Monthly Archives: August 2008

Willie Mitchell – 20-75

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Download or Listen to Willie Mitchell – 20-75 from the Hi Records 45

Well here we are at the end of another Summer at Flea Market Funk. It has been a productive Summer, although I didn’t get to do as much digging as I usually would due to some unforeseen circumstances. I’m gonna keep it really short today as the Holiday weekend here in the States officially kicks off. A good friend of mine is here from Oregon where the RZA had just come through in Portland. He said that after the show, a few of his buddies saw him outside in his ride, bumping his own shit really loud. They went up to him and stated how they loved the show, the Wu, and all he did. his reply: “Enjoy your life fellas.” Gotta love it.

So it got me thinking of RZA using the Willie Mitchell sample for “Groovin’ “, and figured: Why not? Here’s trumpeter, producer, Royal records man, Hi Records guy, and overall Memphis genius Willie Mitchell with “20-75″ from Hi Records, made a household name by Mitchell and a certain Al Green. Enjoy the weekend if you’re here in the States, and as always, Keep Diggin!

Freddie Hubbard – People Make The World Go Round

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Download or Listen To Freddie Hubbard – People Make The World Go Round from the CTI Lp Polar AC

We’re a day later than usual here at Flea Market Funk, and I apologize to my people who are looking for their Monday morning FMF fix, like a junkie on the search for a quick hit of the good stuff. I had a busy weekend, and after a tremendous win by my NY Red Bulls over the Houston Dynamo 3-nil at home (and Liverpool sitting at the top of the BPL, even just for a day) there was some celebrating to do. I’ll talk football privately, but I wanted to drop some Jazz once again on you. This time we have one of the most bad ass trumpet players around. Here’s Freddie Hubbard with “People Make the World Go Round” from CTI Records in 1975.

An Indianapolis, Indiana native and born in 1938. Starting out with the Montgomery Brothers, he would make the pilgrimage 20 years later to the Jazz mecca of New York City. Initially rooming with future genius Eric Dolphy, and eventually hooking up to play with Quincy Jones, he would go on tour with Q throughout Europe. Quite a feat for a 22 year old who could call his peers Miles Davis and Dizzie Gillespie (and had no problem keeping up with them either). Here is a cat who was a member of Art Blakey’s Jazz Messengers, played with Ornette Coleman, John Coletrane (his appearance on Ole and Acension are among my favorites) , the aforementioned Quincy Jones, Philly Joe Jones, Wayne Shorter, Curtis Fuller and so many more others. This hard bop veteran was a great trumpet player as well as equally comfortable on the flugelhorn, and knew his way around some Free Jazz, as was evident with his association with Ornette. I was introduced to Hubbard first through his Blue Note and Impulse! recordings. However, it was my love for all things CTI that reeled me in (as if the Blue Note Stuff wasn’t enough). His best in my opinion is Red Clay and this record Polar AC, but heads took notice to First Light as well. He won a Grammy for it in 1972. After CTI it is many people’s opinion that Hubbard was at the low point in his career, recording bad record after bad record. Freddie would come back to his glory though once again after recording with Herbie Hancock’s VSOP and also for the Pablo label. His on top playing would not stay around for long, as he started to not show up for his shows, and it was evident something was wrong. His excessive drinking and infected split lip attributed to some of the problem. That split lip sent him back to basics, and his high intensity playing forced him to relearn playing the trumpet. Despite his ups and down in jazz, Hubbard says of this: “If you don’t have your own sound, you’ll be forgotten. Jazz isn’t like pop, where you can sell millions of records with a hit. Your spirit and soul aren’t important in pop music. But jazz is like classical music. If people like you, they’ll remember and you’ll last forever.” Hubbard has not been forgotten, recycled in samples from A Tribe Called Quest, Guru, Souls of Mischief, UMC’s, King Tee, Blackalicious (who sampled this on “Swan Lake:), Beastie Boys, Big Daddy Kane, and more.

