Monthly Archives: March 2008

Grant Green – I Don’t Want Nobody To Give Me Nothing

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Grant Green – I Don’t Want Nobody To Give Me Nothing from the Blue Note Lp Carryin’ On

This was a special weekend, as The Asbury Park 45 Sessions celebrated a year anniversary. It’s special because it’s proof that in this whole world of music, the sad state of radio and in music today, that the foundation much of today’s sound is based on can still draw a diverse crowd. A crowd that is as eager to learn about new sounds as it is to embrace the classic drum breaks. It makes me happy too, as this post marks a year’s anniversary of Flea Market Funk. I started off the blog with a with a Blue Note Records post, and I’d like to continue a year later with another. This artist is who really introduced me to Jazz Funk, a sound I immediately immersed myself into and never looked back. I was lucky to get a copy of Grant Green Alive! from DJ Prime, as I had been looking for a copy of this great live recording on vinyl. Thank you my dude. It inspired me to write about someone who’s influenced me musically. Here’s something from Grant Green’s 1969 Blue Note release Carryin’ On, a cover of James Brown’s “I Don’t Want Nobody To Give Me Nothing (Open the Door, I’ll Get It Myself).

Born in St. Louis, MO in 1931, Grant Green was instructed on guitar by his father. By his early teens, he was playing as a professional guitar player with a Gospel group in St. Louis. By 1960, on the encouragement from Lou Donaldson, he was on his way to New York City. Inspired by Charlie Parker’s playing, he took what Parker was doing with the horn and applied that to his guitar playing. Green was equally comfortable whether it be Be Bop, R&B, Jazz Standards, Jazz Funk, Latin, or straight ahead Jazz. His unique style of play is recognized immediately, and his long career on Blue Note often is under appreciated as the true guitar genius he really was. Often pairing up with organ players such as Big John Patton or Brother Jack McDuff among others, he has played front man, side man, and studio session player. His addiction to heroin would side track his career in the mid sixties, however he’d return with a fervor and release some of the best Jazz Funk of his career, despite the commercial tag these recordings were given. The soundtrack to The Final Comedown and Green Is Beautiful would be fodder for future sampling, while Green’s rhythms would also influence the future genre of Acid Jazz. He’s played with and alongside many great musicians: Lou Donaldson, Hank Mobley, Herbie Hancock, Ike Quebec, Elvin Jones, Larry Young, among others, and even his short stint with Verve (the double release with Donald Byrd, Up! with Donald Byrd and His Majesty King Funk is a killer) proved fruitful. His later stuff in the mid to late 70′s, particularly Easy on Versatile, resorted to lite Jazz covers of the Commodores and Billy Joel. It would be in this period, that Green would attempt to play out live again, only to die of a heart attack in 1979. His music does live on, and I can remember going to The Groove Merchant in San Francisco in the mid 90′s, eager to dig, and realizing that the $40 dollar price tag on a GG record was out of my league at the time. Over the years I’d grab a few Green releases on Lp, and have continued to check out all that Blue Note has released on cd, where titles that weren’t released still get shown the light of day one by one.

Always one to do covers, whether it was a standard, Latin, or Spiritual, Grant Green has also done his fair share of Funk and Soul covers. This interpretation of James Brown is absolutely superb. Not only because it’s James Brown, but because the players Green surrounded himself with on this track just plain kill it. Green’s guitar playing has always been on point, but the guy who really steps up on this tune as well is Tenor Saxophone player Claude Bartee. He wails on this cut, and with Idris Muhammad laying down the back beat, you know it has got to spot on. This record, as I mentioned earlier was the first recorded in a period where Green had taken about four years off from Blue Note (1965-1969) and recorded with other labels. He came back hard, and put out this full length slice of Jazz Funk pie. If you don’t have this record, I urge you to get it, as it’s a great example of what he was capable of in the genre. As a whole, the man is an underdog, a true unsung hero of the Jazz guitar. I’d just like to say thanks for a great first year here at Flea Market Funk. I’ve met many great people on here, and in real life through this blog. It’s living proof that the universal language is indeed music. As always, Keep Diggin’!

Sunday Spring Digging at 25 Degrees

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After the late night DJing on Friday night, I couldn’t pull myself up to dig. The fact that a massive headache set in late that night and continued until Saturday morning did not help. So today I figured I’d hit the Spot. At any rate, I left and the thermometer was around 30, but with the wind, it said it felt like 25. 25 degrees? I decided to put the parka on, grab some gloves, and hit the road in the Volvo. Thank god the heat cranks in the brick, because it was definitely a bit, how you say, brisk? I was determined, I had a plan. There was a record show in Philly that my man Devil Dick was hitting up, and I figured most of the maniacs who buy for E Bay at the Spot would be heading to the City of Brotherly Love. My main thought was that Stinkie Steve would be there, and I wouldn’t have to watch him horde piles and piles of records from each table. I’ve heard he’s resorted to new tactics, where he collects stacks and stacks of vinyl and just puts them far away from everyone else, not looking at them, but alienating the rest of the diggers from even seeing any vinyl. Essentially, holding them hostage, as one prominent dealer pointed out to him. Unfortunately (or fortunately if you have time for his bullshit), he was there, shoulder length hair deep in some Lps. We’ve had our differences, but I somehow can’t feel like he still thinks he’s in grade school, because when we’re next to each other, he likes to call out each record out loud. A sort of: “Hey man, here’s a Billy Cobham record, I got to it first, na na na na na.” I just laugh because in his sociopath ways, he feels he is winning. If that is how you roll, I can take it, because really, this is where I get my best material. By the way Steve, is that your terd next to that car?

