Attica Blues

Archie Shepp: Attica Blues and Blues for Brother George Jackson
From: Attica Blues [Impulse!, 1972]

Oh you didn't know? We like to go deep here at the Fuzz and you can't get much deeper or more sublime than Archie Shepp's Attica Blues.
I'll be the first to hold up my hands and admit that my jazz knowledge isn't as widespread and in depth as I'd like partly due to some difficulties I sometimes have connecting with the music. However, from the first time I ever heard this album to this day, Attica Blues has always stood out as a personal favourite.

Recorded in response to the Attica Prison massacre of 1971, this album found Archie moving on from his earlier Coltrane influences to a fusion sound of incredible emotional impact. While never afraid to voice his anger at the injustices occurring in society, Shepp channels the rage so precisely and beautifully in this recording that it ends up flooring you completely.

The title track itself is a raw powerhouse of a song, a ballistic missile of music hitting the listener head on. Building from a funky start the song builds up an unbelievable level of momentum, battering the listener with screaming vocals and barraging percussion. Shepp chose to place his horn deep into the mix on this album bringing other instrumentation to the foreground and it works brilliantly. This song really cannot be fucked with on any level

Shepp wisely avoided trying to matching the title song's sonic intensity on the rest of the album but don't let this fool you into thinking it lacks power. Blues for Brother George Jackson comes at you from a slower, groove driven direction. Written as a tribute to murdered activist George Jackson the song overflows with emotional, understated, playing by Shepp and his troupe and results in a gorgeous piece of mellow funk.

You can read more about what Archie's up to these days at his official website. Respect to the man.

I Kno their name is not that Cunning

Nothing To Give - Cunninlynguists
Beautiful Girl - Cunninlynguists
both from the album A Piece Of Strange – Freshchest (2006).

After you run in certain circles for a while you start to have a lot of trouble telling what is underground and what’s over. I seldom here folks talking about Cunninlynguists, but they have been around for while with three albums and lots of collaborations and get some press. So I apologize if I’m preaching to the converted with this post, but however much credit and praise these cats are getting I do not think it is enough.

After a really good debut album (Will Rap For Food), Cunninlynguists blew we away with Southernunderground (Freshchest 2003), which was one of my favorite albums of that year, and now they have really impressed me again with A Piece Of Strange. Although they’ve had some folks floating in and out of their line-up, Cunninlynguists is at the core Deacon the Villain on the mic and Kno on production. Deacon is certainly more than serviceable as an MC, but the real star is Kno’s beatwork. In trying to think of what it is about this cat’s stuff that I love so much, I couldn’t think of anything in particular that he does that is super unique or groundbreaking. However, to me he just puts everything together brilliantly with excellent drum patterns, well chosen melodic samples, great song structure, and even the mix down of these songs seems just right with the drums hitting perfectly verses the rapper and topping vocals.

I put up two tracks at random from the latest album, which I think is just the tops from its Henri Rousseau-esque jungle painting cover to all the heart-felt and beautiful tracks that offset the Lynguists one-off frat-boy-humor style name.

Freesound Part 2, Electronic Oddity

Jacky Giordano: Plank
From the album: Challenger [Freesound 1974]
Yan d'Ys & Jacky Giordano: Magolia
From the album: Philopsis [Freesound 1975]
Jacky Giordano & Yan Tregger: Gost
From the album: Schifters [Freesound 1974]

Okay, some people may remember 'Freesound part 1' from a few months ago, where I posted up some of the funkier tunes from the label. In part two we're going to open our minds to the hallucinogenic side of the Freesound catalogue. Get ready some heavy electronics, laced with fucked up beats and bass-lines, all put through reverb, modulators and what not.

We start are journey with the bugged out 'Plank' from the 3rd Freesound LP, the track kicks things off with its addictive bass-line and lovely percussive rhythm, which is all good, now a word of warning to those that aren't keen on anything weird, your best bet is to get off here, before we are subtly taken out of reality, and into orbit with some fuzzy hypnotic synthesiser.

If you had a smile on your face for the whole of 'Plank' then you should enjoy the next song. 'Magolia' opens with one of my favourite breaks, a real funky beastly beat, this is followed by some flashback inducing, hypnotic bass-line and clavichord, and if that's not enough to bring on any visuals take a hit from more diffuse jets of fuzzy synth that sail us out to the end of the track.

