2).
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.