I ran into the Old Man, who said of course, he had some “rare stuff” for me to check out. We hit up a few junk tables, and he brought out his stash. His stash is dwindling, and I do find myself buying records I have already, but that’s cool with me, as I can always trade or sell the sides I have extras of. He’s a nice enough guy, surly at times, but has his regulars like me that keep him going. After the transaction we strolled around as we do every week, talking about vendors, looking for more records, and throwing back and forth the usual banter. We walked the circuit, and soon he was on his way. I ran into my man Wally, who was selling for the third week in a row. He had some decent stuff, so I picked up a few things from him. Most of the maniacs weren’t there. No Eggbeard, as I heard he hit up another flea market. I also heard today, he’s got another nickname, the Cherry Picker. He just cherry picks all the tables. He should be able to, the guy is there at 3 am. It doesn’t get light until 7! The Psycho Killer was there today, with some junk he found on the side of the road. He had his Elmer Fudd hat on and was trying his best to sell whatever he could. No Roller Skate Lady, no Cancer Face Guy, not even Saggy Red (who has been MIA for quite sometime). These cold days are for the hardcore, and I should be happy because once it starts to get warm, out come the droves of people. I did see Silent G though, who was perusing the bins. He had some great 80′s stuff (he’s the King of it), and hit the road just as I did. I’ll be back tomorrow, hopefully happy with a Liverpool win. It’s a Merseyside derby today with Everton, and we need this win. Here’s todays scores. A bit scarce, but better days are coming, like next week’s Record Swap and Sale at the Asbury Lanes. Be There!

45′s
Lyn Collins – Think About It/ People
George Freeman – New Improved Funk/ Groove Merchant
The Intruders – Wnder What Kind of Bag She’s In/ Gamble
Purple Image – Why/ De-Lite
Kenny Burrell – Soulero/ Cadet
The Zeet Band – Piggie Woogie/ Chess
Johnny “Hammond” Smith – Dirty Apple/ Prestige
Bobby Harris – / More of the Jerk/ Atlantic
Lou Courtney – Skate Now/ Riverside

Lps/ 33′s

Love Bug Starski – Do the Right Thing/ The Fever
Love Bug Starski – You Gotta Believe/ The Fever
Lighthouse – One Fine Morning/ Evolution (finally doubles!)
Shirley Scott – Something/ Atlantic
The Temptations – Cloud Nine/ Gordy

Keep Diggin’!

03.28.08 Asbury Park 45 Sessions Recap

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Door girl Tini’s hat sums up the night.

I can’t believe a year went by this fast. It seems like it was just yesterday when I pitched the idea to the Lanes and we started back in February ’07. Eight sessions, eight guest DJ’s, a whole helluva a lot of 45′s (with no repeats from each resident), and we’re at this point. It has been a really great time, and we’re not going to stop. There was a glitch, and I apologize to those listening online last night. The Lanes whole computer set up went down shortly before our session started, which was kind of a bummer. We pressed on though, and the 100+ people that pushed their way in to dance, bowl, and check out original 45s definitely appreciated the vibe. There was some Scrabble going on before the sessions started, but once they got cooking, it went off. All the residents did not disappoint, and what can I say about Guest Selector Dave Withers? The guy has deep, deep, crates, and had the audience and DJ’s alike stepping back and going: WHOA. Many thanks to Dave, and hopefully we’ll be seeing him come through once again. Here’s some photos of the night, along with the play lists as they come in. Keep Diggin’!


DJ Prestige is feelin’ the Spirit like Grant Green. I threw down about 22 45′s in 20 minutes. Just the breaks please!

Intro – Gizmo & the Gremlins
Dizzie Gillespie – The Windmills of Your Mind/ Solid State
The Electric Express – I Can’t Believe We Did (the Whole Thing)/ AVCO
We the People – Breakdown/ Davel (reissue)
Lavell Hardy – Don’t Lose Your Groove/ Rojac
Brass Monkey – Funky Monkey (White Label)
The Mystic Moods – Cosmic Sea/ WB
Paul Humphrey & His Kool Aid Chemists – Detroit/ Lizard
Sherlock Holmes Investigation/ The Pot’s Hot/ C.R.S.
News – Tend to Your Own Business/ Colossus
Johnny Otis – Country Girl/ Modern Oldies
Ralph MacDonald – Jam On the Groove/ Marlin
Rickey Calloway & His N.T. Express – Get It Right/ Kay-Dee
Lee Williams & the Cymbals – Shing-A-Ling U.S.A./ Carnival
Johnny Griffith, Inc. – Grand Central Shuttle/ RCA
Sammy Gordon & the Hip Huggers – Jungle Bump/ LuLu
Freddie McCoy – Summer In the City/ Prestige
Crosstown Express – Just Keep the Funk/ Pee Zee
S.O.U.L. – The Jonses (Part 1)/ Musicor
Okie Duke – Ain’t No Color To Soul/ Ovation
The Feathers – Tryin’ To Get To You/ Team
Colin Roach – Lately (Version)/ Techniques


Jack the Ripper dressed in drag and brought the heat!

Andre Williams – “The Stroke” (Checker)
Merced & The Blue Notes – “Do The Pig” (Manmoth)
Carrie Grant – “Mish-Mash” (Newtown)
Nicky & The Magnificants – “Pasame el Hacha” (Interdisc)
Nathaniel Mayer – “Leave Me Alone” (Fortune)
Orlons – “Don’t You Want My Lovin” (Cameo)
Nu-Trons – “Wild Side” (Federal)
Bobby Sims – “Big Mama” (WM&RC)
Chuck Jackson and Maxine Brown -”Hold On I’m Comin” (Wand)
Marsha Gee – “Peanut Duck” (Joker)
Wailers – “Mashi” (Imperial)


M.Fasis played a set of all original samples.


Larry Grogan aka Funky 16 Corners keeping the drum breaks flowing.