Finally for the come down we have 'Gost' from the iconic 'Schifters' LP, Probably my favourite track from the Freesound catalogue. The reason I like this song so much is because it features a very rare thing, an absolutely blinding saxophone solo. From 'My two Dad's' to 'Animal Hospital' the meer toot from a sax sends me running, personally I even find some of Maceo's blowing a bit cringe-worthy at times. The saxophone in 'Gost' is admittedly helped along the way by being fed through some echo/reverb unit, and is accompanied by a tight syncopated rhythm. I've listened to this song so many times and it never fails to do the trick, I hope it works for you.

Summery Soul For A Winter's Day

The Staple Singers: Let's Do It Againand Chase
From: Let's Do It Again [Curtom, 1975]

Man, I woke up early this morning to find it bitterly cold and snowing outside. After trudging through this and the biting wind I then had to go through the process of almost losing an eye about five times from fools who use their umbrellas as offensive weapons. All this just to go to work.

After this excellent start to the day I needed a certified mood improver and what better way to brighten my world than some smoothed out seventies summery soul from the Curtom label courtesy of The Staple Singers and Curtis Mayfield.

Composed as the soundtrack to Let's Do It Again, Bill Cosby's follow up movie to Uptown Saturday Night, Mayfield's production offers up a funky blend of soul from the gospel quartet.

The title song from the album, Let's Do It Again, was a massive track for the Staple Singers, bagging them a number 1 and one of their biggest hits of a 50 year career. What propels this track above many similar songs of the time is the power present in Mavis Staple's voice, there's a raw edge to her vocals that adds that extra oomph to Mayfield's reliably great production. The album version is longer than those offered on many compilations giving you an extra minute or two of pleasure.

Chase, an instrumental piece from the album, is credited to Mayfield and his band and bears all the hallmarks of a piece from his more famous soundtrack compositions with blazing trumpets and smooth strings over lush percussion. Put this on and it can be summer in your head even while your fingers and toes are turning blue from the cold.

I would type more but my fingers have just gone numb. Thank god for the funk on a day like today.

Future Funk Part 1, Poets Of Rhythm

The Woo Woo's: Spooky Grinder
From the single [Hotpie & Candy, 1993]
The Whitefield Brothers: Prowlin
From the album: In The Raw [Soul Fire 2002]
The Poets Of Rhythm: Breakdown The Tighten Up (live)
From the EP: Original Raw Soul Tour '95 [Soulciety 1995]

Back in the early 90's unbeknown to most of the world there were some seriously funky rumblings shaking up parts of Germany, and they would stay unbeknown to most for nearly a decade, until a certain 'DJ Shadow and Co.' (Lyrics Born) found them and helped release the album 'Define Discern', which would then set off beathead's saliva glands like Pavlov across the globe.

Published by the label soulciety, 'The Poets Of Rhythm' released their first album 'Practice What You Preach' back in 1993. The LP was raw unadulterated funk, sticking closely to the original vernacular of the music's style. When hearing the record you could easily be mistaken and think You were listening to some unreleased James brown production, the Poets even got a letter of approval from Bobby Byrd to stick in the liner notes of the album. It was a brilliant record that stuck to the original James Brown funk blueprint from beginning to end.

In 2001, after being head hunted by Quannum's 'Lyrics Born' the band reformed and released 'Define discern' on Ninja tune and became well known to many. Their whole style had evolved greatly since the early nineties, the music was still raw and funky but was now deeper with a heavy psychedelic vibe to it. The band are still touring the world and occasionally releasing the odd record here and there. Whatever you do, do not pass up the chance to see them live if you get one.

During the period from 1992 to 2002 the Poets released a string of elusive 45's all under various guises, fooling many collectors into thinking they were original 70's pieces of vinyl. Upon listening to these singles you can see how the band perfected their authentic deep funk sound and then pushed the funk envelope into brand new territory, while still maintaining that depth and kinship they had with the original art form.

The single 'Spooky Grinder' was released after the band had finished the album 'Practice what you preach'. You can here in this track how they have begun to stray from the polished J.B. style of their first LP, in 'Prowlin' which came out only a few years ago you get a great example of where the Poets new direction had taken them too. Finally 'Breakdown The Tighten Up (live)' is a classic example of the band doing their straight up, no messin' funk, sticking close to James Brown's original blueprint.

Unfortunetly 'Spooky Grinder' and the 'Original raw soul tour 95' are long out of print and can only be picked up second hand but, and I highly recommend, 'In The Raw' which is still available at most quality Vinyl retailers.

Soul On The Rocks

The Whatnauts: Hurry Up And Wait andWhy Can't People Be Colors Too?
From: On The Rocks [Stang, 1972]

Sometimes the high quality of an album actually makes it harder rather than easier to post about. I've spent waaaaaay too long with this album on rotation trying to decide which two tracks would best represent the quality of the Whatnauts 1972 release On The Rocks, and, after changing my mind over and over, I've come to some kind of decision on the matter and am finally in the position to put up their music.

