Iron Leg: A Dedication

4 Generations of my family: Grandpop, Pop Pop, My Father, Myself circa 1973

Now I know for the most part I keep this blog on the serious side of Funk, Soul, Jazz, and Reggae, with the occasional tongue in cheek digging humor. This week was a tough one here at Flea Market Funk, as I lost my grandfather at the age of 88. He was a man who lived a hard life: he lived through the Depression, supported both his parents even as an adult, raised a family as a Bayman (crabber, clammer, lobsterman, fisherman), and taught me a lot about life, music, and what it meant to be a man. Later on in life he’d battle Alzheimer’s, and while he couldn’t remember the present, he could always tell me about his past. I’m gonna reflect today on my Pop Pop, who truly was the Iron Leg of the family. His love of music (At one time he passed on a Jr. Walker record to me), his passion for the water, and devotion to his family will always remain firmly planted in the many memories I have of the man. “There is no young, there is no old: reach out and touch the Soul.”

Please enjoy Mickey and the Soul Generation with “Iron Leg” on Maxwell Records.

Keep Diggin’!

Bobbi Humphrey - Uno Esta

Bobbi Humphrey - Uno Esta from the Blue Note 45

As I thought, the Flea Market Funk Guest Mix Series has started off with much success. In fact, COOP’s mix brought me the most traffic ever, which says a lot about the man, the mix, and the people who belong to the FMF family. Thank you for checking this collaboration out. I have 3 more mixes in the can from 3 special guests. These will drop on the next three Mondays. Up for next Monday, is an all around digger, and DJ who can rock any party. His collection of rare 45’s will make even the most seasoned digger blush. Supreme La Rock, formerly known as Mr. Supreme threw down a live mix, no do overs, as it should be done. Keep your ear out for this gem filled with dusty beats and raw drums. Until then, please enjoy Bobbi Humphrey and “Uno Esta” from 1975 on Blue Note Records.

Born in Marlin, TX in 1950, but raised in Dallas, this well known Jazz flautist has released some really great sides. Picking up the flute while she was in high school and continuing on at TSU and SMU college wise, she was discovered by Dizzy Gillespie. Gillespie convinced her to pursue her playing in New York City, where she would take his advice and start things off by winning an amateur at the Apollo Theater. This jump start would lead her to regular circuit gigs in the Big Apple, as well as some with Gillespie. Blue Note would sign her to the label in 1971,( as the first female flautist on the Blue Note roster), and she’d go on to release six long players with them, including my favorite, 1973’s Blacks and Blues, Flute In, Dig This, Live in Montreaux, Satin Doll, and Fancy Dancer. Her perfect blend of Jazz Fusion, Funk, Soul, and R & B earned her not just a place in many digger’s crates, but the nickname “The First Lady of the Flute” and numerous Billboard awards. From Blue Note she’d move over to Epic, Malaco, and finally settle on her own label, Paradise Sound. I have a sweet spot for the funky flute, and Bobbi Humphrey. I definitely celebrate her early catalog, especially the work she did with the Mizell Brothers. Humphrey has worked with Lee Morgan, Stevie Wonder (on the classic Songs in the Key of Life), the aforementioned Dizzy Gillespie, Marlena Shaw, and in the modern day on Common’s Electric Circus record.

Uno Esta comes from her 1975 Lp “Fancy Dancer”. Written by Larry Mizell, Humphrey joined forces again with a mighty Mizell, creating a Jazz Funk Fusion that will keep you moving along in your headphones while riding your bike or bumping it in your ride. The Mizells were still laying down hits (Johnny Hammond’s Shifting Gears, Blacks and Blues, Donald Byrd’s Places and Spaces) with this Spanish influenced groove (Salsa anyone?). Humphrey’s flute meshes too perfect with the keyboards and horn section, but let’s not forget those drums. Speaking of Harvey Mason Sr. on the skins, let’s not forget the stellar line up: John Rowin on guitar, Chuck Rainey on bass, Dorothy Ashby on harp, Tyree Glenn on sax, Oscar Brashear on trumpet, Craig McMullen on guitar, Fonce Mizell on trumpet, Jerry Peters on piano, Julian Priester on trombone, plus the great flute playing of Bobbi. You may be familiar, you may not be familiar with Bobbi Humphrey. She may be small in stature, but she is a giant in the Jazz sense, and has laced us with some really great sides throughout her career. Keep your eye out for this mid 70’s slice of Mizell produced goodness. Keep Diggin’!