Hubbard’s take on the Stylistics is a good one. Of course it’s in a Jazz style, which is a little on the slower side compared to the version I used earlier on a mix by O’Donel Leavy. His CTI lineup is a killer, as he enlisted the help of Lenny White on drums, Hubert Laws on Flute, Ron Carter on Bass, George Cables on piano, and the great Bob James arranging. For me, I dig Hubbard. Whether he’s with the Jazz Messengers, playing with Coltrane, or his best years experimenting with Creed Taylor’s label, I’ll take it all. I will see you Friday with some more goodness, and then most likely next midweek because of the Labor Day holiday. Keep Diggin’!

Helioecentrics versus the Gaslamp Killer

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Ok Ok Ok no more. Get your late pass here at Flea Market Funk. My man over at Stones Throw sent me some info regarding this latest Stones Throw Podcast, number 37 if you’re counting. In this corner we have the Heliocentrics, lead by explosive drummer Malcolm Catto (Soul Destroyers, etc), heading up a seasoned bunch of true analog musicians who combine the sounds of Hip-Hop, Funk, Jazz, Psychedelic, Electronic, Avante-Garde and Ethnic music to bring it “on the one” every time. Channeling the strength and music of Sun Ra, but playing in the spirit of James Brown, the Heliocentrics has burst on to this scene of ours and have straight killed it.

In the next corner you have (The Mother Fucking) Gas Lamp Killer. I’ve been following this cat for a while and you know what? The man has skills. Part Psychedelic Love Storm with the sweet Soul of Los Angeles, if you haven’t seen this guy live, you must. I need to get him here in Asbury Park. A true digger and DJ extraordinaire, his sets are legendary, and his persona even bigger.

Let’s Rumble.

Gaslamp Killer vs. Heliocentrics Stones Throw Podcast 37

Milt Jackson with The Ray Brown Big Band – Braddock Breakdown

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Download or Listen to Milt Jackson with The Ray Brown Big Band – Braddock Breakdown from the Impulse! Lp Memphis Jackson

Here we go again folks, with a midweek version from Flea Market Funk. This fine day I’m feeling my Jazz, so I wanted to throw out my man Bags and a funky little side I’ve been sitting on for a while. Before I get into that I want to shout out a new Flea Market Funk family member. Big Props to Jake Smith from Down Under and his radio show called: Funky Music Is The Thing! Thanks for reaching out, and I will for sure be in touch. For now, lets groove into Milt Jackson with The Ray Brown Big Band and “Braddock Breakdown” from the ABC Impulse! Lp Memphis Jackson.

Milt Jackson was born in 1923 in Detroit, Michigan. Originally starting out on the guitar, then piano, and finally vibes, Jackson made a name for himself throughout his career along with Red Norvo, Lionel Hampton, and Gary Burton, as a versatile Jazz vibist. He was discovered by Dizzy Gillespie in Detroit, played in his sextet, and form there was instantly accepted by the Jazz community and fans alike. Bags recorded for many of the majors: Atlantic, CTI, Savoy, Blue Note, Riverside and more. He would play with all the greats: Coltrane, Monk, Davis, Parker, among others. Jackson would become a member of a quartet that included Kenny Clarke, Percy Heath, and John Lewis, which morphed into the Modern Jazz Quartet. They would stay together recording until 1974. Jackson would record as leader, sideman, and soloist throughout that time, but made the split in 74 from the MJQ. It seemed to be over money (isn’t always?) and he continued to play and record for Pablo as an All Star throughout the 70′s. MJQ reunited in 1981, and Jackson continued to play up until his death in 1999.

