Category Archives: Maceo Parker with Special Guests Fred Wesley and Pee Wee Elli

Roots Revisited

Agora a vez de retribuir o convite do Fred no disco New Friends, Maceo Parker quebra tudo revisitando grandes Grooves da Soul Music.

Drums – Bill Stewart
Engineer – David Baker
Guitar – Rodney Jones
Organ – Don Pullen (tracks: 1 to 7)
Producer – Maceo Parker, Stephan Meyner
Saxophone [Alto] – Maceo Parker
Saxophone [Tenor] – Pee Wee Ellis
Trombone – Fred Wesley

Maceo Parker - Roots Revisited_front

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BMW Jazz Festival 2012

E começa hoje o BMW Jazz Festival.

Em São Paulo as apresentações acontecerão no Via Funchal: Rua Funchal, 65 – Vila Olímpia. Telefone: (0xx11) 3846-2300 – site: http://www.viafunchal.com.br

A programação no Via Funchal é a seguinte:

Sexta-Feira, 08/06, a partir das 20h30:
Ambrose Akinmusire Quintet; Toninho Feragutti, Bebê Kramer e convidados; Corea, Clarke & White.

Sábado, 09/06, a partir das 20h30:
Clayton Brothers Quintet; Trombone Shorty & Orleans Avenue; Maceo Parker e convidados Fred Wesley & Pee Wee Ellis.

Domingo, 10/06, a partir das 20h30
Darcy James Argue’s Secret Society; Ninety Miles; Charles Lloyd Quartet.

Ainda em São Paulo, no domingo à partir das 17hs, teremos também dois shows gratuitos na plateia externa do Auditório Ibirapuera: Av. Pedro Alvares Cabral, s/n – Portão 2 do Parque Ibirapuera, com The Clayton Brothers Quintet e Maceo Parker e seus convidados especiais Fred Wesley & Pee Wee Ellis.

.

Já no Rio de Janeiro, o festival acontecerá no Teatro Oi Casa Grande: Av. Afrânio Melo Franco, 290 – Leblon. Telefone: (0xx21) 3114-3712 – site: http://oicasagrande.oi.com.br/

E a programação é:

Segunda-feira, 11/06, a partir das 21h
Corea, Clarke & White; Ninety Miles.

Terça-feira, 12/06, a partir das 21h
Trombone Shorty & Orleans Avenue; Maceo Parker e convidados Fred Wesley & Pee Wee Ellis.

Quarta-feira, 13/06, a partir das 21h
Charles Lloyd Quartet; Darcy James Argue’s Secret Society.

The Clayton Brothers Quintet

The Clayton Brothers Quintet

Trombone Shorty & Orleans Avenue

Trombone Shorty & Orleans Avenue

Alfred "Pee Wee" Ellis, Fred Wesley e Maceo Parker

Alfred “Pee Wee” Ellis, Fred Wesley e Maceo Parker

Algumas dicas para os amigos de São Paulo que forem ao BMW Jazz Festival:Se você for de carro, prepare os bolsos pois os estacionamentos estarão cobrando um tanto caro por lá (média de R$ 25).
Quem quiser utilizar o transporte público, pode pegar a linha 9 – esmeralda da CPTM e descer na estação Vila Olimpia, já que as estações de metrô/trem encerram as atividades a 1hs do domingo.
O problema de ir com transporte público é se os shows atrasarem e você ficar na mão.

E se algum amigo do Rio quiser passar dicas de transporte para o Teatro Oi Casa Grande, fique à vontade.

Nós do Original Funk Music estaremos presentes no sábado.E no domingo estaremos lá também, sabe lá quando teremos novamente Maceo Parker, Fred Wesley e Pee Wee Ellis juntos no Brasil.

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Discografia Fred Wesley And The Horny Horns Featuring Maceo Parker

Aproveitando o ensejo da proximidade do evento BMW Jazz Festival, mais informações neste link: http://www.bmw.com.br/br/pt/insights/events/jazz_festival/2012/showroom/index.html, e também no nosso site, neste outro link: http://originalfunkmusic.com/?p=5840.