Comprising three truly outstanding vocalists this Blatimore band never really hit the major big time that they deserved. Perhaps it's because their sound, while undoubtedly funky, was less immediately catchy than many of their contemporaries of the time, who knows. However, from a personal perspective, each time I listen to their music I notice new subtleties to the blend and it cannot be stated enough how talented these guys are.

Hurry Up And Wait displays the band's soulful class with aplomb. There's something about the change up in the chorus which near on breaks my heart everytime, the lead, tenor and bass vocals taking their turns to plead their message. Full of real soul and raw emotions this is wonderful, wonderful stuff.

Although the band's music did tend towards the soulful ballad the guys could funk when necessary and the classic Why Can't People Be Colours Too? is a damn fine example of this. Over a minimalist funk break the band give their usual top quality performances before halfway through the vocals drop from the mix and the meatiest of beats kicks in to carry the track home. Perfect.

J. Dilla: RIP

The man will be sorely missed. In case you haven't caught it already Oliver's got a post up on Soul Sides which pays tribute to this great talent.

Also please check out the tribute at Straight Bangin' which pretty much sums up everything that can be said about this tragic loss in a far more eloquent style than I could muster.

Break In The Road - Charity Has Rarely Sounded So Good

2ply: What Went Wrong [Snippet]
Kid Gusto: Troubled Times [Snippet]
From: Break In The Road [2006]

A break from normal posting today to remind you all that the benefit album Break In The Road will be available to purchase from 14th February (a perfect gift for the one you love perhaps?). All proceeds from the release will be going to the support of victims of Hurricanes Katrina and Rita.

Compiled by DJ gNAT whose work and effort to get this off the ground and finished are beyond superhuman, the album features tracks from the combined talents of Soulstrut forum posters including DJ Day and ThesOne and ranges from hip hop to downtempo to electronic. As gNAT himself explains:

"Amazingly enough, I never actually met any of the album's contributors. I managed to do all of the album's organizing through e-mail, private messages, and instant messaging. It was a truly amazing experience to see perfect strangers from all over the world rally behind folks affected by the hurricanes. One-hundred percent of BREAK IN THE ROAD's music and artwork were donated."

I've put up a couple of clips so you can hear the quality of the release with your own ears but can also confirm, having heard the album in full, that there's not a duff track in sight.

It's not often that you get to do something that is rewarding spiritually and sonically and this opportunity should not be missed. You can order your copy at the Break In The Road Website and also check out more information regarding the artists and music.

Do it now.

The Beat Is The Thing

Beatfanatic - Cookin'
from 12" on Rawfusion (RAF007) 2003.

Beatconductor - Goes To My Head
from promo album Beats Cut Out, Played Back, and Souled on Dicey (DICEYCD001) 2005.

If you're into dancefloor jazz and big sounding funk these days you need to be hip to Sweden, who's producers are just dominating the scene right now. For that matter, if you are into dope remixes of semi-forgotten and sometimes cheesey early 90s hip hop and r&b acts like Tevin Campbell and Heavy D (not cheesey at all, I love the Heavster), you need to be looking in the same place.

Beatfanatic (aka Ture Sjoberg) is certainly the most prolific and definitely one of the best of this super deep and deadly production field, and his work is impressively consistent. First up is Cookin', the B-side to his first single on Rawfusion Jogando Capoeira. A Latin dance number with all the requisite congas and group horn blasts surely, but just listen to the punch of those drums which are especially noticeable as the break becomes isolated in the final minute. Beatfanatic's catalogue includes straight soul and funk, more of this style of Latin/Brazilian work, choppy electronic numbers, and other styles but throughout it is all delivered with excellent rhythms and a hip hop production aesthetic. He has two full lengths and numerous singles out on Rawfusion and Dicey that are very worth checking out.

On the slightly less legal front Beatfanatic works under the nom de disques Beatconductor (not to be confused with Madlib's identical moniker for his broken beat/downtempo excursions) and Discoconductor. Under these names he has released numerous remixes on GAMM and Soundscape records that are just this side of essential. Off his recent remix compilation is this track Goes To My Head, putting a sweet bass-line and sharp snares under MC Lyte's classic Paper Thin (unfortunately recently co-opted by Missy Elliot for another forgettable track).

