Category Archives: The JB’s

Funky Good Time Live

front

disc  page01-04page05-08

 

Link Original 

Share

Fred Wesley

Jaquette953 inlay  Jaquette_02 Jaquette_03

Link Original 

 

Share

  Porrada sonora pra galera, Maceo quebrando tudo por aqui, este é o disco com a versão espetacular de Let’s Get It On  com quase 8 minutos, vai perder?

1296233602_folder

Personnel:

Pee Wee Ellis: Sax (Tenor)
Larry Goldings: Keyboards, Organ (Hammond)
Rodney Jones: Guitar
James Madison: Drums
Jimmy Madison: Drums
Kym Mazelle: Vocals
Maceo Parker: Producer, Sax (Alto), Vocals
Bill Stewart: Drums
Fred Wesley: Trombone
Steve Williamson: Sax (Alto)

Link Original 

Share

The JB’s – Food For Thought

01capa

Os The J.B.’s “originais”

Os J.B.’s foram formados em Março de 1970 após a saída maioria dos membros da banda anterior de Brown motivada por uma disputa financeira (as bandas de Brown durante os anos 50 e 60 ficaram conhecidas como “The James Brown Band” e “The James Brown Orchestra”). A formação incial dos J.B.’s incluía o baixista William “Bootsy” Collins e seu irmão, o guitarrista Phelps “Catfish” Collins, anteriormente membros da obscura banda de funk The Pacesetters; Bobby Byrd (orgão) e John “Jabo” Starks (bateria); três inexperientes músicos (sopro), Clayton “Chicken” Gunnells, Darryl “Hasaan” Jamison e Robert McCollough; e o tocador de conga Johnny Griggs. Esta versão dos J.B.’s tocaram em alguns dos mais intensos discos de Brown, incluindo “Get Up (I Feel Like Being a) Sex Machine”, “Super Bad”, “Soul Power” e “Talkin’ Loud and Sayin’ Nothing”. Eles também acompanharam Brown durante a turnê europeia, na qual foi gravado o álbum ao vivo Love Power Peace, estiverem na gravação do disco Sex Machine e lançaram dois singles instrumentais muito sampleados: “The Grunt” e “These Are the J.B.’s”. Texto do Wikpedia

Nota: Este foi o 1 disco da Banda gravado em 1970 com a formação completa, vale dizer que é um dos discos mais sampleados que existe.

Alguns samples deste disco são de arrepiar

“Pass the Peas”
Heavy D – “The Overweight Lovers in the House”
Pete Rock & CL Smooth – “One in a Million”
Pharcyde – “I’m That Type of Nigga”
Shante – “Have a Nice Day”
Souls of Mischief – “What a Way to Go Out”
“Gimme Some More”
Big Daddy Kane – “Wrath of Kane”
GangStarr – “Much too Much (Mack a Mil)”
Public Enemy – “Cold Lampin’ with Flavor”
Public Enemy – “Power to the People”
Stetsasonic – “Miami Bass”
“Hot Pants Road”
Eric B and Rakim – “Move the Crowd”
Grandmaster Flash & the Furious Five – “On the Strength”
Heavy D – “The Overweight Lovers in the House”
Public Enemy – “Fight the Power”

01capa2

Link Original

Share

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.
Senha para todos os arquivos/Password for all files:    ferpa@originalfunkmusic.com
Devido a mudanças neste servidor, para fazer o download deste arquivo, você precisará ter uma conta no site www.4shared.com e estar logado.
É isso aí rapaziada, se não me engano teremos um especial no programa Original Funk Music, com os citados nesta postagem, ouçam domingo à partir das 10:00 em: www.webradiobalanco.com, ou http://privilegeradio.blogspot.com.br/
Avatar Ferpa
Share

Maceo Parker with Fred Wesley and Pee Wee Ellis no BMW Jazz Festival 2012 – Post Atualizado

3 HORNS

E foram anunciadas as atrações do BMW Jazz Festival 2012.

Dentre as atrações, teremos a aguardada apresentação de Maceo Parker and his band with Special Guests Fred Wesley and Pee Wee Ellis.

O BMW Jazz Festival acontecerá de 8 a 10 de junho em São Paulo, e de 11 a 13 de junho no Rio.

Em São Paulo o festival acontecerá no Via Funchal, e no Rio de Janeiro no Teatro Oi Casa Grande.

Segundo informações, dia 10 de junho, Maceo Parker e The Clayton Brothers farão um show gratuito no Parque do Ibirapuera.

Além dos shows, o BMW Jazz Festival oferecerá seis workshops gratuitos, na Escola de Música do Estado de São Paulo, ministrados por Chick Corea, Lenny Whitw, Stanley Clarke, Charles Lloyd, Christian Scott e Trombone Shorty.

Vejam as outras atrações do BMW Jazz Festival:

Corea, Clarke & White – Projeto de Chick Corea, Stanley Clarke e Lenny White (São Paulo / Rio de Janeiro)

Charles Lloyd (São Paulo / Rio de Janeiro);

The Clayton Brothers (São Paulo);

Trombone Shorty & Orleans Avenue (São Paulo / Rio de Janeiro);

Ambrose Akinmusire (São Paulo);

Nintey Miles Project (São Paulo / Rio de Janeiro);

Darcy James Argue’s Secret Society (São Paulo);

Toninho Ferragutti e Bebê Kramer (São Paulo).

Se ano passado a Família Original esteve presente nos dois shows de Fred Wesley no Brasil, com certeza não iremos ficar fora dessas apresentações.

Share

Maceo with Special Guests Fred Wesley and Pee Wee Ellis no BMW Jazz Festival 2012

3HORNS/Part2

De  8 a 10 de junho em São Paulo, no Via Funchal.

De 11 a 13 de junho no Rio de Janeiro, no Teatro Oi Casa Grande.

Share

Fred Wesley & The New J.B.’s – Let It Flow – Fred Wesley’s Tribute to James Brown (2010)

Capa

01 – Funk For Your Ass

02 – Out Of Sight

03 – I Got The Feelin’

04 – Hippity Hobbit

05 – Crazy

06 – Livin’ In America

07 – I’m Gonna Getcha

08 – Sex Machine

09 – Psyco Path

10 – Let It Flow

Link Original

Share

Fred Wesley And The JB’s – Damn Right I Am Somebody 1974

Fred Wesley And The JB’s – Damn Right I Am Somebody 1974

front

1. Damn Right I Am Somebody
2. Blow Your Head
3. I’m Payin’ Taxes, What Am I Buyin’ – Fred Wesley & the J.B.’s
4. Same Beat, Pt. 1 – Fred Wesley & the J.B.’s
5. If You Don’t Get It the First Time, Back Up & Try It Again, Parrty
6. Make We What You Want Me to Be
7. Going to Get a Thrill
8. You Sure Love to Ball

Link Original

Share

The JBS Horns – Funky Good Time / Live (1993)

Capa

Durante os anos 80 e 90 Maceo Parker e Fred Wesley fizeram turnês sob o nome de The JB Horns, às vezes acompanhados de outro braço-direito de Brown: Alfred “Pee Wee” Ellis. Os JB Horns gravaram diversos discos para a Gramavision Records que mais tarde foram relançados pela Rhino Records. Também gravaram outro álbum com os produtores Jeff McCray e Richard Mazda chamado I Like It Like That.

Nesse disco damos destaque as faixas House Party e a classica  Soul Power.


Original Link

ofmstanley

Share