FMF Guest Mix Series: COOP

The artist COOP and one of his amazing pieces.

Well, I’ve been talking this up for a few weeks, and since I had a really great response, I figured I would start this Guest Mix Series off a little earlier. Our first guest, if I can be honest, I’ve been a fan of for quite sometime. I was first introduced to his art in college via various Rock posters. One that really sticks in my mind was a Southern Culture on the Skids poster for the Troubadour, which portrayed a Rat Fink looking ghoul farting while simultaneously having sex with some country bumpkin girl in the back of a hot rod. I believe I was sold on COOP shortly after that. Fast forward to 2007, and imagine my surprise that an artist I admire is a fan of Flea Market Funk. Music and art go hand and hand, and I am honored to kick off the Guest Mix Series with this man. He’s got great taste in music, plus an insane knowledge and appreciation for all things that are Funky; whether it be cars, toys, photography, etc. When not creating mind blowing duotone paintings by hand, or hanging out with major league photographers taking great photos, he can be found over at Positive Ape Index giving you a peek inside his world. Here’s a nice mix from my man COOP.

1. No No No / Dawn Penn
2. Barbwire Disaster / Augustus Pablo & King Tubby
3. Kentucky Skank / Lee “Scratch” Perry & The Upsetters
4. Steppers / Scientist
5. Ital Stew / The Revolutionaries
6. Chucky No Lucky / Big Youth
7. Vigorton Two / King Stitt
8. Surfin / Ernest Ranglin
9. Throw Me Corn / Brentford All-Stars
10. Electric Shock / The Music Doctors
11. Mun-Dun-Gu / Cedric ‘Im Brooks & The Sound Dimension
12. Bionic Horn / Aggrovators Feat. King Tubby & Bunny Lee
13. Coco-Macca / Vin Gordon, Lee Perry & The Upsetters
14. K.G.’s Half Way Tree / Augustus Pablo & The Simplicity People
15. Natty Dread Dub / The Revolutionaries
16. More Scrubbing the Dub / Derrick Harriott
17. Middle East Rock / Dillinger
18. Meditation / Count Ossie
19. Ghetto Organ / Jackie Mittoo

Dig The Ghetto Organ: A Jamaican Mix Made by Coop for Flea Market Funk.

Buy COOP’s art here.

Welcome Back with Damp Diggin’

Every table was wet, but records were to be found if you dug deep.

It seems like it’s been a while since I hit the Spot. It actually has. The weather finally broke this morning, and I was up early on my way to a damp, wet, flea market that could have been a wash out. I think people were so eager to just get out, that they didn’t care about the dank feeling in the air. They just wanted to sell or buy, and for me, I needed to get my hands dirty and find some scores. Jack the Ripper beat me there first and called me with a report: water everywhere, and lots of people setting up. With some Coltrane blaring I hit the road and pulled into the Spot. As soon as I got out of the car I got bum rushed by the Meatball. “I’m now selling to the public”, he blurted out. Now selling to the public? Who were you selling shitty records to, Iran? He had some bad Disco, but a nice Black Jazz piece dangling in front of me. I passed, he wanted way, way too much for it because he saw it on E Bay for some ridiculous price. I hit up the Old Man, who had a small stash of Funk and Soul for me, plus some Jazz Lps in a crazy metal box. There was no Stinkie Steve today, but word has it he was trying to move between two tables and his big Caddy was a little too big, resulting in ripping the handle off the car and scratching the thing like it was in a Dukes of Hazzard car chase. With Steve out of the picture, I only had to deal with Eggbeard, who was, of course being himself. He was moving at a pace of a speed walker (at his age is fast, he’s old), and was lurking around the vehicle of Johnny No Change (”No Change man, sorry”). Johnny talks a good game, but sets up late. He has two (but only brought one today) kids and this wife who is always chasing them around. Bringing kids to the fleas is a tough move, and JNC has his hands full. Johnny No Change eventually set up, but I didn’t have to put up with Eggy at his table too much today. I saw the Psycho Killer casing his prey, a life size doll baby with horse hair. Rob Hell made an early appearance, but I’m sure there wasn’t enough action for him. I don’t blame him. Big Gay Joe was singing “Sunrise, Sunset” over and over, and didn’t blink an eye as I pulled out some 90’s Pete Rock produced goodness on 12″. The records were kind of scarce, but JNC, the Old Man, Big Gay Joe, and my man Wally were good to me today. JTR had to bolt so Silent G and I finished out the morning by grabbing what we could from Johnny No Change. No $3000 Psych records to be found today, much to the chagrin of certain record dealers. Speaking of Psych, Psych Dave, where are you? Call me, I need a fix.