When Milt Jackson wasn’t recording with the MJQ, he was making other music. He played with Ray Brown annually, all at Shelly’s Manne Hole, and this particular get together in 1969 resulted in this recording. They expanded to a bigger band, and with such Jazz/Funk royalty as Earl Palmer, Paul Humphries, Sweet Edison, Mike Melvoin, and the legendary Many Others (of which there were as the Fugees said: many many many), this record is solid. A mixture of standards and funked up Jazz, the result is something special. “Braddock Breakdown” is a an example of the great combination of Brown’s conducting and Milt Jackson’s leading (and vibes) mixed in together with a Big Band atmosphere and sound. Not too much Big Band, and not too much funky, it’s a decent mixture of the two. I wanted to throw a little Jazz vibe in midweek, and I think this will do he trick for you. Enjoy. Keep Diggin’!

Bill Cosby – Get Out My Life Woman

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Download or Listen to Bill Cosby – Get Out My Life Woman from the Warner Brothers LP

Well here it is a Monday morning and Flea Market Funk is back in full swing. I’m slowly recovering from the first full day of the English Premiership League as well as a New York Red Bull clash with Tornoto FC. More importantly, I wanted to thank the people who pointed out the faulty mp3 that got loaded up. I am going to do my best and reup that file as soon as I can. What I have up for review today, is a little piece of Funky North Philly from a man who brought you Fat Albert, Jello Pudding Pop commercials, and those God awful Coogi sweaters. Here’s Bill Cosby with “Get Out My Life Woman” from the Lp Hooray For the Salvation Army Band and Other Grooves on Warner Brothers.

The Cos has made no bones about his love for music through out his acting career. A huge Jazz buff, who besides tackling stand up, television, movies, and comedy records, decided he would try his hand at singing. His initial release of Silver Throat on Warner Brothers enlisted the hand picked Charles Wright and the Watts 103rd St. Band, as well as this record. It was produced by Fred Smith (who also produced the Watts 103rd St. band as well) to give the record a sound and feel of the band’s previous recordings. On a whole, this record is dominated by the band, as Cos hoots, hollers, and screams his way through a variety of covers and the band just kills it. Don’t get me wrong, the Cos does hit the spot on a few grooves, and the guy has some Funk to give, but he’s much better in comedy. I had always seen Cos records out in the field, and the only 45 I could ever find was Funky North Philly, or the Quincy Jones full length with Hicky Burr on it. By the way, I once saw The Otis Funkmeyer Band do an all covers set in Brooklyn that included this tune. Good on them.

Break heavy, Cos’s rendition of “Get Out My Life Woman” is a definitely a great cover. The addition of a sweet organ and the back up singers make this side another favorite of FMF. More than just a novelty record, Cos is giving it a real go on the tune. He’s a bit monotone, but it’s definitely better than his Mrs. Robinson impression on the Family Guy. I gotta give this guy a hand, that with all his philandering, honorary doctorate accepting, the Brown Hornet, and bad taste in sweaters, he could hand pick a kick ass band and do a great cover of a classic. Keep Diggin!

Ron Holden – I Need Ya

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Download or Listen to Ron Holden – I Need Ya from the Now Records 45

Fresh of Vinyl Record Appreciation Day, I bring you a little 45 I picked up sometime ago at an Asbury Lanes Record Show. Larry from Funky 16 Corners and I were digging through some bad crates and he found it, and since he had a copy, he passed it on to me. The crew from AP 45 Sessions is good liek that, we like to share the wealth and knowledge for sure. Before I get into this side, I wanna shout out my main man and Empire Supporters Club brother in arms, Shawn from The Offside Rules. He gave FMF a major shout out the other day. In fact, we were hanging at the NY Red Bulls/ DC United match (where the Red Bulls whooped up on United 4-1) with all the other ESC 101 members and my buddy DJ from the Bouncing Souls. Check out the article here. Now let’s get into Ron Holden with “I Need Ya” on Now Recordsfrom 1973.

