And it actually starts out just as the disco era had peaked. So here is the first ones of this semi regular aspect of this feature. It was about a year or so ago that I started collecting these 12″ inch extended/remix singles again. And actually started in it with DJ’s playing the records for dancers as opposed to live bands. With their extended,often remixed versions of the original album versions,the 12″ inch single is a format that derived from the disco era. Upon starting this new feature on Andresmusictalk, the subject of 12″ inch singles was something that was always intending to be covered. And this unsung album cut is a shining light for Santana’s funkier grooves. And the funk genre made that ethic it’s strongest emphasis. Santana’s funkiness seems to come from him always favoring a highly collective style of instrumental band style.
![the badness jeff lorber fusion the badness jeff lorber fusion](https://i.ytimg.com/vi/vhHQesuIu_A/maxresdefault.jpg)
Coster really takes off on this song-both on Fender Rhodes and Clavinet electric pianos accompanying Greg Walker’s lead vocals. Written by the songs drummer and Leon Ndugu Chancler and it’s keyboardist Tom Coster,this song really showcases Carlos Santana’s presence as a bandleader and inspiration more than a soloing instrumentalist. After a second refrain and chorus,an increasingly intense improvisational Rhodes solo takes over the song even as the female choir vocal end of the refrain fades out the song. The second part is built around a lively Afro Brazilian rhythm and female choir vocals. One contains a massively funky drum with an equally funky Clavinet solo. David Brown’s bass then leads the congas and percussion along with the same two note Rhodes solo through the remainder of the refrain. One such song of this style that keeps growing on me all the time is called “Tell me Are You Tired”.Ī processed Fender Rhodes two note scale,separated by a cymbal crash,begin the song. This year marks the 40th anniversary of the bands album Amigos, which emphasized their new jazz funk sound most prominently. His interest in jazz extended into funk,always an aspect of Santana’s sound too. Starting out as major players on the Bay Area psychedelic rock scene in San Francisco,Carlos was doing more playing with musicians such as John McLaughlin and Alice Coltrane.
![the badness jeff lorber fusion the badness jeff lorber fusion](http://www.smooth-jazz.de/firstview/JeffLorberFusion/JLF.png)
Yet the framework’s that sound settles into are always expanding with new developments in recorded music.ĭuring the transition from the early to mid 1970’s,the Santana band itself was was going through one such transition. His percussion heavy Latin sound has remained intact for all of them. Like many jazz musicians,Santana’s music has evolved across a number of distinct periods. One that’s not related to him having one of the most distinctive guitar tones of the last four decades. From his upbringing in Mexico to being the band leader of Santana,his 69th birthday today is an excellent to point out one of the qualities that likely led to his longevity as a musician. Prototype is the tenth studio album by Jeff Lorber, was released on Maby Shanachie Records, featuring Chuck Loeb, Nathan East, Gary Novak, Jimmy Haslip, Andy Snitzer and more!, includes the hits "The Badness", and "Hyperdrive".Carlos Santana’s recording career has now spanned 46 years. Michael Thompson: Guitar on Tracks: 3, 4, 6-10ĭave Mann: Horn Arrangement, Performance on Tracks: 1-4, 6, 7, 9, 10 Paul Jackson Jr.: Rhythm Guitar on Tracks: 1, 7 Jeff Lorber: Keyboards, Synth Bass, GuitarĪndy Snitzer: Alto Saxophone on Tracks: 1-3, 6-9, Tenor Saxophone on Tracks: 4, 5, Soprano Saxophone on Tracks: 8, 10 Genre: Jazz, Jazz Fusion, Smooth Jazz, Crossover Jazz, Jazz Pop