--- Mitch Stargrove <Mitch@DancingDNA.com> wrote: >
quoted 11 lines yes, it does get a bit lame and sappy
>
> yes, it does get a bit lame and sappy
> too bad when so much of Bukem's work has been great
> I really started to worry a few years ago when I saw one CD claiming
> the strong "jazz" influence from the presence of the sax player form
> the Average White Band! Albert Ayler would jump back into the river!
>
> I never wanted to listen to the kind of jazz Bukem and many others
> are emulating back in the 70s - it just never had the power to hold
> me that the first generation fusion or the avant garde did
>
Just thought I'd like to defend Jazz Funk a bit from some unwarranted
slurs....yeah we all know the rent-a-jazz-funk cliches off by heart
(when I came out of the tube at Piccadilly on Saturday there was a Jazz
Funk band busking!) but every music has its cliches including IDM.
The main reason for Jazz Funks popularity in the UK was its success on
the dancefloor. DJ's such as Colin Curtis in Blackpool championed this
music as a respite from the growing inanity of the Northern Soul scene.
The stuff played included obscure stuff from Japan as well as the
established players from the US. Anyway, when the rare groove scene
started in London in the 80's soundsystems such as Soul to Soul and
Mastermind would still play some of the classics by Roy Ayers, Lonnie
Liston Smith etc.
Of course, many of the main players on the London music scene in the
90's such as Bukem and 4 Hero used to attend such gatherings and hence
the continued influence of the music. It was good to dance to, it had
good beats - hence it's longevity.
OK, Bukem has been quoted as saying Lonnie Liston Smith is one of his
musical heroes. I agree that Lonnie has produced a fair amount of
fusion shite (esp on the later CBS albums) but then how can you totally
dismiss a man that released the classic 'Expansions'? His work with
others such as Gato Barbieri on Flying Dutchman also merits mention.
It's ridiculous to dismiss all sampling of Jazz as a slur against
creativity. Lets face it, the whole reason sampling works because it
does not respect the source. It could be a drum sample from a Dolly
Parton record or a snippet of a Miles Davis trumpet solo. What does it
matter? If they are ingredients of a fresh creation then so what?
Anyway, the 4 Hero version of Naiima (spelling?) by Coltrane is great.
Taking the sax part is Chris Bowden, who has worked with Mark & Dego
previously. Worth checking out when it finally appears.
Matt.
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