Ron Holden was born in Seattle, Washington in 1939. Allegedly Holden’s career was jump started after he was arrested for drinking and driving and marijuana possession. The arresting officer was Larry Nelson, who had a record label called Nite Owl on the side. Holden would call him up and record “Love You So” in 1960, where it would be sold to Donna Records shortly after. It would make it to number 7 on the pop charts in the same year. Full length records were released on Donna, and then re-released on Del-Fi some 30 plus years later. It would be pretty much on the money to say that Holden didn’t have much success after his first big break, as singles would not chart as high as his original record. Sources say he would disappear, only to resurface for this 1973 record I’ve got today. I did manage to dig up another record while doing research. It’s listed as Ron Holden and the Thunderbirds, on Donna titled “Who Say There Ain’t No Santa Claus”. If anyone can confirm this, that would be great.

“I Need Ya” is a great upbeat funky side. Besides the ever present hi-hat and driving beat, the bass line carries this baby all the way home. If people were dismissing Ron Holden from his previous success on the charts because he wasn’t charting high, they were very wrong on his abilities. Holden still had it 15 years later. He could belt this song out and was backed by a pretty tight outfit IMHO. Holden gives it to ya on this one folks, so get it while you can. Keep Diggin’!

Vinyl Record Day 2008 and The Old Man

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Myself, The Old Man, & Jack the Ripper in sub zero weather. Photo by the Devil Dick.

I am definitely honored to participate in the second Vinyl Day Blog Swarm put on by JB Bartlett. Last year’s was amazingly successful, and even as I’m writing this, I can’t really wait to check out the other entries. I wanted to talk a bit about a guy I buy records from. I call him the Old Man. I’ve been buying records from him for a long time. In fact, the mighty Devil Dick has been buying from him even longer. It took me a while to get in his good graces. It always wasn’t a buddy/ buddy relationship. In the beginning, I was really just fed left overs, and I would walk up to the table to “No Funk and Soul today”. I always was kind of pissed because I was a regular at this specific spot, yet when I went to his table, there would be baseball cards, VCR tapes, or comic books. The only records would be unsleeved commons sitting in an open box. Slowly but surely, he let me into his world. We always made small talk, but when we got to be better friends and confidants, I learned about his marriage and love for everything vinyl. I would make the same journey to see him at day break whether it was 90 degrees out and humid, or 20 degrees and snowing, tables covered with frost, everyone in gloves. Not the Old Man. I’ve never seen him wear a hat, scarf, or gloves. He never wears shorts. He has had a variety of vehicles: vans, small 80′s 4 wheel drive convertibles or Japanese imports with duct tape on the door handles. He was always there before me, even though I got up early as hell. When he didn’t show up early, all the diggers that bought from him would worry, because he was the Old Man. He’d show up though. In the many, many, years I have been digging at this spot, he has always been there from Friday through Sunday. His record knowledge is really extensive, from Rockabilly to Jazz to Soul and Psyche, he has a story about every record he sells to you. He even gives up his favorite records stories from when he was young. There are tales of him playing the same record everyday after school in the nickel juke box that the drug store owner actually gave him the record so he’s never play it again. I’ve seen him have a variety of customers: guys who buy Funk and Soul, cats that just want Doo Wop, picture sleeve fanatics, cheese cake cover obsessives, and the list goes on. After I became a steady customer, I realized he never had the good stuff out, rather packaged up in record cases or paper bags, wrapped neatly for each and every customer. He would always save me what he hand picked, and I’m one of the few he lets listen to records on a portable before I buy. The Old Man can get ornery, but he’s the Old Man, he’s allowed to. In the early days he like to give you the hard sell with “That’s a rare record”, and to this day he still does, even though I buy mostly everything he puts out. The Old Man is a staple at my spot. We’ve become good friends, and he’s definitely given me fatherly advice from time to time, especially the last few times I went to see him. After my purchase, we usually go dig together for a bit and then go our separate ways. I consider him a good friend and more than someone that I have just a business relationship with. He’s one of the good guys: a guy who won’t rip you off, always has top notch records, looks out for you, and most importantly doesn’t mind being called the Old Man.

