I told you I was upping the ante this year, and if you thought last week’s Big Ups was dope, then you’re in for another treat. This week we have one of the hardest working DJs/ producers out there, Uncle NU, aka DJ Nu-Mark. Uncle Nu is known for not just being a dope DJ, but a producer and solo artist who pushes the envelope in his live shows. His last tour experimented with toys and toy instruments, and he constructed a live set around these toys. Always innovating and forging new trails as a DJ, we’re stoked to have DJ Nu-Mark in this week’s Big Ups.
Of all of the Big Up interviews (which btw have all been great in my opinion), this has been the most anticipated. Jazzman Gerald is a guy who does things the way he wants. In other words, he is the guy who set the bar for reissues and bringing the underdog artist to the public’s eyes and ears. He has been doing it well, taking care of the artists he reissues, all the while running a record label dynasty that is quite impressive. When not DJing rare music all over the world, he’s keeping all the record collectors, DJs, producers and artists scrambling to get his latest releases and compilations. Heard he’s a football supporter, but no mention of it in the interview. Gerald get at me on that! It is an honor for us to have Gerald in this latest installment of Big Ups. Enjoy!
Grant Green, JC Moses, and Larry Young Courtesy of George Heid
This morning we have some haunting Jazz organ originally from New Jersey, but reissued beautifully from the good folks over at Sticky Records in the UK. Larry Young Jr aka “The John Coltrane of the Organ” and Harold Martin originally released this floating 45 on an obscure NJ label London House Records out of Newark. Apparently this side was part of a concerto called Black Fantasy, although we have no other information if said concerto, master tapes, or anything even exists. If it does, it would be a major come up for some rare NJ organ Jazz.
Larry Young was an accomplished organist, and whether he was a band leader or sideman, made heads turn. He was known primarily for his side work with Grant Green on Verve and Blue Note, and Miles Davis on Bitches Brew. He had his starts on Prestige, and was a solid Jazz player. Young also released his own records, notably six Lps on Bluenote, which included the much applauded Unity record. Working with the aforementioned giants, he also played with John McLaughlin and Carlos Santana, as well as Lou Donaldson, Hank Mobley, and many more. Young died very prematurely at age 37 in 1978. It’s hard to say what kind of magic he would be working on these days if he was still alive. Suffice to say, this reissuing of the original early 70′s side with Harold Martin is a great discovery.
With a short run of only 400 being pressed, this is one side you may not want to let slip away. Sticky have been reissuing the best of Dub, Jazz, Sister Funk and more since 2005. It’s quite obvious these guys are serious about what they do, and they do it well. Reissued with permission by Harold Martin and Larry Young III (who owns a killer Jazz club in Newark, NJ), again, the lads at Sticky do it right. If some haunting organ Jazz is your bag, then this obscure Larry Young gem has your name written all over it.
If you’re looking for a mix that slowly winds you through the city, DJ Wax On’s Night Moves is the mix for you. Here’s what Adam had to say about it:
“The concept of this mix is almost as my idea of a soundtrack to a night drive through Manhattan in the early 80′s“
Night Moves Track List
01. Rosebud – Sadao Watanabe
02. A Softer Heart – Ronnie Foster
03. The Cycles Of Time – Wilton Felder
04. Her Silent Smile – Tom Browne
05. Water Fall – Jeff Lorber
06. Speak Low – Deodato
07. Cascade – Spyro Gyra
08. Appolonia – Tom Scott
09. Heartbeats – Hubert Laws
10. Friends & Strangers – Ronnie Laws
11. Sweet Honey Wine – Lonnie Smith
12. Rag Bag – Dave Grusin
13. That Healin’ Feelin – Bob James
14. Sunshine In Your Eyes – The Crusaders
15. Touchdown – Bob James
16. Lovin’ You – Spyro Gyra
Always excited to get a new mix over here at FMF, a mix of 70′s and 80′s Jazz is great not just on a Sunday morning, but any time. Enjoy this slice of buttery smooth Jazz and Jazz fusion that features Tom Scott, The Crusaders and Dave Grusin and many more.
