James Brown, who died Monday at 73, was the most influential figure in the history of soul and funk music. His contributions to the 20th century have been and will be chronicled elsewhere. But let’s reflect on James Brown … the jazzman?
It seems that his contributions to the jazz world are negligible compared with his other accomplishments as a popular songwriter, over-the-top live performer, civil-rights pioneer, the Godfather of Soul, the Hardest Working Man in Show Business. But he left behind an intriguing collection of funky improvisations on record, and on occasion, he crooned in a style as impassioned as Frank Sinatra.
Find the 1993 double disc collection, “Soul Pride – The Instrumentals 1960-1969” (Polydor). The assembled B-sides and album cuts showcase Brown’s charismatic prowess on organ, piano and even drums. He was particularly expressive on the organ, flailing away like Jimmy Smith but saying more with less in terms of chops. He channeled his and stunning voice through his fingers. Take “(Can You) Feel It, Pt. 1” from 1962, less than 3 minutes of slow burn that got its point across in the fraction of time it would have taken one of the Blue Note organists of the early ’60s.
“Go On Now” (from the same collection) is stunning soul jazz of the era, with Brown again pulling out all the stops on the Hammond B-3. His swagger (and yes, swing) on the instrument demonstrates that he could have made a comfortable living as an instrumentalist. Of course, he had other plans.
Much of Brown’s most successful music featured a league of performers who were versed in jazz, as well as rhythm and blues. Saxophonist Maceo Parker remains his best-known sideman who played both sides of the fence. And there was also trombonist Fred Wesley, saxophonist “Pee Wee” Ellis and trumpeter Waymon Reed. They weren’t household names, but they could hold their own in the studio and when given the chance on stage. Many of his players would take part in the funky instrumental unit The JB’s, who now have their own recorded legacy.
Brown’s most rewarding collision of blues and jazz has to be the currently easier to obtain “Soul on Top” (Verve), a frankly excessive (and appropriately so, for Brown) bigband vocal recording that was rescued from obscurity a couple of years back. With arranger Oliver Nelson’s charts and drummer Louie Bellson’s orchestra (and Parker’s familiar growl added on saxophone), Brown screams, turns astounding vocal somersaults, softly cries into your ear, and delivers the most whacked-out version of “Papa’s Got a Brand New Bag” ever, with a line of ringing trumpets replacing the famous guitar blare.
It’s an album that deserves to be remembered long after the tributes cease. This was one of the most striking vocal jazz records of the ’60s and another triumph for Brown at a time when it must have seemed that he would never run out of triumphs.
New Year’s tunes
There are several choices for New Year’s Eve revelers tonight, including vocalist Rene Marie, drummer Colin Stranahan and DJ Arturo Gomez at Dazzle. The party at Jazz@Jacks features Warren Hill, Askimbo appears at Sambuca, and Lionel Young fiddles in The Back Room … Erin Bode sings at Dazzle on January 13.
Bret Saunders’ column on jazz appears every other Sunday in A&E. Saunders is host of the “KBCO Morning Show,” 5:30-10 a.m. weekdays at 97.3-FM. His e-mail address is bret_saunders@hotmail.com.