O foco desta postagem se baseia em nosso informe da apresentação de Maceo Parker com os convidados mais que especias Fred Wesley e Alfred “Pee Wee” Ellis, na edição 2012 do BMW Jazz Festival, estaremos postando os três discos conhecidos de Fred Wesley And The Horny Horns Featuring Maceo Parker, infelizmente Pee Wee, não participou de nenhuma das gravações destes discos, mas temos outro importante membro que também já havia deixado a  The J.B.’s, o trompetista Richard ”Kush” Griffith. Vamos as apresentações:

Fred WesleyFred Wesley

Rick Gardner Trumpet

Rick Gardner

Richard ''Kush'' Griffith

Richard ”Kush” Griffith

Maceo ParkerFeaturing Maceo Parker

Biography
by Alex Henderson
Trombonist Fred Wesley, saxophonist Maceo Parker, and trumpeters Richard “Kush” Griffith and Rick Gardner comprised Fred Wesley & the Horny Horns, one of the many Parliament/Funkadelic spin-offs that George Clinton worked with in the late ’70s. Back then, the Horny Horns were Parliament/Funkadelic’s horn section and they also backed Clinton associates like Bootsy’s Rubber Band (led by singer Bootsy Collins), Parlet and the Brides of Funkenstein. But Wesley and Parker (who plays both tenor and alto sax) were embracing hardcore funk and soul long before they became part of Clinton’s Parliament/Funkadelic empire; in the ’60s, the thing that made them famous was their association with the seminal Godfather of Soul, James Brown. Like Augusta, GA’s Brown, Wesley and Parker are both from the Deep South, Wesley was born in Mobile, AL, in 1944, while the slightly older Parker was born in North Carolina in 1943. And both of them were in their twenties when they joined Brown’s horn section in the early ’60s. A true perfectionist, Brown was notoriously demanding. He was rightly exalted as the Hardest Working Man in Show Business and Brown expected a lot from his sidemen. But Wesley and Parker were up for the challenge — they were superb musicians who could handle jazz, as well as soul and funk. Though Brown is primarily an R&B singer, he has always identified with jazz, and the fact that Wesley and Parker were quite capable of playing jazz was a definite plus in the Godfather’s mind. In the ’60s and early ’70s, Wesley and Parker played on many of Brown’s major hits. But by 1976, they had left his employ and gone to work for a different funkster who was heavily influenced by the Godfather’s innovations: George Clinton. Of course, Clinton is a major innovator himself and when Wesley and Parker joined Parliament/Funkadelic’s horn section, they continued to be on the cutting edge of funk. After working with them on Parliament classics like The Mothership Connection and The Clones of Dr. Funkenstein (both released in 1976) as well as on Bootsy Collins’ debut album, Stretchin’ Out in Bootsy’s Rubber Band, Clinton decided to oversee a spin-off group that was dubbed Fred Wesley & the Horny Horns. In 1977, Clinton and Collins produced the Horny Horns’ first LP, A Blow for Me, A Toot for You for Atlantic. Part of the record is pure p-funk, although it also contains some jazz-funk instrumentals. The same goes for the Horny Horns’ second Atlantic LP, Say Blow by Blow Backwards, which Wesley produced with Clinton and Collins in 1979. Like the Horny Horns’ first album, Say Blow By Blow Backwards ranges from vocal-oriented p-funk to instrumental soul-jazz. Neither of those LPs were the big sellers that many of Parliament and Funkadelic’s albums were, but they did catch the attention of diehard p-funk collectors. By 1982, Clinton had quit using the names Parliament and Funkadelic and was officially billing himself as a solo artist, but fans continued to call his horn section the Horny Horns. Wesley and Parker went on to record jazz-oriented instrumental albums in the ’90s — Wesley for Antilles, Parker, for Verve — in addition to doing session work for a variety of artists.