AB Skhy – Camel Back (MGM)
Richards People – Yo Yo (Tuba)
The Brothers & Sisters – Yeah You Right (UNI)
Paul ‘Sir Raggedy’ Flagg – Papa Momma Romper Stomper (Atlantic)
Eddie Bo & the Chain Gang – Disco Party Pt1 (Bo Sound)
James Brown – Superbad Pt1 (King)
Mickey Murray – Hit Records (SSS Intl)
Woody Guenther & Cheaters – Bang Dangin’ Time (Shout)
Unifics – It’s a Groovy World (Kapp)
Linda Lyndell – What a Man (Volt)
Raymond Winnfield – Things Could Be Better (Fordom)
Syl Johnson – Come On Sock It To Me (Twilight)
Maceo & All the Kings Men – Got To Getcha (House of the Fox)
Mickey & the Soul Generation – Iron Leg (Maxwell)
Brick – Dazz (Bang)
Broadways – You Just Don’t Know (MGM)


Guest Selector Dave Withers pulling out many raers.

Maggie Thrett – Soupy – DynoVoice
Sammy Gordon and the Hip Huggers – Upstairs on Boston Road – Archives
Bill Doggett – Honkey Tonk Popcorn – King
Benny Poole – Pearl, Baby Pearl (Latin Boo-Go-Loo) – Solid Hit
Ben Branch and the Operation Bread Basket Orchestra and Choir – Motherless Child – Chess
Marva Whitney – This Girl’s In Love With You – King
Unity and the Downbeat – Love Dream – Stax-Take
David Axelrod – The Leading Citizen – Decca
Quartertte Tres Bien – Boss Tres Bien – Decca
Kenny Rankin – In the Name of Love – Columbia
Gentleman June Gardner – It’s Gonna Rain – Emarcy
Mickey and His Mice – Much Right Man – Samar
The Showmen Inc. – The Tramp – Now
Richi Corbin Trio vocalist:Barbara Trent – A Woman was Made Made for a Man – Red
Label
TNT Band – The Meditation – Cotique
Pretty Purdie – Modern Jive – Date
Lee Dorsey – Yes We Can – Polydor
Clarence Curvan – Feeling Nice – Charlie’s
Eddie Jacobs Exchange – Pull My Coat – Columbia


DJ Prime back fresh from Mexico kept a Latin vibe throughout most of his set.

mongo santamaria – sofrito (vaya)
bronx river pkwy. – deixa pra la (latin express)
mighty hannibal – fishin’ pole (josie)
claude “fats” greene orch. – “fats” shake ‘m up pt. 1 (camille)
etta james – tell mama (cadet)
jimmy mccracklin – dog (pt. 1) (minit)
nu-sound express, ltd. – ain’t it good enough for you (siver dollar)
johnny perry & his blues band – that ain’t right (primus)
voices of east harlem – right on be free (elektra)
jr. walker & the all stars – shake & finger pop (soul)
funkhouse express – music makes you move (pt. 1) (tapeca)
harvey averne – never learned to dance (jazzman)
mandrill – git it all (polydor)
brass rail – do the penguin pt. 1 (buddah)
paul simon – mother and child reunion (columbia)


Presession Scrabble is a must!

Tonight! Asbury Park 45 Sessions 1 Year Anniversary!

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Well, it snuck up fast on us, but we’ve been doing this all 45 thing for 1 year straight. Let me apologize to all who tuned in to the live stream on WLFR Thursday night. We got a late night word that there was an equipment malfunction, and we weren’t even sure that the Devil Dick was going to do his show. Rather than risk the hour and a half drive, we decided to put off the show until the equipment was all in check and we could do it proper. Also, unfortunately our Special Guest selector, Dan from the Budos Band had another commitment for tonight. However, we’ve got a guest DJ I was saving for a later date. His name is Dave Withers, and if you haven’t heard of him, here’s your chance to check him out. He’s been in the record game for quite a while and is known for his deep crates of Northern Soul and rare Funk. Tonight is shaping up to be a great night, so if you are within driving distance, I say come on down and celebrate our 1 year anniversary with some great music, great people, and a great venue. Make sure you come up and say hello. For those of you that can’t make it, we’ll be broadcasting live once again at Jam Now! at around 9pm EST til the end. Keep Diggin!

The 5th Dimension – California Soul

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The 5th Dimension – California Soul from the Soul City 45

This week is kind of hectic, as the Asbury Park 45 Sessions are on Friday. Unfortunately, Dan from the Budos, our Guest Selector had to bow out due to another commitment, but have no fear, we have a new guest, one Dave Withers. I’m planning an all Daptone night (including Dan) in the future, so I’ll let you know when that happens. Here’s a recent find of a favorite tune of mine. There are many versions out there, the most popular and most expensive being Marlena Shaw. This is another cover of the Ashford and Simpson song, and it’s a great Soul side. Check out “California Soul” by the 5th Dimension on Soul City Records.

Originally called The Versatiles, the group began in 1965. Based out of LA by way of St. Louis, Ron Townson, Lamonte McLemore, and Billy Davis, Jr, plus Marilyn McCoo were shopping demos. They were rejected by Berry Gordy and Motown, but soon landed on Johnny River’s label Soul City after a side on Bronco. McCoo, replaced by Florence LaRue, would get a hit on a B side of their first Soul City release, a cover of the Mamas and the Papas “Go Where You Want To Go.” Known best for their 1967 song “Up, Up, and Away” (written by Jimmy Webb), this Soul, Pop, and hippy combined group would go on to a few Grammys with that side and go on to score a string of hits. Besides Webb, they would also use another songwriter, Laura Nero,, and catch a hit (and notoriety for Nero) with “Stoned Soul Picnic”. In 1969 a medley from the Broadway show Hair, “The Age of Aquarius/ Let The Sun Shine In” would help define a whole generation and score them another Grammy. Shortly after, Johnny Rivers would sell Soul City to Bell, where the 5th Dimension would go on to put out more records. Here the band would churn out some Burt Bacharach hits, go back to their 60′s style music, change their line up in 1975, and continue to make music well into the 1980′s. It’s clear that their best music was behind them, however a reunion would take place in the 1990′s. Marilyn McCoo would go on to make a name for herself as a solo artist.

California Soul, if you haven’t heard of it before (but I’m sure you have) is simply that, pure Soul. This version is great because it’s got a decent amount of harmonizing in it. This, coupled with the horns and subtle string section make it another keeper. On the whole, no matter who is singing it, Brenda and the Tabulations, The Undisputed Truth, Marlena Shaw, or the 5th Dimension, there is no denying how catchy this tune really is.