2011 has been a banner year here at Flea Market Funk. I’ve got a lot to be thankful for, and I wanted to go over a few highlights this year and shout out the people who have motivated me to keep doing what I’m doing, as well as pushing me to be better as a writer, DJ, and a person.
Flea Market Funk made the switch from Asbury Park, NJ to Brooklyn NY in early 2011. I need to thank my wife, first and foremost for getting me up to NYC, and for always pushing me harder to do more creative things and be a better person. Without her, this site would not have shaped up the way it has. She encouraged me, when I wanted to change the format and add my love of Hip Hop culture (sampling, producing, mixes, DJ culture and the like) to the site to just “go for it”. I believe that this added a whole new dimension to FMF. For that I thank you my dear, you are my best friend, and the best wife I could have ever asked for. This past year I started my most successful venture besides my mixes, the Big Ups interview series. I wanted to showcase the people I respect in this music game, and thank everyone who participated in it. I’ve got a great line up to start 2012, so please stay tuned for that. 2011 also brought my collaboration with Mr. Skeme Richards, The Nostalgia King, and the Hot Peas and Butta Crew. Skeme and I made the hook up, I DJ’d one of their events, and what can I say, he’s my brother from another mother. Look out for some HP&B x FMF collaborations in 2012. Salut! to one of the originators. This past year brought my successful residency over at the Ace Hotel here in NYC. I want to shout out the Friday night staff and booker for always making me feel at home, welcoming my creativity and choice of music throughout the Fridays. Whether I was playing Jay Dilla or Dawn Penn, or a Dre remix of the Rolling Stones, you all supported the night and promoted the hell out of it. I am looking forward to doing more with all of you in this upcoming year. I’d also like to shout out Richard Smith aka Spice of Slice-of-Spice Records, who is one of the hardest working men in the game I know. Churning out releases faster than Gareth Bale scores goals (and he’s a Spurs supporter), looking to hook up with some SOS in the ’12. I again wanted to thank the one and only Heavy Soul Brutha Dave, who has been a huge supporter of FMF as well as my mixes, and has promoted the shit out of me through his site, and Mixcloud. Looking forward to getting together with you in the future over a beer and talking music. Shout out to Terry Cole over at Colemine Records, for keeping the Funk flowing like they used to out in the Midwest. 2011 saw FMF get a shout out (and a link to) on BBC, for an article I wrote on Gilles Peterson and David Rodigan’s Sound Clash (and a retweet by Daddy Rodigan). There were also mentions by Dilla’s mother Maureen Yauncey, who promoted one of my mixes that featured her son, talk about honored! New connections were made with artists like Small Pro out of Philly, Jet Tricks of of the UK, The gang over at Our Label Records in Germany, and the great Jim Thompson from Brooklyn’s own Electric Cowbell Records. A huge thanks to Brett and the people at Nixon, who have kept me fresh dipped in Nixon gear, as well as their new line of headphones, which are top notch. If 2012 is anything like 2011 was, I’m going to be busy. I’ll be busy anyway, as my wife and I are expecting a son in February. I’m looking forward to teaching the little youth all about the music, which will be my best accomplishment yet.
Finally, I’d like to shout out all my DJ people: Larry Grogan, DJ Prime Mundo, DJ Bluewater, Devil Dick, mFasis, Rob None, DJ Andy Smith, DJ Shawn Francis, Neil Nice, and anyone else I have missed. Thank you all for the support, and for driving me to find these records and get them out there. Trying to get an AP 45 Sessions reunion up here in BK or NYC, so let’s make it happen. Lots of projects in 2012, including a second guest mix series, a pledge drive, and lots more. Bring it on! Have a soulful and funky New Year, and I will see you in the ’12.
