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Why This DJ Loves Maceo Parker (and Why You Should Too!) Most of you who subscribe know WHO Maceo is, but I imagine there are many out there who can't imagine why we would devote a whole night to Maceo Parker. To begin with, let's just say this: Maceo Parker's career represents the full spectrum of the history of funk music, and he is a musician, and a person that others should admire, imitate, and look up to. Maceo is one of those guys who is so talented that he doesn't HAVE to flaunt it. Maceo's power isn't just in his instrumental explosiveness, or his ability as a bandleader, producer, or arranger; but rather it appears as respect and dignity bestowed on his band, his fans, and the FUNK. Maceo's journey into music began at an early age, playing setbreaks for his uncle's (Bobby Butler) R&B band with brothers Melvin (drums) and Kellis (trombone) at clubs around his home in North Carolina. In 1964, looking for a new drummer, James Brown decided to sign up Melvin Parker but (this comes straight from his own autobiography) had to hire his brother Maceo to play sax also in order to get him. As it turned out, this choice would change music forever, as Maceo would infuse James music with the spark to ignite the funk. Soon after, James released "Out of Sight" featuring a Maceo sax solo. James credits "Out of Sight" as his first funk exploration, and Maceo was right there at ground zero. For the next five years Maceo toured and recorded with James Brown, infusing explosive sax solos into the Godfathers freshly developing funky beats. With James treating every band member as a drummer (the piano, guitar, bass, and even James himself worked rhythmically rather than melodically) Maceo provided the jazz sensibility with incendiary solos. At this point Maceo began what would become a lifelong journey of fusing bebop with funk; moving in all directions but always coming back to emphasize the one. James was a notoriously strict bandleader and was often accused of penurious behavior as well. In 1969, fed up with James, the band gave him an ultimatum before a show in Georgia. Not one to be threatened, James simply made some calls and hired another band (Cincinnatti's "PaceSetters" who featured the young Bootsy and Phelps Collins and Franky Kash). With the plan backfiring, Maceo, Fred Wesley and company struck out on their own, recording "Doing Their Own Thing" as Maceo and the Macks. Brown's collaboration with Bootsy produced "Sex Machine" but before long, the New JB's were just as upset with Brown as the old ones had been. Soon Maceo and company were back with James, releasing several more albums as "the JB's" "the Macks" and "all the King's Men." By 1976 though, Maceo, Fred Wesley, and Pee Wee Ellis (the Horny Horns) again decided to leave James camp and join up with the people who had replaced them in 1970, Bootsy and Company. With the addition of the Horny Horns, Bootsy's Rubber Band took on new life. Combining Bootsy's raw talent, with the arranging skill of Parker and Wesley was a volitile concoction. Add to this the presence of George Clinton and Funkadelic stalwarts like Eddie Hazel and Bernie Worrell, and you have a creative pool of historic proportions. For several years, Maceo toured with and recorded with Bootsy's Rubber Band, and Parliament-Funkadelic, adding his unique sound to some of funk's greatest records including "Mothership Connection," "Stretchin' Out" and "Funkentelechy..." During these years, Maceo, Fred, Bootsy, George, Eddie, Bernie, and company took funk from its greasy soul roots and psychedelized it, spaced it out, and in some cases cleaned it up (less noise, more focus on the beat) laying the groundwork for disco. However, when disco came along, all of the truefunk artists were forced to adapt, or disappear. Thus, Maceo recorded with a number of different artists, including James Brown, staying with the Godfather until James went to jail. There are those who say that everything happens for a reason, and if you see it that way, perhaps the reason James Brown was unjustly convicted and sent to jail in 1988 qas so that Maceo could put a band together. Maceo may have had his differences with James over the years, but he put it all aside and assembled a band of former JB's to record the EP "Let Him Out" and draw public support for James' release. Without the bandleader, Maceo, Fred and company looked inward for leadership and began to develop their OWN chapter in funk. In 1990/91, Maceo and company released "Roots Revisited" and "Mo Roots" and began a touring schedule reminiscent of James' own. With no "front man" to dominate the scene, their live shows celebrated the musicians themselves, and encouraged fan involvement (to sing the parts that James would have). Unlike Brown, Parker treated his fellow musicians as equals and was thus able to attract the top funk talent to not only join him, but to stay on. In 1993 Maceo released "Life on Planet Groove" a live album recorded in Europe that captured their live show in all its funky brilliance. 