Curtis Mayfield and Johnny Pate: A Critical Component of Brilliant Chicago Soul

I have come to the realization that I prefer Curtis Mayfield's work with The Impressions over his solo career because his 1960s output with The Impressions (as well as songs he wrote for other Chicago-based artists in the 1960s) featured orchestral arrangements by jazz bassist Johnny Pate. Pate, coming out of the jazz tradition, brought in jazz-based and popular music's hornfare, percussion styles (swinging drums, etc.) and tight, well-organized orchestral arrangements that emphasized an independent Chicago style, despite overall similarities to Motown's formula for success: funky or soulful lyrics and basslines, strings, horns, and pronounced rhythms in the backbeat. The successful fusion of Mayfield's songwriting and guitar lines (which definitely introduced rocksteady and reggae artists in the 1960s, who would similarly play chicken scratch and bluesy, melodic fills as rhythm guitarists for reggae groups in the 1960s and 1970s) with Pate's arrangements fused jazz, popular music, gospel, doo wop, soul, and blues for a compellingly simple, highly melodious style of Chicago soul that, like Motown, which grew from the same stew, remains timeless. Solo Mayfield focuses on funk with some jazzy funk soloing in saxophones and his own guitar style, but the vocal talent, drum rolls and swinging percussion shuffling with full orchestral accompaniment perfectly added an uplifting, majestic quality to Mayfield's compositions. For those reasons, the best of The Impressions for me invariably includes those songs best exemplifying the aforementioned qualities I see as arising from the influence of Pate's arrangements and Mayfield's songwriting. Enjoy the following songs, which in my opinion best illustrate that. Check out this video where Johnny Pate appears in the beginning discussing Mayfield's political work. And here for an example of Pate's work with a jazz group.

Long, Long Winter Mayfield's adorable melodic rhythmic guitar leads the song with appropriate brass from Pates, which adds an uplifting, agreeable tone to a song about a horrible love experience with a metaphor of a long winter. "Now that she's gone the days are not all it seems, My girl is gone from me, and my  heart's in misery, and it's a long, long winter for me." The drummer is on point throughout, though the video unfortunately ends too early. Bob Marley and the Wailers later covered this song but without the backing orchestra suffers in comparison.

It's All Over This song is a great example since the drum rolls, heavy bass, and what may be a violin and other strings adds that just necessary heavenly quality of multi-textured layers of sound to accompany Mayfield's lead vocals. The hornfare that plays call and response with itself is pure delight. "All the happiness we shared, but with her, it was like a shield, that has been plunged into the ground, so wide I cannot get around, that I got to explain, it's all over now."

I've Been Trying is a slow ballad about love that features the same winning combination. Mayfield's guitar plays a more prominent role here, while the horns and arrangement play call and response with Mayfield's and the the rest of the group's vocalization. "I've been trying to understand why, can I be your only man. Keep on trying" only serves to show off Mayfield's falsetto and additional vocalization. Lyrical beauty right here.

They Don't Know suffers from a masculinist discourse that plagued black nationalism, naming every sister as a "breeder." Nevertheless, it's funky, features lots of soul horn accompaniment, and a falsetto of Mayfield leading vocals. This suggests his later solo material through its fusion of socially conscious lyrics with funk. However, the necessary hornfare and strings emphasizes the song's Chicago soul debts to funky, jazz-inspired horns. At times it sounds like blues-soul legend Syl Johnson's "Different Strokes," which is a good thing, trust me. Intriguingly, Johnson also recorded some black uplift-oriented soul and funk, too, such as "Is It Because I'm Black?"

Miss Black America features a jazz introduction while a father talking to his daughter hears the latter say she wants to be Miss Black America when she grows up. Though released on Curtis's solo album, Curtis, the horns, strings, and vocals resemble his earlier work with Johnny Pates and other Chicago soul artists, such as The Impressions. Indeed, this is a good bridge connecting 1960s Mayfield with the Mayfield of the 1970s. The instrumental hornfare section also recalls Pates' arrangements, while Mayfield sings pro-black women lyrics. "Miss Black America, Miss Black America, we're so proud of you, Miss Black America, Miss Black America..." I don't think Pates played a role in this song, but perhaps I am wrong.

We're In Love Those drums, those horns, and Mayfield's guitar! "Cause we're in love, we're in love!" "When I saw her life come down so easy, she's so wonderful, I'm going to keep her no matter what come may."

Woman's Got Soul features Mayfield's guitar licks, moving harmony, and bursts of horn. Joe Williams later covered this with a jazz orchestra backing him, but it pales in comparison to Mayfield's voice, the back-up vocals from the rest of The Impressions, and this specific arrangement. "Now the woman that I hold, she's got to have soul..."