Biography

by Alex Henderson

Trombonist Fred Wesley, saxophonist Maceo Parker, and trumpeters Richard “Kush” Griffith and Rick Gardner comprised Fred Wesley & the Horny Horns, one of the many Parliament/Funkadelic spin-offs that George Clinton worked with in the late ’70s. Back then, the Horny Horns were Parliament/Funkadelic’s horn section and they also backed Clinton associates like Bootsy’s Rubber Band (led by singer Bootsy Collins), Parlet and the Brides of Funkenstein. But Wesley and Parker (who plays both tenor and alto sax) were embracing hardcore funk and soul long before they became part of Clinton’s Parliament/Funkadelic empire; in the ’60s, the thing that made them famous was their association with the seminal Godfather of Soul, James Brown. Like Augusta, GA’s Brown, Wesley and Parker are both from the Deep South, Wesley was born in Mobile, AL, in 1944, while the slightly older Parker was born in North Carolina in 1943. And both of them were in their twenties when they joined Brown’s horn section in the early ’60s. A true perfectionist, Brown was notoriously demanding. He was rightly exalted as the Hardest Working Man in Show Business and Brown expected a lot from his sidemen. But Wesley and Parker were up for the challenge — they were superb musicians who could handle jazz, as well as soul and funk. Though Brown is primarily an R&B singer, he has always identified with jazz, and the fact that Wesley and Parker were quite capable of playing jazz was a definite plus in the Godfather’s mind. In the ’60s and early ’70s, Wesley and Parker played on many of Brown’s major hits. But by 1976, they had left his employ and gone to work for a different funkster who was heavily influenced by the Godfather’s innovations: George Clinton. Of course, Clinton is a major innovator himself and when Wesley and Parker joined Parliament/Funkadelic’s horn section, they continued to be on the cutting edge of funk. After working with them on Parliament classics like The Mothership Connection and The Clones of Dr. Funkenstein (both released in 1976) as well as on Bootsy Collins’ debut album, Stretchin’ Out in Bootsy’s Rubber Band, Clinton decided to oversee a spin-off group that was dubbed Fred Wesley & the Horny Horns. In 1977, Clinton and Collins produced the Horny Horns’ first LP, A Blow for Me, A Toot for You for Atlantic. Part of the record is pure p-funk, although it also contains some jazz-funk instrumentals. The same goes for the Horny Horns’ second Atlantic LP, Say Blow by Blow Backwards, which Wesley produced with Clinton and Collins in 1979. Like the Horny Horns’ first album, Say Blow By Blow Backwards ranges from vocal-oriented p-funk to instrumental soul-jazz. Neither of those LPs were the big sellers that many of Parliament and Funkadelic’s albums were, but they did catch the attention of diehard p-funk collectors. By 1982, Clinton had quit using the names Parliament and Funkadelic and was officially billing himself as a solo artist, but fans continued to call his horn section the Horny Horns. Wesley and Parker went on to record jazz-oriented instrumental albums in the ’90s — Wesley for Antilles, Parker, for Verve — in addition to doing session work for a variety of artists.

Front

Fred Wesley & The Horny Horns – A Blow For Me, A Toot To You

Label:

Atlantic – SD 18214

Format:

Vinyl, LP, Album

Country:

US

Released:

1977

Genre:

Funk / Soul, Jazz

Style:

Soul-Jazz, P.Funk

Tracklist

A1 Up For The Down Stroke

Written-By – B. Worrell*, W. Collins*, G. Clinton*

9:10

A2 A Blow For Me, A Toot To You

Written-By – W. Collins*, F. Wesley*, G. Clinton*

7:20

A3 When In Doubt: Vamp

Written-By – B. Worrell*, G. Shider*, G. Clinton*

4:21

B1 Between Two Sheets

Written-By – W. Collins*, G. Clinton*, M. Parker*

6:50

B2 Four Play

Written-By – W. Collins*, G. Clinton*, G. Goins*

8:03

B3 Peace Fugue

Written-By – F. Wesley*

6:00

Credits?

Bass – Bootsy Collins

Drums – Bootsy Collins, Frank Waddy, Jerome Brailey

Engineer – Jim Callon, Jim Vitti

Guitar – Bootsy Collins, Catfish Collins, Garry Shider, Glen Goins, Michael Hampton

Horns – Michael Brecker, Randy Brecker

Keyboards, Synthesizer – Bernie Worrell

Producer – Bootsy Collins, George Clinton

Saxophone [Tenor, Alto] – Maceo Parker

Trombone – Fred Wesley

Trumpet – Richard Griffith, Rick Gardner

Vocals – Bernie Worrell, Bootsy Collins, Catfish Collins, Dawn Silva, Fred Wesley, Gary Mudbone Cooper, George Clinton, Lynn Mabry, Maceo Parker, Randy Crawford, Richard Griffith, Rick Gardner, Robert “P-Nut” Johnson, Taka Kahn