East Harlem Bus Stop – Get On Down

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Download or Listen to East Harlem Bus Stop – Get On Down from the D & H Sound Lp The Get Down!

Well here we are at the end of the week, and I figured that I’d pull this record out. I’ve been holding on it for the better part of 10 years. I used it in a previous mix, but I always thought it was a really great record on the whole. In fact, somebody actually gave me this thing because they knew I was into this kind of stuff. It was almost a battle, because the cover art was so dope. I won out, and for the good of the vinyl community and the Flea market Funk Family, here it is today. I’m speaking of East Harlem Bus Stop and “Get On Down” from the Lp of the same name on D & M Sound.

Put out on D & M Sound (which would stand for Dave Miller and Marty Wilson), this sweet piece of Disco Funk from 1976 and apparently was fetching $100+ from dealers at one point. During the 1980′s it made kind of a resurgence, but in 1976, it was all about the fusing the sounds of Salsa, Funk, R & B, Blues, and whatever else was floating around the streets of NYC. Miller and Wilson got arranger/ musicians Pete Terrace and Peter Phillips to write up these songs (along with a few covers) to be played by East Harlem Bus Stop, a group of virtually unknown NYC musicians. The result is some Funky Disco shit that will make you slap your mama just for questioning why the hell you have it up so loud. Comparing themselves to sound of Brass Construction, the band of studio cats? joined as one force to bring a great sound that was illustrating the era of Disco before it got too corny. There are still some Funk roots in this track, that’s what grabs me. Terrace and Phillips added strings to this side, which to me, sounds makes it sound a bit like a soundtrack to a blaxploitation film. All the great elements are in there: a smoking horn section, some congas, great back beat, a hot bass line, and let’s not forget the chant of “Let’s Get It On” and the great drum break. For me, this was a really great score. In fact, in the early days of me DJing, this was a staple in my sets and always in my record case. Have a great weekend, and Keep Diggin’!

Truman Thomas – My Soul

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Download or Listen To Truman Thomas – My Soul from the Veep 45

Today’s midweek post is gonna be a bit on the short side. I’ve got some stuff to take care of (aka real world moves), which without saying much will be the start of probably the most important (and the best) decision I’ve ever had to make. That being said, I want to throw out an organ side introduced to me by my friend Mr. Funky 16 Corners aka Larry Grogan at a past record show. Had it not been for him, well I would have passed by this side because I didn’t read that after the name, it said organist. The side I am speaking of is Texas born organist Truman Thomas, and “My Soul”. In many times in life, you have to hold on to a lot of things. Material possessions may come and go, but honestly, you always have your Soul. Enjoy this great side (and the great drum break in the middle), and if you want to read more about the history of it, stop on over to the archives of the F16 Corners webzine. Have a great week, I’ll see you Friday. I’m catching the NY Red Bulls match vs. Barcelona tonight, so look for me on the TV in ESC 101. Keep Diggin’!

Ohio Players – A Little Soul Party (A Woman and Some Soul)

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Download or Listen To Ohio Players – A Little Soul Party (A Woman and Some Soul)

Here we are on a Monday and I pulled this little piece out of a pile marked “For Review”. Now I appreciate the e mails of well wishing from my extended Flea Market Funk family, and those of you close enough to me to know the situation will appreciate the inner message this entire title sends out. There are few things that I want for in this life, but some great vinyl (could be Soul), and of course a fine woman. This title is where my mind is at lately. Although I believe it’s a reissue from the Springboard Corporation out of Linden, NJ, here’s the Ohio Players with “A Little Soul Party (A Woman and Some Soul)” on Trip Records. I bought this last Summer from Stinky Steve even though it was warped as hell. He actually gave me a good deal. Imagine that.