Don't Let It Hide  is my favorite Impressions jam, featuring lots of brass, great lyrics, and propulsive drums. "When you kiss me thrills go down my back, but I got a feeling that it's just an act." The brass is reminiscent of other songs, such as The Impressions' version of "Amen," but the horn accompaniment expertly emphasizes the song's message while the drums retain the funk. "Don't let it hide, don't let it hide, don't let it hide"

 Somebody Help Me is the only direct, obvious blues that I've ever heard from The Impressions. The bluesy guitar and vocals are well-matched by an at times overly loud horn section, but overall Mayfield's blues chops are admirable. That bass keeps everything in check while the horns sound like the typical jazz blues, until Mayfield plays a little solo on guitar. Lest we forget, The Impressions came from Chicago and that was the land of the blues and Chess, a famous blues-based recording label. "Somebody help me get out of this mood, somebody help me get out of this mood." Perhaps as a slightly extended piece with more room for additional instrumental solos then this would be even better.

 Um Um Um Um Um Um by Major Lance was composed by Mayfield and features Johnny Pates arranging, too. In contrast to most of Mayfield's work with The Impressions, a strong "Latin-tinge" is evident here, as well as in "Monkey Time." We have the winning combo of horns, percussion, gorgeous melody, and vocal talent for a work of triumph. The second song, "Monkey Time," features even more prominent horns and Curtis himself on background vocals. The Latin-tinge remains present but the drum rolls and swinging shuffle meshes with the orchestral arrangement. The "monkey time" refers to a dance, so this is one of those timeless R&B dance instruction songs. "Little Girl" also features Mayfield's vocals and songwriting talents, with likewise pronounced brass. " Pleae let me have a chance with you, I like to do the monkey, too!" An interesting disco version with violins and funky drumming by Linda Clifford is of interest, too.

Billy Butler's "Found True Love" epitomizes Chicago soul and Curtis Mayfield, too! The drummer swings, the orchestral jabs and shouts its brass into the song while the back-up vocalists are beautiful. Apparently this was co-wrote by Mayfield and Butler himself, and Butler is Jerry Butler's brother.

You'll Want Me Back by The Impressions features ethereal organ-playing, rolling, march-like drums, and a full orchestral while Mayfield sings lead. When those horns blow in and the chorus evokes Smokey Robinson's "You Really Got a Hold On Me" I go crazy. They're humming is on point and the organ solo is surprisingly tolerable with the complex sheets of sound created by the band. "Run on, baby, you're gonna cry, cry, cry, cry on, baby, but it's too late..."

Just Another Dance is another gem of Chicago soul with brilliant orchestral arrangement and Mayfield's irresistible falsetto. This is why I love The Impressions-era Mayfield more than his solo period, just as I prefer pre-afrobeat Fela Kuta over full-blown afrobeat Fela. The harmonization, exquisite melodies, and ochestral and jazzy arrangements and styles move me in a deeper way than funk can.

Gene Chandler's "Nothing Can Stop Me" is priceless Mayfield soul featuring great jazzy horn accompaniment. Like Ray Charles' soul music, the jazz influence in the horn section is great, though the rest of this song sounds like it could be a Motown release. "Please don't go, that's what they'll be saying, please don't go, well, I'm not playing." Beautiful, rolling drums, deceptively simple strings, and a propulsive rhythm reminds me of "Talkin' Bout My Baby," though the chorus here is not as strong.

Let It Be Me is straight-up doo wop with shuffling drums, intermittent horns, and the vocal caresses of Mayfield ("without your sweet love, what would life be?"). Though comparatively tame in terms of a sparser orchestral arrangement to highlight the vocals, the guitar of Mayfield gets a little time in.

"Emotions" just has a dark atmosphere where the horn arrangement perfectly captures. The drummer likewise contributes brilliantly to an outburst of emotional, burden-heavy heartbroken love. "Please let me cry..."

It's Alright is just built on the rolling drums and horns, whilst the skeletal licks of Mayfield provide a rhythmic foundation, too. Beautiful lyrics, danceable, soulful, and featuring brief blasts of brass, as well as moving handclaps, "It's Alright" is one of their top hits for a reason. The best good-time soul jam: "It's all right, have a good time Cause it's all right, whoa, it's all right." Again, Johnny Pates keeps it together.

I'm the One Who Loves You I am not quite sure what the drummer is doing here, but it's catchy, as well the chiming sound going off in the song. The drummer sounds like they're going at it, though, and the harmonizing by the group is brilliant. "I'm the one who loves you, I'm the one who loves, love me!"

Gypsy Woman My favorite version of a Mayfield original, the castanets, harmonization, marching drums, and light touch in the horns allows for Mayfield and the other singers' voices to sound more majestic and grand than usual, particularly the back-up vocalists. "She was a Gypsy woman, she was a Gypsy woman..."

