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Roy Ayers - Ubiquity [Originals] |
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Please note this is an old page and Fly Global Music has now moved. Please follow this link and search for the entry in the new site. The above comes from the sleeve notes of Roy Ayers’ original Ubiquity album first released in 1971 and clearly, Ayres was keen on the concept of a sense of place; this was long before his collaborations with themost influential afro-jazz with musician Fela Anikulapo-Kuti (on Africa - Centre Of The World) and the classic track, ‘We All Live In Brooklyn Baby’. The music of vibe legend, vocalist, arranger, composer, producer and all round hero Ayers never goes away. This Ubiquity album was the debut of the Ubiquity concept after Ayres left LA for NY four years previously so when this album was recorded, Ayres was really finding his electric vibe feet so to speak. A quick check of the tracklisting and you’ll recognise Nat Adderly’s ‘Hummin (In The Sun)’ that got a Ayers/Edwin Birdsong arrangement (a forerunner of the jazz-funk hit ‘Everyone Loves The Sunshine’) and the underrated civil rights movement inspired of ‘Pretty Brown Skin’ (with vocals by Michelle Birdsong) with phreak out fuzzed psychedelic break. In the same groove, there’s the instrumental funker of ‘The Fuzz’ and a Edwin and Michelle Birdsong instrumental ‘Love’. A couple of great soul-jazz/acid jazz tracks that are worth a new audience along the 100mph ‘Can You Dig It?’ that also features guitarist Richie Resnicoff. Ayres’ vocals sets him apart from your tradition jazz vibraphonist but ‘I Can’t Help Myself’ is so-so R&B soul and the bonus track, ‘He Gives Us All His Love’ (a Randy Newman song from the movie Cold Turkey) that also features Roy on vocals is of note as it was previously only released as a single but it’s a such shame that it fades out so early. They bravely cover the dreadful Bacharach/David ‘Raindrops Keep Fallin’ On My Head’ that, after the safe opening, is saved with a freestyle solo, the keyboards of his long serving band member Harry Whittaker (who is still doing it, see links below), John Williams (bass) and the heavy percussion of Jumma Santos (congas) and Alphonzo ‘By All Means’ Mouzon (drums). In the early 70’s Joe Zawinul was with the Cannonball Adderley Quintet and his ‘Painted Desert’ gets the Ubiquity treatment to close this album out. This type of jazz, funk, soul and/or jazz-funk fusion was later to be at root of the Acid Jazz scene but at the time it set Ayers and his mostly ever present team of sidemen onto their commercially successful works such as the film score Coffy (that featured another long time collaborator Dee Dee Bridgewater who is still doing it, Red Earth) and the jazz-funk/disco albums No Stranger To Love, Let’s Do It and You Send Me. Inevitably he couldn’t keep up this creative pace in the early eighties but even though he was signed to a major label, he was miles ahead of most artists as he kept the rights to all his studio recordings. Which meant that back in 2004 there was the release of the “lost” tapes of the Virgin Ubiquity: Unreleased Recordings 1976-1981 that contributed to him being awarded the Gilles Peterson Worldwide Lifetime Achievement Award that year. And there’s no stopping this master vibesman even though he’s approaching his 70th birthday. Last month he was at the Jazz Cafe with his traditional New Year show playing all his classic jazz-funkers ‘Can You See Me’, ‘Everyone Loves The Sunshine’ and ‘Running Away’. Back in the day, about 1978, the Ayres and Birdsong track ‘Running Away’ was the best jazz-funk track that had to be in all the best DJs disco sets but that said, it’s about time this rarer, non-Best Of tracks got an airing so get set to fall in love with Ayres all over again with this new re-issue of the roots of Roy Ayres; very recommended. Hectic Mix nominations: Pretty Brown Skin, Love, The Fuzz, Can You Dig It? Hummin’. Reviewed: Roy Ayers - Ubiquity (Verve) Cat. No: Release date: 23rd February 2009 Note: Bill Henderson (electric piano) replaces Whitaker on 4 & 7. Links: |
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