I don't know if it is all the nuclear power, or the Nobel committee, or just having one of the dopest national flags; but for some reason Sweden is just killing it now with Beatfanatic, Red Astaire/Freddie Cruger, Samoo, Sebi, Five Corners Quintet, and many others.

Organ Grinding

Billy Preston: John Henry andOuta-Space
From: I Wrote A Simple Song [A&M, 1971]

I'm normally pretty careful about avoiding posting on an artist that another blog has covered recently but I've had it in my head to do a Billy Preston post for sometime now. Fellow Sagi and soulhead AK at Soul Shower actually covered Billy in a post recently but, as he rightly points out, this wasn't his best album so I thought I'd give you a taste of Preston at what I consider his peak as a solo artist.

It's not really worth going into Preston's history as it's pretty easy to get a hold of the details, needless to say Billy came to fame after playing his organ with the Beatles and went onto reasonable solo success. Lee at Number One Songs In Heaven gives a pretty concise account and also exhausts all the Organ jokes as well so there goes half my post. Damn.

Anyway that allows us to focus on the music and Preston performed with style and a funk sensibility. The album I have for you is Preston's solo debut, I Wrote A Simple Song, produced by music genius Quincy Jones.

Due to the understandable organ heavy production of many of his tracks there's definitely a Hi Records feel to the music and while Billy is no Al Green his voice is a decent instrument in it's own right. John Henry is a great example of this with it's falling trumpets and Preston's vibrant organ playing. I love the change up in the chorus, Quincy keeping a raw feel to the production which complements Preston's organ solo perfectly.

Outa-Space was Preston's big hit of the album and a Grammy winner to boot (hey, remember when that meant something?), a solo jam designed with the single purpose of getting people on the dancefloor, something it achieves with ease. I'm a sucker for this kind of instrumental popfunk and Outa-Space is a great example, Preston displaying just why the Beatles let him up on the rooftop with them for their final performance. What differentiates this from a lot of the disco styled songs that followed in it's footsteps is the improvisational feel to the proceedings with instruments drifting in and out of the mix as Billy keeps the funk going strong. Let there be no doubt, this man can play.

MF Grimm

MF Grimm: The Book of Daniel

MF Grimm f/ Megalon and MF Doom: Foolish

So Grimm's now beefing with one Daniel Dumile over...well its not entirely clear over what. I hear tell its some old beef that got rewarmed in recent months. Some slightly cheap shots about Dangermouse, some personal Subroc-invoking ugliness. Obviously dude's upcoming triple album is the cynical factor, but this shit is so personal and emotional, it's hard to shake off so easily. I had to include that other track to get the bad taste out my mouth, yadig? (Doom's verse is one of his best.)

Regardless, big up DJ Crucial on the beat.

Family Affair

Sunshine Star - Open Sky Unit
Naima - Jacques Pelzer Quartet
both from Duchesne Records 1974/75 and re-released on What Music's Trailer Happiness compilation in 2004.

Jacques Pelzer was the key figure in the Belgian jazz scene for decades starting in the early 1970s. Pelzer was a saxophonist and group leader who worked in a lot of different styles from avant guarde to soul and funk. Some of his early work is very rare in its original form, but has been purchased and re-released in fine quality by What Music.

Open Sky Unit was Pelzer funk/soul band, which showcased composed/keyboardist Ron Wilson pretty heavily. Wilson also provides vocals on Sunshine Star and while his singing is rough and very limited it adds a subtle bonus to a great instrumental track. Pelzer's horn work is very good, but the real revelation is the drumming Micheline Pelzer (Jacques's daughter) who keeps a deep groove going throughout and provides some excellent fills throughout. Wilson's keyboard work is pretty minimal, but haunts me just right and leaves me wanting more.

Jacques and Micheline had an eponymous quartet that featured more of their straight jazz work and I put up their cover of John Coltrane's legendary tribute to his wife Naima. Again Micheline provides a rock-steady backbeat that punches up this cover way more than typical ballad renditions of Naima. Jacques switches from alto on Sunshine Star to a soprano sax to better pay homage to Coltrane, which is a daunting task, but Jacque acquits himself well. I don't know anything about the competent bass player, but the pianist on this cut steals the show with his beautiful solo and outstanding accompianment. The Pelzer's again keep it in the family because this painist is Michel Graillier, Micheline's husband.

Both of these tracks are live recordings and thankfully follow the European audience style of not applauding until the end of the track, instead of after every solo like here in America. The solo applause annoys me to no end because it covers up the transitions and theme restatements and just burns me up. But then again people here in California clap at the end of films also, which is just a whole new level of retarded. OK, enough rant...enjoy the tracks.