I Need You "I don't wanna be happy with somebody else, when I know in my mind I'd be wasting her time, no need in fooling myself. And if you don't love me, why be concerned about the life I lead?" I love this, "I guess I'm just a stubborn fool, kinda hard-headed like a mule, but how do I love someone else when I need you, when I need you!" Amazing drums, appropriately grand horn sections, and Mayfield's unique guitar picking keeps this moving gem going. "And I guess I could be happy, that is if I was another man, but I need you, I need you, I need you. And I guess I'm just a stubborn fool, kinda hard-headed like a mule, but how do I love someone else when I need you, when I need you, when I need you!"

You've Been Cheating just screams Motown in the string arrangement and drums, but works well for The Impressions. The string arrangement sounds regal, the piano riff and undeniably moving drums fuse with the brass for a catchy rejoinder to the woman cheating on Mayfield. Another classic collaboration between Pates and Mayfield.

I'm Still Waiting Has that mellow beat, Mayfield guitar licks, harmonizing, light strings, and straight-ahead drumming with occasional rolls. The drummer makes things more interesting while the piano or keyboard adds depth to the piece in its occasional interjections in the chorus, though Mayfield's guitar maintains its central role. "I'm still waiting, and I'm here ready or not, wooo..." Plus belle, plus belle. Pattie LaBelle and the Bluebelles also recorded a cover, though more solidly grounded in the Philadelphia style with overdone strings, but nice to hear. In contrast to Mayfield's version, it soungs overly elegant and overdone, whereas Mayfield and Pates accomplished a more earthy feel without the glitz and schmaltz.

I Gotta Keep Moving (jazzy, horns, etc.) just has the blaring horns, swinging rhythms, soaring vocals, and prominent bass I need. I like to interpret this song as being about a man fleeing a lynching, or perhaps, if you will, even a runaway male slave who makes the decision to continue fleeing minus his wife and two sons. Bob Marley and the Wailers covered this beautiful song that, despite the serious and grave lyrical content, contains a message of uplift and perhaps latent social commentary on the concurrent Civil Rights Movement. Either way, it's quite beautiful and a great example of Mayfield and Pates collaboration as a bedrock of Chicago soul.

People Get Ready is truly timeless gospel-tinged piece with light orchestral accompaniment to the simple, civil rights, black pride spiritual uplift. Forever immortalized by Bob Marley's interpolation of the song's melody and lyrics for "One Love" "Is there a place for the hopeless sinner who would hurt all mankind just to save his own?" Those strings know their proper background role, just lightly adding another layer of complexity to Mayfield's guitar and the vocalists. "You don't need no tickets, you  just thank the Lord."

We're a Winner has that gospel-tinged sound that I love from Mayfield, with a gospel-laced piano vamp. The drummer plays some funky beats, Mayfield's guitar skills also hint at his future funk-oriented compositions, and the the orchestral arrangement seamlessly contributes to the empowering black anthem. "We just gonna move on up, Lord have mercy, we're moving on up, we just keep on pushing, we're a winner, oh baby, everybody, we're moving on up, we're a winner!" Not particularly jazz-influenced as other works, I am also unaware if Pates played a role in this one. The strings know their proper place, for momentary accompaniment and accenting of the generally funky piece, courtesy of Johnny Pates.

Keep On Pushing this version is particularly jazzy in its swing, horns, and the strings suggest moral righteousness, as well as the pianist. The soulful, jazzy refined sound obviously played well with the lyrics, offering spiritual and musical support for the Civil Rights Movement to "keep on pushing" for full equality and human dignity. "A great big stone wall stands there ahead of me, but I've got my pride, and I really want to say, keep on pushing. Halleluiah, Halleluiah, keep on pushing, keep on pushing. This is the version I am most accustomed to, which lacks the same sound, but again retains jazzy drumming, some brass, and Mayfield's spiritually-minded guitar lines. Such a beautiful song, "Keep on pushing!"

Talkin' About My Baby  is Mayfield at his best, playing melodic guitar licks while leading the vocal group. Meanwhile, Johnny Pates' arranged horn accompaniment is danceable, funky, and plays in response to the vocalists. It gives the tune a bouncy, classic status while sounding almost folksy or like gospel music. "I wanna talk about my baby, with her pretty smile, she's about to drive me crazy, makes my heart beat wild!" Mayfield's guitar licks just screams later styles of reggae rhythm guitar, no doubt largely due to the influence of the spectacular harmonies and sounds of Mayfield and The Impressions for Jamaican audiences in the 1960s. "When she walks that walk, I can't help but feel she's for real...talkin' about my baby."

Man Oh Man is the typical romantic fare of Mayfield's compositions with appropriately light orchestral arrangements by Pates, exploding in the chorus ("I wanna go there, again and again...) with loud horns. RIP Curtis Mayfield, and thank you, Pates, for your talent, too.