1993 also brought the glorious "Southern Exposure" which featured collaborations with New Orleans legends like George Porter and the Rebirth Brass Band. Throughout the 1990's Maceo was a man in constant motion, touring with his own band, and recording with Fred, Bootsy, George, and even Perry Ferrell (check out "My Cat's Name is Maceo"). In 1998 Maceo released "Funk Overload" under his OWN label. With complete creative control and complete artistic freedom, "Funk Overload" stomped on those who felt that funk was dead, with several dinosaur funk tracks. He would follow up with "DIAL Maceo" in 2000, a less explosive but no less expressive recording. This past year Maceo celebrated the JB's reunion at the Experience Music project in Seattle with all of the old gang. He also proudly welcomed his son Cory Parker to the touring band as a backup singer and rapper. Though controversial (See below) the addition of Cory Parker completes the generational cycle of funk that began in the 50's with Maceo's uncle. Today, Maceo and company tour the world bringing funk music to all who have an ass to shake and a smile to spread. His band is made up of some of funk's most able musicians, including Bruno Speight, Ron Tooley and Rodney Curtis (all P-Funk veterans), "Sweet" Charles Sherrell ,(the Jb's bass player before Bootsy) Martha "Miss" High (the JB's) and the stealthily funky Will Boulware on organ. Maceo is definitely the "star" but doesn't have "Star-syndrome" rather sharing the spotlight, and allowing each band member a chance to shine within a coherent hole that's as tight as any band James put together. The Maceo show is a reflection of this great man's experience, demonstrating the value of solos (his years as James' catalyst) but not to the expense of the overall groove. Towards the beginnging of every show, Maceo says "Everything from This Point on Shall Be Fun-Key!" and from that point, one can expect a good 2-4 hours of non-stop funk. Maceo will be playing the Fillmore during this visit so (unlike that terrible Maritime show) we can expect a loose dancefloor, great sound, and minimum hassle. In other words, "a funky good time." Editor's Head: The Great Cory Controversy: I have to say that I have only rarely come across a funk figure as controversial as Maceo's son Cory Parker. I have heard some really awful things said about him and usually they go something like "He's so overt and his rap vibe doesn't fit with Maceo.... yadda yadda yadda...." I want to lend a few thoughts here to those of you heading to the show because I have a different perspective that you may wish to consider. Never mind the simple fact that after 30 years of funk Maceo has earned the right to share the stage with his son, or anyone else he chooses, because this fact is irrelevent to some more important issues. I agree that Cory's act is an overt one, and especially at their High Sierra appearance in 1996, he was somewhat of a contrast to the rest of the band. What has happened since then though is that Cory has become less of a separate identity, and more of a PART of the band, working as a backup singer and only occasionally rapping. Furthermore, what many serious funkateers may not consider is that Maceo plays 285 nights every year and that most of them are not in front of hardcore educated funksters like you all. Often, in places where the audience is younger, or in places where funk is just a sample, I imagine that Cory Parker's rapping is an extremely important part of the show, allowing the band to connect with a younger audience (in much the same way George Clinton's rapping sections sprinkle throughout P-Funk shows). Now about his "overtness" and seeming "cockiness" that "doesn't fit in" I actually had the opportunity to meet Cory Parker and speak with him about this a few years ago while watching Karl Denson and Fred Wesley at the Music Hall. First of all, one thing you must understand is that the stage "persona" is just that " a stage persona" and that the real Cory Parker was warm, soft-spoken, extremely knowledgable about music, and realistic about his contrbiutions. Cory's overt male libido is as much a "part of the act" as "Sir Nose" with P-Funk or the Cape Routine with James Brown. Cory feels that in a band with such instrumental superstars, he must give as explosive a performance as he can to honor them. He is overt, and aggressive because to do anything less (ie: act subdued) would be lying to the band, the fans, and himself. His act is a modern contrast to the dressed up funk of his father and a personification of the fact that hip hop is...just funk. So if, this time, you look at it in this light, I think even the more cynical of you will begin to enjoy Cory's contribution. Please, open your mind, give the man another chance and see what you think. Feel free to email me with your comments before or after the show as I am curious to hear your thoughts on the "Cory Controversy." |
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