Like a sound you hear
That lingers in your ear
But you can’t forget
From sundown to sunset
It’s all in the air
You hear it everywhere
No matter what you do
It’s gonna grab a hold on you

It will grab a hold of you. A perfect version of a great tune to get you over the middle of the week. Like I said earlier, I will be live on WLFR 91.7 tomorrow night with Jack the Ripper on Devil Dick’s Forward to the Caves radio show, as well as spinning 45′s at the AP 45 Sessions on Friday night. Come on out if you can make it! See you Friday! Keep Diggin’!

The Jet Setter – FMF Vol. 26

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It’s Monday, and I hope all of you enjoyed your weekend. I did get a few days of digging in that uncovered some really great sides and a reissue of the infamous Boscoe record. Some of the coolest shit to ever come out of Chicago for sure. Here is a mix I had in the can for a while, and just got around to doing the drops to. It’s only a 10 song podcast, but the content is heavy brothers and sisters. I’m gonna send this mix out to my man Rickey Calloway, for getting in touch with me, and better yet hitting me off with some of his unreleased 45s. He is truly a gentleman and a great performer who needs to be supported. If you do not have any of the reissue sides from Kay-Dee, pick them up. It’s a dope label (no pun intended) with dope music on it of course.

For this Volume of FMF, I chose some heavy Funk hitters, some Sweet Soul, and a variety of other raw treats. I hope you enjoy this session as much as I did recording it. I’ll be live on the air at 91.7 WLFR on Thursday March 27th promoting Friday’s Asbury Park 45 Sessions with my homie Devil Dick and Jack the Ripper on DD’s Forward to the Caves Radio Show. His show is from 6-10 PM EST, we’ll be doing the last 2 hours from 8 ’til 10. Check us out on the live internet stream.

The Jet Setter – FMF Vol. 26 Tracklist

Okie Duke – Ain’t No Color To Soul/ Ovation
Brass Monkey – Funky Monkey (White Label)
The Unemployed – They Won’t Let Me/ Cotillion
Lee Williams & the Cymbals – Shing-a-ling U.S.A./ Carnival
Sammy Gordon & the Hiphuggers – The Jungle Bump/ Lu Lu
Cleveland Eaton – Chitown Theme/ Black Jazz
Rickey Calloway & His NT Express – Get It Right/ Kay Dee
The Pac-Keys – Stone Fox/ Hollywood
Lunar Funk – Slip the Drummer One/ Bell
The New Apacalypse – Stainless Soul/ MTA
The Watts 103rd St. Rhythm Band – Spreadin’ Honey/ Keymen
Irma Thomas – You’re the Dog/ Fungi

Download or Listen to The Jet Setter – FMF Vol. 26

Let’s not forget this this Friday:

Keep Diggin’!

Spring Digging My Ass

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The JJB and Devil Dick get their coffee and digging on in the 30 degree Spring weather.


A peek into the Old Man’s back seat, including the stool Stinkie Steve had a 10 minute arguement with. Classic!

So with the rain out last weekend, and the few before, I decided to hit The Spot this morning. With snow, yes I said snow in the forecast, I arranged to meet Jack the Ripper, Devil Dick and the JJB for some Saturday digs. I arrived first at sun up, and to my surprise, there were only about 4 people set up. No, Old Man, no Stinkie Steve, just Eggbeard lurking around like a guy who graduated high school waiting to pick up his girlfriend who’s a junior. He has a great routine: mill around, look into people’s cars for vinyl, and try to get there first. I watched as a regular record vendor, who is a great guy, but sells stuff I’m not interested in (picture sleeves, Doo Wop and the like) pulled in. Eggbeard was first to lead the charge, his minions in tow, and what do my surprise do I see him holding? A 45 box. See the impact our digging group has? Now all of a sudden he’s interested in 45′s, not just 78′s and Jazz Lps. He can have the Johnny Cash 45′s, that means there is plenty of untapped Funk and Soul for me. Now if the Old Man isn’t here early, he is either sick, or something is wrong. Record business is his life, and if he doesn’t show, it’s a problem. I breathed a sigh of relief and he eventually appeared. His stack was a bit small, but I managed to salvage a few goodies during the freezing rain and snow flurries. That was pretty much it for vinyl. We all were getting into our cars to go grab some coffee when the Old Man came running back. He had a guy who was just about to set up. Now I met this cat before, nice guy, but I didn’t know he had records. It turned out great for all of us, and after a leisurely walk around the barren, cold market, we took off.

Today was weird. It was nice to hang with my people, but the characters that were present today were weirder than usual. I was listening on my portable, and this guy is asking me if I have records for sale. “Sealed Records!”, he yelled. When I said no, he walked away talking to himself like Rainman. I mean really, there was no one else around and he held a full conversation. Then there is this other dude, I have nicknamed him Killer. Not only does he look like a psycho killer, but he reminds me of the buzzard in the Bugs Bunny cartoons. Nope, Nope, Nope, don’t think I can do it. He tells these tall tales of having all these great records, and when you get there, he has a bunch of Mantovanni terds. Typical. The most curious guy of the day, was a man selling junk, but specializing in rolling pins. He must have had 30 of them, and his display technique was impeccable. He put them in wine racks. How many rolling pins do you need? Why would you display them on wine racks? This, we will never know. I also scored some great coffee from the JJB. She knows I am a coffee snob and fanatic, and hooked me with some Stump Town Coffee out of Portland. It was a good look, and get your hands on it if you can. Here’s the list of today’s scores, as small as they were:

    45′s

James Brown – Cold Sweat/ King
Linda Perry & the Soul Express Eddie Billups – I Need Someone/ Mainstream
Fantastic Four – As Long As I Live/ Ric Tic
Harold Burrage – Got To Find A Way/ M.Pac!
Maceo & the MAcks – Paarty/ People
The Voltage Brothers – Throw Down/ Lifesong
The 5th Dimension – California Soul/ Soul City
Sherlock Holmes Investigation – The Pot’s Hot!/ CRS

    Lps

Johnny Guitar Watson – A Real Mother For Ya/ DJM
Another Bad Creation – Playground/ Motown
Rolling Stones – High Tide and Green Grass/ London
Rolling Stones – Their Satanic Majesties Request/ London
Parliament – Motor Booty Affair – Casablanca (Complete with Cardboard Cut Outs!)
Funkadelic – Cosmic Slop/ Westbound

Keep Diggin’!