Here’s today’s scores for those who have a scorecard:

Lps:
O’Donel Levy - Dawn of A New Day/ Groove Merchant
Phil Woods - Round Trip/ Verve
InI - Fakin Jax/ Elektra
Neil Young - Neil Young/ Reprise
Ahmad Jamal - Free Flight/ Impulse!
Kings and Queens of Soul - Various Artists/ Columbia
Ralph MCDonald - Sound of A Drum/ TK

45s:
The Sweet Inspirations - To Love Somebody/ Atlantic
Neil Diamond - Girl You’ll Be A Woman Soon/ Bang
Joe Cocker - Woman To Woman/ A&M
The Searchers - Hi Heel Sneakers/ KAPP
The Ventures - Out of Limits/ Liberty
Peggy Scott & Jo Jo Benson - Lovers Holiday/ SSS Soul
The Unifics - Court of Love/ KAPP
Donald Byrd - Change (Makes You Want to Hustle)/ Blue Note
Isley Brothers - Warpath/ T Neck
The Free Movement - I Can’t Convince My Heart/ Decca
3 Stars - Jersey Slide/ Stang
Major Lance - Everything I Need/ Osirus
King Curtis - Jump Back/ ATCO
Syl Johnson - Bout To Make Me Leave Home/ Hi

The True Face of Jack the Ripper

Keep Diggin’!

Roy Ayers Ubiquity - Everybody Loves The Sunshine

Roy Ayers Ubiquity - Everybody Loves The Sunshine from the Polydor Lp of the same name

It seems like just when a few nice days come about, I’m either working inside all day in New York City, and by the time I get to enjoy things, the weather has switched to rain. That’s the case for about the 4th week in a row, and the forecast for the weekend doesn’t look any better. I was hoping to get some digging in this upcoming weekend, but like a Magic 8 Ball would say: “All signs point to no.” There is one glimmer of hope, as my man Greg from Highland Park will be having his monthly sale on Sat. morning, so I may hit that. That being said, I’m trying to con myself into thinking the weather is good. I do not have to con myself into thinking this record is good, however. Before I jump into it, shouts to the people who have jumped aboard The FMF Guest Mix Series, also shout out to Colin over at Keeping Soul Alive, who is doing a bang up job of putting out a mix a week, and is on post 2500. Good on you Colin. Now let’s get back to business with Roy Ayers Ubiquity and “Everyone Loves the Sunshine” from 1976 on Polydor Records.