In 2005, DJ Gu and Brother Tom decided to form their own record label. Gu, a DJ since age 12 had discovered that he loved rare Funk, Soul, and Jazz sometime in the mid 1990′s. His involvement with Urban Jazz Groove in Bremen, Germany (his hometown) put him on the international DJ circuit. One of his stops was in London, with Keb Darge and his Legendary Deep Funk night. Gu decided that in order to be more well recognized as a DJ (as well as a producer and composer), the two would start a record label. With intentions on bringing new and unheard Funk and Soul to the masses, Gu wrote a song, which was performed by the Leeds, UK band The New Mastersounds. The result, after a two hour studio session was a mobile recorded “Give Me A Minute Part 1″. The brothers describe the end result in their words: “… and all of a sudden we were on the train from Leeds to London with a very rough recording of The New Mastersounds on an old mobile.” Our Label Records was born.
“ When Our Label Records releases the Funk, I take note ”-Professor Groove, WEFUNK
Six years and six releases later, Our Label Records have absolutely made a name in the Funk world. Case in point: the first Osaka Monaurail 7″ and two exclusive Keb Darge productions sold out quickly. After a two year hiatus, Our Label Records is back, and they return with a new side: “ABX”, by Swiss multi-instrumentalist Sir Ali Bengali released in November, as well as four new releases slated for 2012. They have also parted ways with Unique Records who handled their distribution, to take over it themselves. This two year hiatus was used to get back to grassroots and will ensure that they will be able to oversee the whole operation, ensuring better international delivery and distribution and gain full control of the business. Their international artist roster so far has bands from the UK, Japan, Germany, Russia, Switzerland, Canada, Italy and is growing.
Their stable of artists is very strong, the aforementioned Osaka Monaurail, The Magnificent Freedom (which is a great record btw), The Inmates, Wake and Bake!, as well as The New Mastersounds, and the addition of Sir Ali Bengali no doubt will raise eyebrows throughout the Funk and Soul community, if not the rest of the world. Our Label Records is another great example of a label that is putting out great music, even if it’s a bit under the radar. If you’re in the Funk and Soul community, most likely you have heard of these guys. I’ve featured releases on past FMF mixes, and they have gotten considerable airplay in the UK, Europe and Japan. If you’re not in the know, get familiar. It seems that the time out revamped the whole company, the philosophy, and expect to hear a lot from Our Label Records in 2012.
What I have today is a real treat. Kon is a DJ/ producer who I have the utmost respect for. A humble cat who really just not just talks the talk, but walks the walk with style while unearthing some of the best records ever. It is with great pleasure that I bring one of the Kings of Diggin’, Kon to the Big Ups series. I still remember digging up a copy of Skip Jackson and the Natural Experience’s “Microwave Boogie” on Catamount thinking: I wonder how Kon felt when he found this? Like I said, an honor to have him. Respect.
I’m happy to announce our winner for the Flea Market Funk x Cultures of Soul contest. It was none other than David Lerner from Columbia, MD, who correctly identified Brother Jack McDuff “Oblighetto” as the first 45 I ever reviewed. Some were close and said Dennis Coffey “Scorpio”, but indeed the good Brother Jack was my first 45 I put up over 4 years ago. How much we have changed here at FMF, but I still remain dedicated to keep this music alive. In the upcoming weeks, I’m going to do another first, have a pledge drive here at FMF, (with some goodies to give away as well) so keep your eyes and ears peeled for that.
I wanted to shout out Jeff from Cultures of Soul for providing me with the give always, and of course to you, the reader for taking an interest in FMF. You guys keep me going every day and drive me to keep diggin’ deep. Cheers-
Representing Detroit (and doing it well I may add), Tall Black Guy is a producer who fits right in here at Flea Market Funk. With a penchant for smooth beats and heavy digging, it’s a wonder he placed high in the Red Bull Big Tune Championships in the past. A humble cat, who goes by the motto of just getting it done rather than bragging about what he is going to do, TBG is one to watch.
