Category Archives: The JB’s
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?
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)
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”
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:
Richard ”Kush” Griffith
Featuring Maceo Parker
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.
Fred Wesley & The Horny Horns – A Blow For Me, A Toot To You
Atlantic – SD 18214
Vinyl, LP, Album
Funk / Soul, Jazz
A1 Up For The Down Stroke
Written-By – B. Worrell*, W. Collins*, G. Clinton*
A2 A Blow For Me, A Toot To You
Written-By – W. Collins*, F. Wesley*, G. Clinton*
A3 When In Doubt: Vamp
Written-By – B. Worrell*, G. Shider*, G. Clinton*
B1 Between Two Sheets
Written-By – W. Collins*, G. Clinton*, M. Parker*
B2 Four Play
Written-By – W. Collins*, G. Clinton*, G. Goins*
B3 Peace Fugue
Written-By – F. Wesley*
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
E foram anunciadas as atrações do BMW Jazz Festival 2012.
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:
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.
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.
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
Fred Wesley And The JB’s – Damn Right I Am Somebody 1974
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
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.