Richard “Groove” Holmes – Living Soul

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Richard “Groove” Holmes – Living Soul from the Prestige Records 45

Good Friday to everyone. This one’s gonna be on the short side, as I totally forgot I have the day off from work, and I am going to try and enjoy the day, maybe dig a bit, and relax as much as I can. Since yesterday was the first day of Spring (you could hardly tell here, with the wind it felt like a Winter day), I originally was going to post “Spring Fever by the Music Makers, but in light of the cold weather, I think I’ll save it until I at least don’t need a scarf. I’m gonna set the holiday weekend off in a Soul Jazz way people. Here is another one of my favorite artists, a guy who can deliver a Soul message just a notch above the rest. I am speaking on Richard “Groove” Holmes and “Living Soul” on Prestige Records from 1966.

Richard Arnold Holmes was born in Camden, NJ in 1931. Nicknamed “Groove” because of the groove he kept while playing the organ, whether it was a standard, up tempo, ballad, or interpretation of the day’s music. He signed with Pacific Jazz in 1961, and had a short career recording wise. His most famous side was “Misty”, recorded in 1965. His impact on Soul Jazz, and the B3 community, as well as laying down the roots for Acid Jazz some 30 years before the genre and tremendous. He recorded most notably for Pacific Jazz, Prestige, Loma, Olympic, Flying Dutchman, Columbia, Groove Merchant, and Muse, although he did release sides on a few other labels later on in his career. With a keen ear for interpretation, lightning quick hands and feet, and the ability to lay down a bad ass bass groove, this New Jersey and Philly favorite son’s reputation was legendary. His records with Gene Ammons and Ben Webster, as well as his battles with Jimmy Smith, showed his tenacity on the organ, and as a large man (over 300 lbs.), his intimidating presence was felt not just on the keys. You knew when Groove was in the room. He died in 1991 at the age of 60 in St. Louis, MO. For me, along with Jimmy Smith, Jimmy McGriff, Brother Jack, McDuff, and others, Groove was definitely one of the first Soul Jazz guys I got into when I was collecting.

This particular side was captured in Harlem at Count Basie’s Night Club. The trio of Holmes, George Randall on drums, and Gene Edwards on guitar are a perfect example why Groove was so popular as he was during that time period. The guy could go on forever all night, with just the Hammond and slay audiences. He deserves a spot in the Jazz Funk Hall of Fame if there ever was one. I could only hope that there was some stuff like this going on around me in this day and age. I saw Jimmy Smith in San Francisco in the 90′s, and he blew me away. I have no doubts that if I had ever seen Groove, he would have done the same. Have a great weekend and see you on Monday. Keep diggin’!

Barbara Jones – The First Cut Is The Deepest

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Barbara Jones – The First Cut Is The Deepest from the Top Rank Lp: Barbara Jones Sings Hit Songs In A Reggae Style

How about some Reggae today folks? It’s midweek, I’ve been going like crazy, and I need a lickle bit of the sweet stuff to nod my head, and really just relax. I was bumping some Lee Perry all week in the digging mobile, so I figured I’d keep the vibe going. Before I get moving with today’s selection, I’d like to shout out Dave Withers, who passed along a mix entitled Funk and Soul via Connie T. Empress. Dave my man, looking forward to meeting you, the mix was spot on, and I’m gonna be honest, I need to get my hands on a few of those records. Also, shout out to Fats from the ATL, holding it down in the Dirty Dirty, and sending good vibes to the Flea Market Funk. Welcome, welcome. Today’s selection is from a soulful female Reggae singer. It’s none other than Barbara Jones with “The First Cut Is The Deepest” on Top Rank Records, from the 1983 Lp Barbara Jones Sings Hit Songs In A Reggae Style.

Often called “the Billie Holiday” of Reggae, Barbara Jones interpretations of songs of the day, from Lovers Rock to Roots Reggae are all top notch. Reggae music is no stranger to the Soul or R&B cover songs, and neither is Jones. She pumped out a good amount of sides in the 70′s, but really broke through in the 80′s. With covers of Elvis (Suspicious Minds), The Turnabouts, but more well known, Juice Newton (Angel In the Morning), The Carpenters (On Top of the World), The Shirelles (Will You Still Love Me Tomorrow), Jones proves she can handle a wide variety of tunes. Whether it be Lite Rock, Ballads, or Motown, her take on these sides is really incredible. I was fortunate to get this record a bunch of years ago, in fact, over the years The Spot has turned up some good Reggae. All of theses particular records all were marked “Winston”. I do not know who Winston is, but I can assume he brought this gold straight from JA. I’ve got a nice grip of these long players, and Winston if you’re out there, many thanks. If you have some more for sale, I’ll take them all, no questions asked.

This particular record was recorded in Kingston, Jamaica at Dynamic Sounds Studio. Produced by Elon J. Robinson, he assembled a great studio band to back Barbara up throughout the entire Lp. You had the great Sly Dunbar and Mikey “Boo” Richards on drums, Willie Lindo on Guitar, Llloyd Parkes and Derrick Barnett both on Bass, Dean Fraser playing the horns and singing Background, Robert Lyn on Piano, Organ, and Synthesizer, as well as Winston Wright lending a hand on the Organ with Lyn. For me, this is one of her best covers. She takes this Cat Stevens original (not recorded by him until 1967) and puts her entire soul into it. Put on something sexy here people, grab the one you love, make out, make up, or just really enjoy a classic reworking of a truly great song. I’m not taking anything away from others who have covered this side (Sheryl Crow and Rod Stewart please step aside), but to me, this version is simply the best. Special Mention to the Norma Fraser version from the Studio One Soul compilation. I’ll see you Friday with a treat. Don’t forget the March 28th Asbury Park 45 Sessions, with our special guest: Dan from the Budos Band! Keep Diggin’!