Check out more on Tall Black Guy Productions here.
My other passion besides music is food. Over the last few years I have gotten into cooking, and love to get into the kitchen deep, just like the crates, and put together something special for my family. Over this holiday, my wife and I hosted our first Thanksgiving, and cooked up a complete, home made dinner for about 10 guests. From brining to whipping to blanching, it couldn’t have turned out better (and we have left overs for days!). Today, I’m going into the Jazz Cookbook of the Eddie “Lockjaw” Davis Quintet with “The Chef” on Prestige Records from 1958.
Eddie “Lockjaw” Davis was born in New York City in 1922. He never tok a music lesson, picked up a saxophone, and never looked back. Becoming notable at Clark’s Uptown House in NYC in the 1930′s, this tenor saxophone virtuoso found his musical roots in the Blues and Swing, and would go on to become an influence to more than one sax player. Davis would make his mark early in big bands led by himself, as well as Cootie Williams, Lucky Millinder, Louis Armstrong, and Andy Kirk, but became pioneer of the Soul Jazz sound. His pairing with organist Shirley Scott ushered in the genre in the 50′s, (they proved that the organ was not just a novelty instrument) and the tenor sax/ organ duo made moves their own way.
“ Playing with Eddie is a pleasure, not a job at all ” – organist Shirley Scott, 1960
Although the two would part company, unfortunately Davis could never get back to that place or sound he achieved with Miss Scott. Instead, he jumped ship with over to Count Basie and the high profile Prestige label, where he played with him throughout the 60′s and 70′s. Davis also led bands as well, and would release “battle” records with Johnny Griffin, both exposing a range of sounds and styles. Taking a break at one point to become a booking agent and the manager of his former boss Count Basie, Jaws finished up his career playing Europe with Basie and artists like Norman Granz (who featured Ella Fitzgerald) and taking part in recording and live sessions up until his death in 1986. Jaws was a legend of the tenor saxophone who could play many different styles, battle like no other, and left a mark in Jazz (particularly Soul Jazz) that future players will reference for a long time.
“The Chef” is exactly the type of side that I put on when I’m in the kitchen. Scott’s B3 grooves while Davis’ smooth tenor moves like a chef’s knife through a nice filet. Help from George Duvivier on bass (an NYC Jazz vet who worked with Billy Eckstine and Bud Powell among others), drummer Arthur Edgehill (Horace Silver and Kenny Dorham vet and a ‘descendent of the Roach-Clark-Blakey mold’ ) and Oakland, CA’s Jerome Richardson on flute and tenor sax add the spices that Chef Jaws needs to keep this recipe smooth. I’d highly recommend this Lp, as well as all of Jaws’ collaborations with Shirley Scott. A cool introductions to the genre of Soul Jazz. This is a great side, and a god piece of Jazz to cook to as well. Keep Diggin’!
Kevin Ellington Mingus is the grandson of Charles Mingus. Growing up estranged from his father’s family, Mingus On Mingus tells the tale of a grandson trying to get to know his famous grandfather through the people Mingus surrounded him throughout his career. Growing up in a diverse background with no knowledge of who his grandfather was, until by chance as a teen while playing the same bass his grandfather did, he found out that one of the greatest and creative Jazz minds was his own flesh and blood. KEM, the son of Mingus’ second son, raised by a Jewish mother with little or no contact with his father, explores many issues surrounding his grandfather. From race to a struggle with identity, KEM’s unique perspective looks at Mingus not just as a Jazz genius and musician, but as a family member as well.