Front

Fred Wesley And The Horny Horns* Featuring Maceo Parker – Say Blow By Blow Backwards
Label:
Atlantic – SD 19254
Format:
Vinyl, LP, Album
Country:
US
Released:
1979
Genre:
Funk / Soul
Style:
P.Funk, Disco
Tracklist
A1 We Came To Funk Ya
Written-By – W. Collins*
6:55
A2 Half A Man
Written-By – B. Nelson*, G. Clinton*
9:32
A3 Say Blow By Blow Backwards
Written-By – F. Wesley*
5:10
B1 Mr. Melody Man
Written-By – G. Cooper*, R. Dunbar*
7:04
B2 Just Like You
Written-By – G. Shider*, G. Clinton*
6:47
B3 Circular Motion
Written-By – F. Wesley*
5:43
Credits?
Arranged By [Horns] – Fred Wesley, Maceo Parker
Art Direction [Album Concept] – George Clinton
Backing Vocals – Dawn Silva, Dr. Funk*, Gary Cooper*, Jeanette McGruder, Jessica Cleaves, Robert Johnson*, Sheila Horn*
Bass – Billy Nelson, William Collins*, Cordell Mosson, Donnie Sterling, Rodney Curtis
Design [Album Cover, Illustration] – Ronald Edwards (2)
Design [Art Collaborator] – Gerald Edwards (2)
Drums – William Collins*, Frankie “Kash” Waddy*, Gary Cooper*, Jesse Williams, Tyrone Lampkin
Engineer, Mastered By – Larry Nix
Engineer, Recorded By – Greg Ward, Mike Iacopelli
Engineer, Recorded By [Additional] – Greg Reilly
Engineer, Recorded By, Mixed By – Jim Vitti, Pete Bishop
Guitar – William Collins*, Phelps Collins*, Garry Shider, Michael Hampton, Rodney Crutcher
Horns – Fred Wesley, Maceo Parker, Richard Griffith, Rick Gardner
Keyboards – Bernie Worrell, Fred Wesley, Gerome Rogers*, Joel Johnson, Maceo Parker
Percussion – Carl “Butch” Small, Larry Fratangelo
Producer – Bootsy Collins, Fred Wesley, George Clinton
Notes?
All songs published by Rubber Band Publishing and Malbiz, BMI.
Recorded at United Sound Systems, Detroit, Michigan.
Additional recording at Superdisc, East Detroit, Mich.
Mastered at Ardent Mastering, Memphis, Tennessee
William Collins appears courtesy of Warner Bros. Records.
Bernie Worrell appears courtesy of Arista Records.
? 1979 Atlantic Recording Corp © 1979 Atlantic Recording Corp.
Front

Fred Wesley & The Horny Horns – The Final Blow
Label:
Sequel Records – NED LP 270
Format:
2 × Vinyl, LP, Gatefold Sleeve
Country:
UK
Released:
1994
Genre:
Funk / Soul
Style:
P.Funk
Tracklist
A1 Fallen Off The Edge
Written-By – Hazel*, Clinton*
8:56
A2 The Cookie Monster
Written-By – Wesley*, Parker*, Griffith*, Gardner*
7:29
A3 A Blow For Me, A Toot To You ( New Remix )
Written-By – Bootsy Collins, Fred Wesley, George Clinton
7:09
B1 West Ward Ho
Written-By – Wesley*, Parker*, Griffith*, Gardner*
5:44
B2 Oh I Don’t Think Sew
Written-By – George Clinton, Rodney Curtis
10:25
B3 Four Play ( New Remix )
Written-By – Bootsy Collins, George Clinton, Glen Goins
7:16
C1 Lickity Split
Written-By – Wesley*
9:15
C2 Discositdown
Written-By – Hazel*, Clinton*, Clark*
6:01
D1 Half A Man ( New Remix )
Written-By – Bill Nelson, George Clinton
5:25
D2 Say Blow By Blow Backwards ( New Remix )
Written-By – Fred Wesley
5:29
D3 Bells
Written-By – Wesley*, Parker*, Griffith*, Gardner*
11:07
Credits?
Bass – Billy Nelson, Bootsy Collins, Cordell Mosson, Donnie Sterling, Rodney Curtis
Drums – Bootsy Collins, Frankie “Kash” Waddy*, Gary Cooper*, Jerome Brailey, Jesse Williams, Tyrone Lampkin
Engineer – Chaz Martin, Greg Ward, Jim Vitti, Mike Iacopelli, Pete Bishop
Guitar – Bootsy Collins, Phelps Collins*, Garry Shider, Glen Goins, Mike Hampton*, Rodney Crutcher
Horns – Brecker Brothers*
Mixed By – Chaz Martin, Greg Kutcher, Greg Ward
Percussion – Carl “Butch” Small, Larry Fratangelo
Producer – George Clinton
Saxophone – Maceo Parker
Synthesizer, Keyboards – Bernie Worrell, Fred Wesley, Gerome Rogers*, Joel Johnson, Maceo Parker
Trombone – Fred Wesley
Trumpet – Richard “Kush” Griffith*, Rick Gardner
Notes?
Previously unreleased.
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