Johnny Otis – Country Girl

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Johnny Otis – Country Girl from the Modern Oldies 45

Monday, Monday. Another start to the work week, and of course another slice of the sweet stuff. By sweet stuff, I’m not referring to Sweet Soul, but rather some Blues inspired Funk from one Mister Johnny Otis. Before I get into this great choon (as my European mates would say). I do have a sort of digging report. The digging mobile is up and ready to go, cleaned and looking mean. In other words, bring on the massive piles of vinyl because I have enough room to cart the stuff around. I was once again rained out Saturday and Sunday, but hopefully I’ll be able to definitely get some in this coming weekend. Here is a favorite of mine, this time reissued on the Modern Oldies Record label, Johnny Otis with “Country Girl” from 1969.

Born John Veliotes in Vallejos, CA in 1921, this all around great entertainer has worn many hats in the business. From disc jokey to label owner to R&B, Jazz, and Rock and Roll Star, to author, to bandleader and to disc jokey again, the man has led an incredible life and career. Helping to pioneer several genres of music, he also would discover artists like Little Willie John, Jackie Wilson, Little Esther Phillips and more. Formerly changing his name to Otis as a teen, he got his start as a drummer Count Otis Matthews and Harlan Leonard’s Rockets. Moving on to a band leader doing big band numbers, he’d release sides on Excelsior. However, Jazz would give way to R&B, and Otis excelled at that. His released on Savoy were legendary: “Double Crossing Blues”, “Mistrustin’ Blues”, and “Cupid’s Boogie”. These three soared to a number one spot, while other releases such as “Gee Baby”, “Mambo Boogie”, and “All Nite Long” kept the hits rolling in. He would go on to have hits on Mercury (while simultaneously being part of a backing band), record “Willie and the Hand Jive”, and be a variety show host in Los Angeles. The late 50′s would see Otis dabble in Rock and Roll music on Capitol Records, and jump to Cincinnati’s King Records as well. Otis has done it all, and he even recorded some stuff with his son Shuggie, (The New Johnny Otis Show ) a father and son match made in heaven. If you’re not familiar with the guitar work of Shuggie Otis, I have two words for you: Get Familiar. Otis still records, plays, and host a radio show, well into his 80′s. A true renaissance man in the world of Funk, Soul, Rock, and Blues, the man is no joke.

I was first introduced to this side from a mix David Holmes did. It was mixed in with some Psych sides, Muddy Waters, and other dirty Funk. I always dug it, but never saw it in the field. I’ve lost the original on Kent Records a bunch of times on E Bay. When I saw this for the price (which was, as they used to say on CDs: THE NICE PRICE), I jumped at it. I know it’s a reissue, but for me it will do until the Kent side shows up again. Please enjoy this piece of Blues Funk by one of the West Coast’s all around ambassadors. He, like many others would adapt with the times and really put out some great sides in the late 60′s/ early 70′s. This of course adds to his resume of 50′s hits. My favorite line, and there are a few great ones in this tune is: “You can take the fox out of the country, but you can’t get the country out of fox.” Classic! I’ll see you Wednesday. Keep Diggin’!

J.J. Barnes – Chains of Love

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JJ Barnes – Chains of Love from the Groovesville Records 45

Friday creeps up on you so quickly, it’s hard to believe it’s here already. This will be a short post to kick the weekend off. I will be picking up the digging mobile this weekend, and hopefully if the weather is not too wet, will be doing some digging on Sunday morning. I also have another mix I need to put the finishing touches on, one for Vincent over at FuFu Stew, and a show for Matthew Fox’s Real Rillen radio program in Germany. In other words, FMF is a gonna be busy for a little bit. Let’s not go any further before we get into J.J. Barnes and “Chains of Love” on Groovesville Records.

Born in Detroit, MI in 1943, James Jay Barnes recorded great Soul and R & B music. He started off initially singing Gospel in the group The Halo Gospel Singers with his sister Ortheia Barnes. He soon would drift to secular music. His first offering was in 1960 on Kable, “My Love Came Tumbling Down”. Soon Barnes was getting respect as not only a singer, but also a song writer. He would go on to record sides on Mickays, Scepter, Ring, and Ric-Tic. Releasing a variety of songs, including a cover of the Beatles’ “Day Tripper”. When Berry Gordy brought Ric Tic under the Motown umbrella, he would use Barnes more as a song writer (The Vandells and The Marvelletes ) than a singer. This would result JJ shifting to Groovesville and teaming up with Don Davis on this record, which is the flip side of “Baby Please Come Back Home”. He would move around again from Revilot (and one of his biggest hits, a cover of Daryl Banks “Our Love Is In the Pocket) to Buddah to Volt to Leo to Magic Touch and to Invasion to Perception. Not getting much recognition in Detroit, he would then go on to team up with old friend Edwin Starr, who was doing well in the Northern Soul scene in England. This would prove to be a pivotal move, as Barnes and Starr would sign to Contempo and go on to release a lot more music, garnering much praise and recognition. Barnes is a Northern Soul favorite to this day.

This tune is a great piece of Soul. JJ Barnes is a great example of a hardworking singer, songwriter, and performer, who despite all his talents, had a hard time making it here in the Soul scene of the United States. He would be, however, embraced with open arms in the UK and Europe, and finally compensated for his talent. This is a tune I have no problem listening to over and over again. In fact, it’s one of the very few records I’d play twice in a row. The song has been covered a few times, but my most favorite version besides the JJ Barnes version is that by The Dirtbombs. It’s a dirty, gritty version of the side, and the band plays tribute to it’s Detroit brother in a big way. I’d urge everyone to check this side out as well. They have great originals as well as covers of Stevie, Curtis, and this record here. So whether it’s JJ Barnes or The Dirtbombs doing “Chains of Love”, Detroit is represented lovely. Have a great weekend. Keep Diggin’!