There is definitely some history here with the Ohio Players, who started back in 1959 as the Ohio Untouchables. Eventually backing The Falcons on “I Found A Love”. Their debut “Love Is Amazing” was short lived, and they eventually disbanded. The original lineup was singer and guitarist Robert Ward, bassist Marshall “Rock” Jones, saxophonist and guitarist Clarence “Satch” Satchell, drummer Cornelius Johnson, and trumpeter and trombonist Ralph “Pee Wee” Middlebrooks. Their disbanding was due to Ward wanting to go solo. Fast forward to 1967 and the addition of guitarist Leroy “Sugarfoot” Bonner , drummer Gary Webster, and saxophonist Andrew Noland to round out a new line up. But ther eis more: add two more singers in Dutch Robinson and Bobby Lee Fears, the birth of the Ohio Players takes place. They would be the new backing band for Compass records, and in 1968 put out a side “Trespassin’”, which coincidentally is the other side of this 45. Now Compass could not hold financially, and with their debut Lp “in the shitter” pretty much, the label folded and they moved over to Capitol in 1969. Throughout their career this band has had a myriad of personnel changes, but managed to churn out hits anyway. You’re all familiar with “Fire”, “Love Rollercoaster” (covered lovely by the RHCP), and my personal favorite: “Funky Worm”. They would eventually wander over to Mercury Records, where their output was steady, and kind of tepid. Despite a few hits, IMHO the trademark horn heavy, funk influenced sound went the way of Disco, like so many artists trying to capitalize on another new genre. They released records with a few core members into the 80′s, but will only really be remembered for their few hits. This side will, however always be a hit at FMF.

I’m a fan of this little slow burner. It’s the perfect song for me at this time. It’s about getting back on track, relaxing, and as a reputable online record slanger says: “Make shit fun again”. This side is definitely getting added to my next live 45 gig. Who doesn’t want a little party with a woman and some Soul? Have a great week and put a little Soul in your party. Keep Diggin’!

Jesse Fisher – Little John

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Download or Listen to Jesse Fisher – Little John from the Way Out 45

Good Friday to the Flea Market Funk Family. I’m still not functioning here at 100%, but I’m trying to make a brand new start like Paul Weller and be positive. This record I got from a set sale some time back. When I heard the sample, I could not be without it. I got it, featured it on a FMF mix, and have played it out live just once. It’s a great piece of Midwest Soul. Here’s Jesse Fisher with “Little John” on Way Out Records.

Jesse Fisher originally hailed from the South, but ended up in Cleveland, OH. According to guitarist and Way Out studio engineer (from 1965-67)Lou Ragland, Fisher was always hanging around the Way Out Studios. Jesse didn’t do a lot of background singing at the label, and this particular record was written by Fisher, Lou Ragland, and James Calloway. He just sort of hung around the studio and was friends with particular people on the label and other groups in town. It’s rumored he had a Gospel background because of the style of his singing, but that is not confirmed. Apparently Fisher did not fancy himself an artist. Such a humble thing to think, because IMO, this guy was a star. The way he belts out on this track is amazing. To my knowledge, Fisher had four releases on this label, which would include this side, “You’re Not Loving A Beginner”, “Mr. Super Nobody”, and “Super Funky”. The Way Out label had artists such as: Sensations, Soul Notes, Fred Towels and the Jacksonians, Springers, Bobby Wade, Verna and Ray, and Ruby Carter among others. Fisher was also noted for his side “Honey” on the Sojamm label.

“Little John” is a piece of Midwest Funky Soul about Little John, who if you don’t watch out, is gonna steal your girl. He will too, because he’s gotta have that girl. The driving guitar, almost a bit fuzzed out, moves right along with the upbeat rhythm. There is a part when Fisher almost seems like he is going to let loose, but then pulls back the reins just a bit. All in all, this is a great sid eif you can get your hands on it. I wasn’t too familiar with the label when I bought this, but apparently all of Fisher’s sides are great, as are a lot of the label’s roster. There are a few different actual labels for this record, and this particular one with the swirls was conceived by Lou Ragland. It seems their family was not just talented in the music side, but in the art side as well. Have a good weekend. Keep Diggin’!