Preludium Cis Moll
from the album Variations On Classics on Supraphon Records (1982).
Also appears on the compilation Strange Breaks and Mr. Thing on BBE Records (2008).

All The Things You C# – Charles Mingus
from the live album Mingus At The Bohemia on Debut Records (1955).

After spending 10 years in my youth playing classical piano, you would think I would know more about classical music. However, I spent probably 9.9 of those years thinking I’d rather learn to play jazz piano and Frank Sinatra ditties. More the shame for me I guess, but I will say I what little I know I enjoy. And everything I know is decidedly older than Sergei Rachmaninoff (the latest of anything I ever played was Tchaikovsky). Luckily, many others studied where I never ventured and today here’s two “covers” of Rachmaninoff’s famous Prelude in C# minor (check out this wikipedia entry with audio of Rachmaninoff being recorded by Thomas Edison).

First up is jazz-funk version of the prelude by Josef Vobruba with his Orchestra. It is possible this is the Prague Dance Orchestra with whom Vobruba is most often associated, but regardless the conductor is leading a big, funky group. The growing lore of Eastern European breaks is has been upheld by this track, which I had only recently discovered and then was delighted to hear in super clean form on Mr. Thing’s recent compilation for BBE. The sound is huge and the number of elements and instruments contributing is astonishing to me, or probably to many listeners who do not often venture into orchestra territory. And just listen to whomever is attacking that piano, that is fierce, brother Christian.

One of the reasons I liked the Josef Vobruba version so much is my deep love for Charles Mingus’s composition “All The Things You C Sharp,” which is a juxtaposition of the jazz standard “All The Things You Are” with Rachmaninoff’s prelude. Here the themes mix and match throughout lending an entirely new sound to the converted whole (a blend for the ages). High school performance piano piece du jour “Claire de Lune” even gets a little love on the piano lines occasionally, even if it was not able to make it into Mingus’s brilliant title. Recorded live in 1955 (hence the less than stellar audio quality) at the Cafe Bohemia, this version is from early in Mingus’s brilliant run as one of the most influential and far reaching jazz composers. He had not yet matched up with drummer Dannie Richmond, and I do miss DR’s snappy drumming on this one, but overall the horns perform beautifully and Mingus pushes the players around with big, grounded bass. Pianist Mal Waldron, in his solo before Mingus’s amazing bass solo, most clearly states the comparisons of the two composite songs. Deep, enjoyable listening. As a side note, Mingus attempted another “mash-up” on this album playing “Tenderly” against “September In The Rain” for his “Septemberly.”

Who Knows – Marion Black
from 7″ on Capsoul (1970). Also available on The Numero Group’s Eccentric Soul No. 1.

Smoke & Mirrors – RJD2
from 12″ on Definitive Jux (2003). Also on the Dead Ringer album.

Who Knows – Quantic Soul Orchestra f/ Kabir
from the album Tropidelico on Tru Thoughts (2007).

Hello readers. I apologize for being so long between posts, my excuses are a tough bought of cold gettin’ ill that knocked me out for a week and subsequent intense endeavors in nanophotonics and casimir force studies. But Junior really held it down solo style and Kevin brought another anatomy of a sample super-post, so you’ve been in good hands.

Briefly, I am putting up a wonderfully bluesy soul song (or a beautifully soulful blues song) by Marion Black called “Who Knows.” From the small and short-lived Columbus, Ohio, Capsoul label, this track is so wonderful with great vocals, a killer bass guitar riff, tight drums, and the real sprinkles on my cupcake is the piano vamps. Just about a perfect song…I even dig how the recording just runs out on the 45 while the song feels like it will go on like our hero.

Columbus’s own RJD2 utilized this track heavily in “Smoke & Mirrors” off his debut album Dead Ringer. The drums and bass guitar are still there and the vocals of course just a little slowed down. This track is so great, just listen to all the tricks and pans and subtle textures (the second vocal track and piano heavy 3rd minute being the toppest notch). I could go on and on about my love of this track and Dead Ringer in general, but I’ll stop in a poor effort to keep this post at a reasonable length. I do want to put in my 2 cents about the hate that flowed around RJD2’s emo/rock album and DJ Shadow’s half hyphy/third rock/one sixth electronic album this year. I recognize the desire to hear the next Endtroducing or Dead Ringer but regardless of how much i like the results, I’m excited to see these cats try something off track from their other work and explore. I saw an interview with George Lucas where he was asked about getting pilloried for the original Star Wars re-edits and the maudlin tone of the pre-quels and he said, “These are the movies I wanted to see so I made them. If people are so convinced it is wrong, they should make the movie they want to see.”

One guy who has been filling the need and craving for beat driven album is Will Holland (aka Quantic) who puts out a wide range of funky material either electronic (as Quantic) or recorded with a band (as Quantic Soul Orchestra). The latest QSO album is one of my favorite albums of the year (look for the definitive list coming soon) and low and behold it has a superb cover of “Who Knows” with Kabir Malik Green of Panama’s Los Fabulosos Festivals on vocals. Most of the Tropidelico album is far more Latin in flavor as it was inspired by Holland’s extensive traveling and performing throughout Central and South America, but it is all amazing.

Merry Christmas and Happy Holidays to all.

Papa’s Got A Brand New Bag – Sweet Vandals
from 7″ (with “Charlie Love”) on Unique Records (2007).

I Can’t Help Myself – Funky Music Machine
from 7″ on Black Top Records (196?/7?) re-released on Truth & Soul Records (2006).

Two funky covers up today for your pleasure and through provocation. The first is from one of the latest entries into the retro-soul/retro-funk world, namely The Sweet Vandals. After the pioneering work of Poets of Rhythm and the recent success of Sharon Jones and the Dap-Kings and Nicole Willis and the Soul Investigators, this subgenre is starting to get populated with releases. Populated but far from crowded. I am loving this infusion of funky good tunes with a stridently old style and sound. It is almost unfortunate hubris to cover such a well-known James Brown track for your first single and album. I say almost because despite the faithfulness of the cover and the unapproachable nature of the original, vocalist Mayka Edjo twists things up just enough to give everything her own spin. Additionally, drummer Javier Gomez channels Bernard Purdie and really shines. The rest of the band is Carlos Coupe on Hammond organ, Santi Martin on bass, and Jose Angel Herranz on guitar and they form a very tight and promising combo (see cartoon rendition of them above). Their self-titled album isn’t available in the states yet, but if you’re feeling the single I’d recommend it as a decently priced import

Conversely to the tight, in the pocket quality of the Vandals, is the delightfully sloppy cover of the Four Tops’s “I Can’t Help Myself (Sugar Pie Honey Bunch)” by Funky Music Machine. Tyrone Ashley is the vocalist here with his band FMM, but Ashley is (only slightly) better known as Sammy Campbell (pictured above right) who lead the Del Larks in the 50s-60s. He also released at least one record as Black Velvet before officially recording as the FMM. Truth and Soul has uncovered his old recordings (many never released) and have started to get these out over three decades later. In Ashley/Campbell’s hands and voice the cutesy baked-goods selling “I Can’t Help Myself” gets a great big bottom end and a lot more vocal edge. It still makes me want some Duncan Hines brownies, but now I will boogie to the kitchen for them.

PS…Sweet Vandals reminds me that I had at one point decided that if I ever got a Puff Daddy complex and had to start a girl pop-vocal group I’d name them The Pretty Thieves and their first album would be Pretty Larceny.