Benny Golson:
That's Funky

Liner notes

From Whence Cometh the Funk?

When most people of today think of funk, it's a term that's generally associated with R & B stars such as George Clinton (and his Parliament/Funkadelic bands), or the Godfather of Soul, James Brown. Many people have tried over the years to define exactly what funk is. Some contend it's just a feeling that the music gives you. Others will tell you that it's based in the blues. By any count, you'd be correct with either or both answers. It's certainly a funktion inherent in the hardest swinging, in-the-pocket groove compositions written by mostly Black American musicians. It embodies the spirit and joie de vivre of Black American culture. Its energy is felt by anyone who hears it. It is happiness in perpetuity. It is infectious. Funk takes no prisoners in its demand for the listener's attention. Sometimes it's like a steamroller and its power can overwhelm the senses. Funk is also as American as apple pie. It's one of this country's greatest exports, created by the musicians from the United States and embraced by other nations and cultures.

Well before the Clinton's and Brown's of music made their presence felt during the 60's, hardbop Grandpop Horace Silver was the first to pull funk out of the closet and call it by name with his classic Opus De Funk during the 50's. In a sense, this action made it "acceptable" for this blues based sensibility to be recognized in jazz in a formal way. Silver wasn't the only voice laying down this sound, coaxing fans out of their seats to joyous romping and nodding their heads to funky rhythms. There were other architects who helped to build this brand of songs and spread the funky word. Among them is Philadephia born and bred saxophonist Benny Golson.

History will remember Golson as one of the true masters of the art form, sharing the bandstand over his career with legends the likes of Bull Moose Jackson, Art Blakey, Bobby Timmons, Lee Morgan, Lionel Hampton, Dizzy Gillespie, Curtis Fuller, Art Farmer among others. Golson's compositional skills are well documented and often imitated. Included in his body of work are funk classics such as Blues March, and Killer Joe. These tunes remain in the air at the hippest jazz stations, juke boxes, festivals and countless communities everywhere.

Golson has put together a menu of tunes that represent some of jazz funk's finest moments of the twentieth century, with musicians that complement the thrust of this project in an impeccable way. The lineup is anchored by a veteran rhythm section featuring pianist Monty Alexander, bassist Ray Bulldog Drummond and drummer Marvin Smitty Smith. On the front line, Golson is paired with fellow jazz/funk architect, Nat Adderley on trumpet. Golson reflected, "I think this album says what it's suppose to say and this was the first time that this particular group of musicians have played together. We've known each other for years but this is our maiden voyage as a band."

That's Funky is also a testament to the authors of some of funk's finest compositions. It's no wonder that this date begins with composer Kurt Weill's classic, Mack The Knife. Initially written for Three Penny Opera, the original title is Moritat. On this session, Golson and Co. give two separate treatments of the song, utilizing both names. The song is mostly associated with Louis Pops Armstrong, which is further proof that funk has a timeless appeal. Heat creates funk and this music is of the hot variety. Armstrong himself fronted important bands that called themselves The Hot Fives and The Hot Sevens. It is no coincidence that this "hot" sensibility remains a vital component of the music throughout the course of this century.

References to the 1958 edition of Art Blakey's Jazz Messengers are evident with Golson's cover of his composition Blues March which originally appeared on the date, Moanin'. Golson served as music director for that version of the Jazz Messengers. The selection, whose original intent was a nod to the early marching bands of New Orleans, serves as a perfect foil for the talents of drummer Marvin Smitty Smith, who takes full advantage of his featured role. The song starts in long meter form and transforms back into regular time. Smith exhibits both the joy and total abandon that Blakey did some thirty years ago, and also adds a subtle contemporary feel. By the way, Smitty can be found regularly commanding the drum chair in the Tonight Show house band of host/comedian Jay Leno.

That particular '58 Messenger band also featured piano legend Bobby Timmons and trumpet icon Lee Morgan. Golson covers songs written by both of this former Messenger band members. Mr. Timmons' soulful composition Moanin' and Lee Morgan's spunky and urbane invention Sidewinder are updated approaches in what Golson refers to as "money tunes." Both were big hits when originally released and the years have not tarnished their luster one iota. Check out the Caribbean heat that's worked in by Kingston, Jamaica native Monty Alexander as he provides some loping reggae licks on his "Moanin'" treatment.

Nat Adderley's Work Song was first given life through Nat's tenure during the 60's with brother Cannonball Adderley as they shared the front line of one of the most beloved small units in jazz history. The position of this favorite standard of musician and fan alike is reaffirmed by its appearance on this Arkadia release. The front line team of Golson and Adderley "lock up" and "get busy" demonstrating their moxie in their handling of this latest rendition.

Finally, Golson has taken pen to pad with a newly penned song written expressly for this project titled, Mississippi Windows. "I got the inspiration out of my experiences of one nighters on the road playing R & B with Bull Moose Jackson during the 50's," explained Golson. He continued, "We were in Mississippi when I was just an aspiring jazz musician. Those folks down there didn't want to hear a note of jazz! Then a strange thing happened to me. I found myself putting nickels in the jukeboxes listening to the tunes everyone else was listening to…and groovin'. There's a certain mystique and spirit that exists in the deep South that captured me also." Outside those Mississippi windows you'll see Mississippi mud in the landscape in this latest Golson compositional offering.

Throughout the session bassist Ray Drummonds' steady hand rounds out this seamless ball for this all-star band as he holds the bottom down with the tenacity that has earned him the monicker "Bulldog." The group's collective inside information on these gems should translate well for a new generation of jazz listeners, as well as the seasoned ear. As George Clinton once said, "Funk is its own reward." Happy groovin'!

Bobby Jackson
Music Director,
WCPN-FM - Cleveland, OH 1999

Benny Golson Comments:

Nat Adderley came to New York City from Florida with his brother Cannonball during the mid-fifties. Though they initially worked together quite extensively, Nat always had his own voice. Soon he began doing things that did not include his brother. People were becoming aware of him as a separate entity. Nat and I only worked together twice before recording this CD: once when he was a part of Woody Herman's sextet and he recommended me to fill in for one night at the now defunct Metropole Cafe located on downtown Seventh Avenue. The second time was a clinic and recording session we did at a South Florida college in 1994. The session for this CD recalls the delight of those two engagements, but it also recalls Nat's wealth of talent over the years as well. His "Work Song" continues to groove every time it's played as it did on this recording. Check it out!

This was to be the first time I would record with Monty Alexander. Though I've known him for many years, we never played together until now. This man is fantastic; he can strike up an infectious groove without notice...which he did here. Sometimes he even slipped in a bit of Reggae which, rather than interfering with the groove, enhanced it. His knowledge of oblique harmonies and chords is amazing.

Ray Drummond, who can play anything, came to the sessions not only with his bass but with something that persistently touched our hearts: his concept and choice of notes. Check him out on "Work Song."

Marvin "Smitty" Smith is somewhat of a phenomenon in that he has absolute pitch, plays many percussion instruments and can play just about anything you'd ever want to hear. Notice his versatility on this CD. He's an asset whenever he plays.

It's all of the above that makes this CD really live. Everyone brought the best of what he had and shared it with each other... for you.

Benny Golson
New York City
September 7, 1999