Bonus: The Dirtbombs – Chains of Love from the In the Red Lp Ultra Glide In Black

Cleveland Eaton – Chi-town Theme

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Photo by Stephen Poff


Cleveland Eaton – Chi-town Theme from the Black Jazz 45

Good midweek to the FMF family. I’ve got some good news. I was in contact with Dan from The Budos Band, who is excited to be the Special Guest at the next 45 Sessions on March 28th. The guy has some deep crates, and I for one am excited to listen to some great sides. I’d like to shout out Sean over at The Offside Rules, who will be accompanying me to opening night of the New York Red Bulls on April 5th. ESC 101 represent. Today we’re gonna visit Chicago (Home of the Fire, grrr) via Birmingham, AL. Here’s Cleveland Eaton with “Chi-town Theme” on Black Jazz Records.

Cleveland Eaton was born in Birmingham, Alabama in 1940. He began studying music at age 5, and mastered the trumpet, saxophone, and piano. He, however, would go on to be known for being one of the best bass players in the Jazz game. After moving to Chicago, he would start a career as an arranger, composer, and arranger as well as a musician. Ramsey Lewis recruited him and Eaton would play on some of the Ramsey Lewis Trio’s greatest records. “Wade In the Water” and “Hang On Sloopy”. ( I always dug “The Sungoddess” but that’s neither here nor there). In all, Cleveland would perform on no more than thirty recordings by the Groover himself, earning four Gold records in the process. Eaton was inducted into the Jazz Hall of Fame in 1979 and also joined The Count Basie Orchestra around the same time. Playing for such record labels as Gamble, Miracle, Ovation, and Black Jazz, Eaton embraced the Jazz Fusion movement during his career and released Jazz Funk and Fusion records, all with a certain funky flair to them. This particular side was released on the Black Jazz Label. This is a label I’ve spoken about before, and how difficult it is to come by these records in my area, let alone a 45. Black Jazz was founded by Jazz pianist Gene Russell in Oakland, CA in the early 70′s as an alternative to traditional Jazz. Black Jazz kept a roster of artists that played Free Form Jazz, Jazz Funk, and Soul Jazz. Artists like Doug Carn, Calvin Keyes, Walter Bishop, Jr., Kelle Patterson, and the Awakening among others filled the roster up. Russell would die in 1976, halting record production of and the distribution of Black Jazz Records. It remained dormant until 1986 until James Hardge began reissuing the label’s discography and keeping the Black Jazz tradition alive and kicking. Throughout the digging community there has been a resurgence of interest in original Black Jazz records. I urge you to pick up any one of them if you see them out in the field.

Cleveland Eaton has really laid it down on this track. Sounding more like a Blaxploitation soundtrack than anything, “Chi-town Theme” could easily have fit in Willie Dynamite or any other pimped out B movie involving Cadillacs, feather caps, and side zip leather boots. Never really leaving his Jazz roots, but rather using his expertise to adapt and grow with the music of the period, Eaton is right on point. The chorus of women singing the chorus of Chi-town Theme add a nice 70′s touch to it. Eaton has continued to push the boundaries of music and is still active as a professional music today. I’ll be back Friday with another treat. Until then, Keep Diggin’!

Gene Ammons – Jug Eyes

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Gene Ammons – Jug Eyes from the Prestige Records 45

Good Morning to you all. The weather this weekend was, let’s say a bit wet. If you were anywhere on the East Coast then you know what I’m talking about. Monsoonlike conditions were not conducive to do any digging. However, I did do some other digging, and added a new member to the Flea Market Funk Family. Say hello to the FMF Digging mobile, a Volvo 240 Wagon. I’ll be picking it up next week, and hopefully will be filling it with vinyl shortly thereafter. Before I go on, I’d like to shout out a few people. Number one, drummer Joe Tomino from Dub Trio. He is a maniac on the drums, and it was indeed a pleasure to open up for those cats. Also, in less than two weeks I will be taking over the airwaves at 91.7 WLFR (my old stomping grounds) on Devil Dick’s Forward to the Caves radio show. Like Hova, it’s the big takeover, so don’t miss it! Ok, here we go with another sure shot. I got this from a set sale straight out of the Pacific Northwest. Let’s check out Gene Ammons with “Jug Eyes” on Prestige Records from 1970.

Gene Ammons, nickname “Jug” was the son of piano great Albert Ammons. At age 18 he would join up with King Kolax’s band, go on the road, and then go on to work with the likes of Woody Herman and Billy Eckstine. His relationship with Sonny Stitt, was tulmoltuous at the least. He would go back and forth with him as a duo partner, nemesis, and fellow Jazz musician throughout his career. He is a founding father of the Soul Jazz movement, one that would pair his tenor saxophone with the Hammond B-3, and interpret the R & B songs of the day. I am thankful for that entire movement. He is also a founder of the Chicago School of tenor saxophone along with Von Freeman. His presence in the be bop movement made an impression in that class of players in that time period. He has released sides on Prestige, Savoy, and Original Jazz Classics. Ammons was no stranger with run ins with the law. He served a few prison sentences, most notably a long stretch from 1962-1969. His emergence from jail would give him a new found funkiness, and this side is a great example of it. He would die of terminal cancer at the young age of 49 in 1974. Another great of our time taken too early.

This record would of course pair him with the now Soul Jazz and Jazz Funk greats. The bass of Ron Carter and the drums of Idris Muhammad bless this side. Let’s not forget the guitar of George Freeman (of Groove Merchant Records fame) in this session. Whatver went on in his prison years made Ammons come out with a vengence. A vengence for hard hitting funky Jazz. On this particular record, he has pushed aside the experimental electric saxophone, and stayed to the acoustic, keeping great time as Carter, Muhammad and company get tight in the pocket. This is another great example and excellent piece of music from 1970. Although Ammons would only be on this earth for another 4 years, this side is etched in Jazz Funk forever. Keep Diggin’!