Roy Ayers was born in Los Angeles, CA in 1940. He came from a musical family, where his mother played piano, his father trombone. Although he was given some vibes mallets by Lionel Hampton at an early age, he would continue to go to public school and not get into the instrument until he was 17. It didn’t hurt that his neighbor was a young Bobby Hutcherson either. Early gigging with Chico Hamilton would lead to a stint at the famous Lighthouse in Hermosa Beach, where Herbie Mann would grab the young vibist up for six years. During that period he’s recorded on his own: Virgo Vibes, 1967; Stoned Soul Picnic, 1968, and Daddy Bug in 1969. Ayers would come into his style in these years, and eventually break off from Mann (not before recording one of my fave records: Memphis Underground with him) to form Ubiquity. This R&B/ Jazz/ Rock ensemble if you will, would be influenced by Electric Miles Davis and Herbie Hancock among others, but would also feature players such as Alphonse Mouzon, Billy Cobham, Sonny Fortune and others. He would add wah wah and fuzz tones to his vibes, and really get experimental. His relationship with Polydor Records was fruitful, scoring the soundtrack to Coffey starring Pam Grier, but his sound was about to change. Disco was just starting up, and Ayers would move along, as many artists did with the times. His fusion type stuff led to Disco influenced beats and dance floor friendly numbers. On the way as a band leader, he did put out some great stuff, including Mystic Voyage (”Life Is Just A Moment” is a favorite side of mine), “He’s Coming”, “A Tear to a Smile”, “Change Up the Groove”, “Vibrations”, “Lifeline”, “Fever”, and many others. His massive dance floor groover “Running Away” spawned from Lifeline. Roy still continued to be a trailblazer, and in 1979 went to Africa with Fela Kuti to tour, made a record together, and became even bigger. Through the 80’s Ayers would go on to form his own record label Uno Melodic, and got his career revived by guesting on the original Jazzmatazz series by Guru. (Let’s not forget the guest he also did with Jazzy Jeff and the Fresh Prince!) The man continues to be a pioneer in Jazz, Soul, R&B today.

“Everybody Loves The Sunshine” is one of Ayers most well known hits. Just because it was popular, doesn’t mean it wasn’t dope. The man was straight slick on this track people. Ayers was mixing his Funk style with some smoother R&B, and the outcome, to me, was pure heaven. Keeping it soulful, Ayers and company were moving, and pushing into another direction. While it may not have been busting down the Pop charts, it has been considered a classic. Nothing puts you in Brooklyn in the middle of a Summer heatwave and has you “Getting Down in the Sunshine” than this very side. He got some great help on this record as well: Ayers on vibraphone, vocals, electric piano, Arp synthesizer, Arp string ensemble, and percussion, Philip Woo on piano, electric piano, Arp synthesizer, and string ensemble, Doug Rhodes on drums, Chano O’Ferral on congas and percussion, and finally, the Chicas on vocals. With a stellar line up like this, he couldn’t go wrong. I’m hoping wherever you are this song has chased some rain away, or just made you feel like being in the sunshine. Keep Diggin’!

Tony Newman - Soul Thing

Tony Newman and his Boxer band mate Ollie Halsall

The label is beat but the song is pure HEAT!

Tony Newman - Soul Thing from the Parrot Records 45

As real world moves encroach on my blog world this week, I bring you a really great record, that was passed on to me many years ago from the sale box of on Larry Grogan from Funky 16 Corners. I had just started to make the serious transition from Lp and part time 45 collector to full on 45 junkie. Larry said: “You might be interested in this.” As a matter of fact, I was, and have played it out (at the inaugural Asbury Park 45 Sessions), and included part of it on the first Flea Market Funk Mix/ Podcast from last February. Before I get into this, I’d like to shout out my friend and great DJ, DJ Andy Smith. Congratulation to the King of the Document Mix Series and his missus as they celebrate the birth of their two new twins. Best of luck. Andy can be seen working doubles (of kids!) on his MySpace page and website. Here we go midweek with Tony Newman and “Soul Thing” on Parrot Records.

Richard Anthony “Tony” Newman was born in 1943 in Southampton, Hampshire England. Inspired by a combination of Bill Haley’s “Shake, Rattle, and Roll”, and Louis Belson, Newman would escape a not so great home life by playing drums. His perseverance and natural ability landed him a gig on Gene Vincent’s 1960 record “I’m Going Home”. From there he has played with as Sounds Incorporated, Jeff Beck, David Bowie, Three Man Army, T.Rex, May Blitz, Donovan, Mick Ronson, and a long list of notables. He at any time, would open up for The Beatles, and many other major league acts. Newman tells tales of opening up for the Fab Four at Shea Stadium in 1969, and for the most part was a veteran studio drummer and all around journeyman musician throughout the Rock scene. Apparently quite a character as well as a bad ass drummer, the Englishman would eventually relocate to Nashville, where he’d be involved with Crystal Gayle and the Everly Brothers and Country Music. He now resides in Las Vegas, where he still performs.