“There are many perspectives of my grandfather that have not had a place in defining his legacy… I am seeking them out to understand him beyond myth, fable or a singular vision of his work.- Kevin Ellington Mingus, Director ”
KEM has used the remaining people, Jazz musicians and people that were close to the Underdog to paint a picture and tell the tale of a grandfather he didn’t know, and to show what more there was to “tyhe angriest man in Jazz”. Mingus’ creative freedoms showcased his complex personality through music, and it’s KEM’s mission to get to know more about the man he never knew at all. All in all, a different approach to film making, IMHO a great way to shed more light on the personality and genius mind of Charles Mingus. KEM is trying to raise $45,000 to see this project come to light through Kickstarter.
You can also check out more on their website Orange Then Blue. If you’re a Mingus fan, a Jazz fan, or just want to be a part of history, here’s a chance for you to help this unique story come to light.
It looks like the good people over at the Ace Hotel in NYC have appreciated the Flea Market Funk/ DJ Prestige Friday nights, as they have extended my residency until January 2012. That means that in December on Friday nights I will be holding down the decks in the lobby starting at 8pm. I’m excited for this, as the Ace is kind of like a home away from home. Good people, good music, and well, let’s not forget good food and a really classy hotel as well. So, if you’re looking for something to do on a Friday until the end of the year, I will be doing my thang over at the Ace, and there is no cover. A huge shout out to the staff and to the people that have been coming through, I appreciate the love. See you on Fridays, I’ll be the guy eating the best burger around before I star needle dropping some gems. Also, I plan on still dropping a new live mix every week until the end of the year, so stay tuned for that series of more mixes. Listen to the previous mixes here. Keep Diggin’!
UK selector DJ Wax On has been holding it down in Derby for a minute, spreading the good word of good music through his live shows, home made beats, and mixes. It’s with great pleasure we welcome him to the Big Ups series.
Almost 20 years ago, I went to the San Francisco Jazz Festival. I had gotten into Jazz, and this was the first time I had ever seen one of the greats live. Jimmy Smith had been promoting his release Damn!, and was to appear outside on Folsom Street with his band. Out walks Jimmy, in a pink suit jacket. The man had more swagger than any rapper today that boasts his swag is all that. He sits down at the Hammond and before he went on to absolutely kill it, exclaimed: “Just so you know, this is music for black folks.” I knew that I was about to witness one of the best Jazz organists that had ever played. Although he was up there in the years, he commanded that stage like it was the early years and ran through originals and covers with the fervor of the young player that dominated the Jazz scene. He has won down beat polls, toured continuously, and was one of the greats to spearhead the organ sound of Jazz music. I knew I had a photo of the man, but didn’t know where it was, and after digging through a bunch of old photos I found it. It’s a bit blurry, I may have had a few of the Twenty Tank Brewery beers in me while watching, but don’t hold that against me.
“ Well, what’s wrong with leveling off at the top of the heap? Genius sounds like a nice plateau to stay on. ” – Jimmy Smith down beat Magazine October 15th, 1970
Although Jimmy Smith had been accused of selling out at the end of the 60′s, a la Miles Davis, he claimed that he wasn’t selling out, but merely keeping up with the younger players when he changed directions to all ballad, funky Soul Jazz, or an all Rock record. It was an already established fact that he was a genius on that organ, and his hiatus from recording things like Walk On the Wild Side, The Cat, Virginia Woolf, etc. to simply tour and also to record a record like Respect, showed other sides of the man from Norristown, PA. One side was the open mind of a man who was at the top of his game trying to broaden his horizons and be the first to dominate that sector of the genre. Do you know what? He did. Working with everyone from Quincy Jones to Sinatra to Michael Jackson in his later years, it was very obvious that his opening up the Jazz bag he had made, gave him the respect his deserved. Here’s the title track from the 1967 Verve record Respect as we pay tribute to the man, who was the epitome of cool behind that organ, influencing more Jazz organ players than anyone in the game. Here’s a quote from Mr. Smith that sums up his swagger: “I’m a Saggitarius, you know. I’ll do whatever I think is right and I don’t give a shit what others think or say. I’m a genius. I am the artist people have to respect.”
