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The Real Funk + Nothing But The Funkby Rawn RandallOne of the most effective tools for learning a particular style of music is to listen to the 'cream' of that particular genre. I have compiled a list called the 'Top 10 Required Listening for Funk'. A list limited by only 10, is bound to have great omissions. My most sincere apologies to Prince, James Brown, Earth Wind and Fire, Parliment/Funkadelic, Bela Fleck and the Flecktones, Jaco Pastorius, Ohio Players, Tower of Power etc. These artists all belong in the Top 10. In truth there are about 100 albums in the Top 10! The list encapsulates both traditional finger and slap style funk. I have indicated which style is emphasized on each record. In some cases, both finger, and slap are employed equally. A distinction can also be made between Jazz/Fusion Funk and Soul/R-N-B Funk. The biggest difference, is that R-N-B Funk usually has vocals while Fusion Funk has the melody carried by an instrument (not always by the bass, but in some cases) and more solos. I have tried to give an equal sampling of each in the list. The time line spans from 1970 to 2003. LARRY GRAHAM, the father of slap bass, is represented on the 'Greatest Hits' of Sly and the Family Stone. Not all bandleaders on the list are bassists. MARCUS MILLER is on the list on two separate albums. I have had the pleasure of interfacing with Mr. Miller for the past few years and I'll share some interesting insights possibly in a future article. I have notated the drummers as well as the bassists because of the unique way that each tandem interacts with each other. It is very important for the drummer to create the correct pocket for the bassists. Notice how Poogie Bell sets MARCUS MILLER up and leaves him tons of space for his percussive slap solos. The same can be said of Phil Gould of Level 42. He does a great job of staying out of the way of a very 'notey' MARK KING. Also of special interest is the role of the bass synth holding down the bottom while the bassist solos away. MARCUS MILLER'S 'Ozell Tapes' gives us a clear example of big bottom bass synth support. Another key to highlight is how one drummer interacts with different bassists and vice-versa. On 'School Days' , STANLEY CLARKE is working with three very different drummers. Listen how each drummer has a particular style and how Stanley weaves his craft between them. On 'Outbreak', by drummer Dennis Chambers, bassists WILL LEE and GARY WILLIS show how their very different styles work with a 'busy' drummer. While the list is not composed in any particular order, these 10 albums are what I consider to be the most influential albums to my own playing and what I recommend that my students listen to. Let me repeat, another set of 10 could be considered equally valid. Pay special attention to ME'SHELL N'DEGEOCELLO's 'Plantation Lullabies'. She is the youngest bassist on the list, and perhaps you can hear how she has been influenced by some of the other 'masters' on this list such as PAUL JACKSON and LARRY GRAHAM. Top 10 Required Listening: 01) Me'shell N'degeocello - Plantation Lullabies 1993 (f) (r/f) 02) Stanley Clarke - School Days 1976 (b) (f/f) 03) Level 42 - World Machine 1985 (s) (r/f) 04) Brother Johnson - Look Out for Number 1 1976 (s) (r/f) 05) Marcus Miller - The Ozell Tapes 2002 (s) (f/f) 06) Sly and the Family Stone - Greatest Hits 1970 (s) (r/f) 07) John Scofield - Blue Matter 1986 (s) (f/f) 08) Miles Davis - Live in Japan 1981(b) (f/f) 09) Herbie Hancock - Headhunters 1973 (f) (f/f) 10) Dennis Chambers - Outbreak 2003 (f) (f/f) f - finger |
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