“Soul Thing” does not disappoint. A Hammond monster with a heavy drum beat provided by Newman, I can easily say that this is one of my most favorite 45’s. Newman took a cue from UK library guru Keith Mansfield on this side, and put out one of two solo efforts in his career (the other was “Hoolie Ghoolie”). There’s lots of funny coincidences about this side, Quentin Tarantino has used it in both Kill Bill and Death Proof ( it was background music before both films), also pointed out to me by a coworker as the theme song from Queen Street Gang by psych/ fuzz band Arzachel. That version was a bit slower, but there is no mistaking it’s “Soul Thing”. You can read more about this record in the old Funky 16 Corners webzine from back in the day. Another shining example of a non Funk or Soul guy laying down some funky, funky stuff. FMF recommended. Have a great one, and we’ll see you Friday. Keep Diggin’!

Freddy Robinson - Black Fox

Freddy Robinson - Black Fox from the World Pacific Jazz 45

Here we are on Monday. It was a long weekend of DJing, and I am trying to enjoy a day of sunshine finally. But before I do that, I need to get this record out there. What better way to celebrate a nice sunny day with some Bluesy Jazz Funk. I am a fan of the Blues, and I sometimes feel as if I should probably cover the genre a bit more, as artists cross over from Blues to Jazz to Funk and back again. Before we get into this slice of goodness, I wanted to say that I have another Guest DJ for the Flea Market Funk Guest DJ Series. It’s the one and only Devil Dick, who will be throwing out a specialty mix of his own. I’m not gonna give it away, but it’s supposed to be on the rare side. I’m looking forward to that one for sure. At any rate, let’s slide into a Monday morning 45, shall we? Here’s Freddy Robinson and “Black Fox”, on World Pacific Jazz Records from 1969.

Freddy Robinson was born in Memphis, TN in 1939. He grew up in Arkansas, and started playing the guitar at the age of 9. Initially he was a Bluesman, playing behind such notables as Little Walter, Willie Dixon, and Howlin’ Wolf. His biggest asset was that he could really just switch up genres, and that’s a favorite here at FMF. He could go from a Blues to a Jazz context with no problem, and is most likely one of the reasons he was able to get a variety of studio musician gigs. That ability to switch it up had him appear on Cobblestone, Checker, Queen (King subsidiary), Enterprise (Stax subsidiary), ICA, Liberty, and Checker. Besides his Blues work, he’s done records with Monk Higgins (who wrote this side), the Blossoms, aforementioned Little Walter, Louis Armstrong, Jazz Crusaders, Blue Mitchell, John Mayall, Stanley Turrentine, amongst a throng of other people. He was flexible in both bass guitar and the guitar, which of course gave him an advantage as a studio musician as well as a front man. Later on in life, he would convert to Islam and change his name to Abu Talib. World Pacific Jazz was a division of Pacific Jazz Records (after it was bought by Liberty Records), founded by Richard Bock and Roy Harte in 1952. They boasted a roster of Paul Desmond, Chet Baker, Gerry Mulligan, and Gerald Wilson, among others. Known for that cool, West Coast Jazz sound, it was later bought up by EMI.

“Black Fox”, to me is a great way to start off your week. Robinson’s guitar moves me as Grant Green or Wes Montgomery does. With the addition of the strings (Monk’s doing?) and a beautiful piano throughout, “Black Fox” is smooth and sexy. Despite not being a household name, Robinson definitely made an impact on not only the people he played with, but for himself, as a Blues/ Jazz guitar virtuoso. It always makes me happy to see a guy who can do things his own way and plow a successful path doing his own thing, on his own accord. By no means was his career a cakewalk, all artists struggled in that time period. Whether it be race relations, or just struggling to get your music accepted by a closed ears society, Robinson pushed on to have a successful career. I hope you enjoyed this side as much as I did, and until the next time, Keep Diggin’!