Tamiko Jones – Ya Ya

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Tamiko Jones – Ya Ya from the A&M 45

Here we are on Friday again, and the Flea Market schedule has been hectic once again. I’ll be spinning tonight at the Asbury Lanes, opening up for Dub Trio , and tomorrow night at the Brickwall here in Asbury Park. Just a little Deep Funk, Soul, Reggae, plus some Classic Hip hop to keep your weekend flowing nicely. I doubt I’ll get any digging done, but who knows, maybe the weather will hold out a bit, who knows? What I have here today is a treat I picked up from The Old Man sometime ago. It’s from an unlikely artist. I knew that she had a few bangers, but this record was a bit of a surprise to me. Here’s Tamiko Jones and “Ya Ya” on A&M Records from 1968.

Born Barbara Tamiko Ferguson in Kyle, West Virginia in 1945, she started out her singing career in Jazz during the early 1960′s. She started out on the Checker label in 1963 with the side “Is It A Sin”, but soon moved to the ATCO label, Golden World, and then Atlantic. She would team up with Herbie Mann (who is one funky mother!) for “A Mann and A Woman” Lp. Recorded in Rio DiJanaro, Brazil and it featured Willie Tee and Bernard Purdie among others. The full length I’ll Do Anything For You was recorded at Sam Phillips recording studio in Memphis, Tennessee in June of 1968 on Creed Taylor’s A&M imprint CTI, which included this side. (Produced by Creed Taylor). There was an alternate version of the Ya Ya recorded about a week later. Jones would bounce around from label to label; December, 20th Century, Arista, Contempo, TK Disco, and featured Stevie Wonder and Marvin Gaye covers, plus a super slick version of Johnny Bristol’s “Touch Me Baby”.

This side is a nice little slice of Funk. With a definite Memphis influence, this twangy version of Ya Ya moves along nicely. Some decent guitar riffs provided by Bill Fontaine and Carl Lynch, great bass work by Chuck Rainey, and a Warren Smith’s back beat, this track has it all. Thrown in are great horn section and an even better big band section that make this Funk festival unstoppable. You may be familiar with other versions, done by Lee Dorsey or Rufus Thomas, but don’t count this one out. It’s a stone killer baby. I’ll be back next week with some more treats. Keep Diggin’!

King Yellowman & The Mighty Josey Wales – Weh Dem A Go Do

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Reggae records, especially good Reggae records are hard to come by in this area. Sure you’ll find the scant Studio 1 compilation, or maybe even a Prince Buster 45 here and there, but honestly, when stuff like this comes along, you have to pick it up. I’ve been fortunate to really pick up some great Reggae finds in the field, but it’s taken me 10 years + to really build my collection up to what it is now. I’ve said it before and I’ll say it again, when it surfaces, you need to get it, no questions asked. This record of course was a no brainer. It’s a classic cut done by two Reggae giants, all on one record. Here’s King Yellowman & The Mighty Josey Wales doing “Weh Dem A Go Do” from the Arrival Records 1983 Lp King Yellowman meets The Mighty Josey Wales.

Winston Foster aka King Yellowman was born in Kingston, Jamaica and had to overcome adversity from birth. Born an albino and in an orphanage, Yellowman launched his career by winning the Tasty Patties contest in Kingston. From there he would become a Jamaican favorite, and signing a contract with CBS Records. His boasting sounds and energetic performances have made him one of the most widely touring Reggae artists in the world. Diagnosed with jaw cancer in 1986 and only given 6 months to live, Yelloman overcame adversity once again after surgery. The riddim of one of his biggest hits “Zungguzungguguzungguzeng” , has been duplicated and used by many artists like BDP, Tupac, Dead Prez, Junior M.A.F.I.A., and a myriad of others. His place as a prominent Dancehall DeeJay in Reggae music puts him as a top artist of all time in the genre. Despite the hand life has dealt him, he still continues to tour, make music, and act as a Reggae ambassador throughout the world.

Joseph Winston Sterling, aka The Mighty Josey Wales was a founding father in the Dancehall genre. Wales (or the Colonel as he was also known) would go on to perform as a DJ with the Roots Unlimited Sound System in 1977. He made his name as part of the King SturGav Hi-Fi Sound System, headed up by U-Roy. He also joined forces with Charlie Chaplain and Brigadier Jerry to form a mighty alliance that ruled Reggae in the early 1980′s. The Sound System would be the Sound System in Jamaica at the time. He also did stints in Heny “Junjo” Lawes Volcano Sound System, as well as peforming on the smash Volcano hit: “Let Go Mi Hand”. His strict Rastafarism and purely concious lyrics would hold him back throughout his career, as the boasting, gun toting, bragadocious lyrics of the Dancehall ruled at the time. He would move from Lawes’ label to King Jammy’s in the 90′s, doing solo work and also collaborations with Beres Hammond, Tappa Zukie, Bobby Digital, while also mentoring young artists such as Shabba Ranks. He survived multiple gunshot wounds from a bar robbery in Jamaica, and reunited with the SturGav Hi-Fi Sound System for a tour sometime after that.

I’m pretty sure this is one of my favorite Reggae sides. Not only is there a a positive message in the U-N-I-T-Y, but the lickle (ok little) guitar riff throughout (with just the right enough of echo) has stuck to me for years. Here you have two of the best of their time, paired up and ready to battle as a team. This track was produced by Junjo Lawes with the tracks being laid down at Channel One. It’s a superb example of both of these artists, despite their separate adversities, coming together as one to put out a decent side as well as a decent full length. I’m going to try and pick out a bunch more Reggae sides for the upcoming weeks and keep working on the Special Request Mix Part II. Keep Diggin’!

King Yellowman & The Mighty Josey Wales – Weh Dem A Go Do from the Arrival Lp