Outer Space Mayhem at the Lanes

Phenomemauts

the AKA’s

Maldroid

Along with the specialty nights I do at Asbury Lanes, I also DJ there when bands play. I got asked to do this show a while ago, and despite some severe back pain , I’m glad I stayed on the gig. The tour that rolled through your favorite Jersey Shore town (at one time the only Ghetto on the entire East Coast): The Phenomemauts, the AKA’s, and Maldroid,was quite a party. This eclectic trio of bands, a punk rock band sandwiched in between a “Space Surf Rock” and a some electronic party business, was too much of a good time. The smaller crowd was a bit of a damper, but the music and people there themselves, were quality. I enjoyed doing what I do, playing the Deep Funk, Soul, Reggae, and Classic Hip Hop, along with some Punk Rock and Rock breaks, and the crowd surely stuck until the end. It’s not often that I actually enjoy every band I play with, but I can honestly say that last night I did, and I wanted to give the bands a shout out. Thanks to Jerry from Maldroid, Josey and Mike from the AKA’s, and all the Phenomemauts who made my night by digging the music, and also shooting toilet paper onto the crowd with some sort of futuristic leaf blower/ gun. I will definitely spin again when you guys come though town. For those of you who are interested, check out the band links. I’m off to spin again tonight at The Brickwall, and hopefully catch up from a hectic week tomorrow. Keep Diggin’!

Music Specialists - Dynamic Pressure

Music Specialists - Dynamic Pressure from the Steady Records 45

Here we are at Friday already. I was feeling some Reggae vibes as I went through my records this week, and I decided to put this piece of organ filled Reggae hotness on the turntable. I knew it would be a challenge to get much info about it, but I felt it sat in the pile labeled “For Review” for far, far too long. Before I do, I would like to add COOP and Aaron Soma to the list of Guest Selectors in the FMF Guest DJ Series. I am really excited about this series, and like I said yesterday, as the list keeps growing, I will keep you posted on who’s on board. For now, let’s check out “Dynamic Pressure” by the Music Specialists on the Steady Records label out of Kingston, Jamaica.

This is a record that has been in my queue for quite sometime, and honestly, I have not found too much about. It’s been one of several I have dug up on the Steady Records label, which has New York City address. This record itself was recorded at one of the first record studios to start recording reggae singles in the early 1960’s, Federal Record Manufacturing Co. Ltd., on Marcus Garvey Drive, in Kingston, Jamaica. While the writers of the song really turned up no dice, the producers were a bit easier to track down. I say a bit, which means really only a bit. Jamaica is notorious for releasing hundreds upon hundreds of records a week, and there really is no “Who’s Who” of thousands upon thousands of studio cats. If I could only be so lucky. Ken Lazarus got his start as the lead singer for Byron Lee’s Dragonaires. He became a household name in the Carribean, and was known for his many popular covers. Then again, what Reggae musician do you know that didn’t have a grip full of commercial covers (most better than the original) in their repoirtoire of songs? Lazarus did have that, and eventually would change up his style later on his career, focusing on a more Rootsy approach to his music. He would arrange and produce, as he did on this record, for artists such as Ernest Ranglin, again on the Steady Records label. He’s been associated with The Blues Busters and Derrick Harriot among others. As far as Richard Khouri goes, allegedly his involvement as a producer at Federal, was his relation to Ken Khouri, the owner of the famous recording studio. He’d produce for Steady and also Trojan, and has been featured as a producer on many of the reissue Reggae comps floating around, most notably the Trojan stuff

So who were the Music Specialists? I do not know. If I had to hazard a guess, I’d say a group of studio musicians who decided to cut a disc or two on their off time. Whoever they were, they knew what was up. This piece of funky reggae can give Funky Nassau or Funky Kingston a run for their money. It may not have been the most popular of records (that I know of), but it’s a side like this that puts a smile to my face, reminding me of blazing hot Summer days on the beach, and a group of cats making music in Jamaica just to make it. I can see it now in the studio: smoking ganja, getting in the groove, and proving that they were really music specialists. Have a great weekend and Keep Diggin’!