Movin' On Up: The Music and Message of Curtis Mayfield

I finally watched this documentary about the life and contributions to music and society by Curtis Mayfield and The Impressions. It was a beautiful tribute to the life of a genius who ended his life paralyzed yet still writing music. The documentary included extensive interviews with several key people in Mayfield's life and music, from his wife and the remaining members of The Impressions (Cash and Gooden) to Johnny Pate and other musical legends, such as Carlos Santana and Chuck D. One prominent civil rights leader actually compares the music of Curtis and The Impressions to that of a spiritual force equivalent to Martin Luther King! I, though very biased as as well-known lover of The Impressions, am inclined to agree. Their music was and is uplifting, encouraging, spiritual, drenched in the ethos of the Black Freedom Struggle but timeless. Unfortunately, I do not recall Jerry Butler being an interviewee in this documentary, though his input on the early years of The Impressions and other aspects of Curtis's life would have been interesting.

Anyway, I learned from this documentary that the reason Curtis joined with The Impressions was because Jerry Butler said the group needed someone who could play an instrument to practice and rehearse with the vocal group. As a guitarist, Mayfield was perfect for the role. Fortunately, lengthy interviews with Johnny Pate reveal some additional facts around the The Impressions. Pate, much like in my extensive post on his impact on the sound of The Impressions, states his primary role was to emphasize and back-up Mayfield and The Impressions, which included jazz and pop arrangements with orchestras and string sections occasionally, but never to overpower Mayfield's voice (as well as enhancing their voices more generally). He also reminded me of the admirable falsetto of The Impressions, best exemplified on songs like "I Need You." Those guys really could sing high, and as an occasional singer myself, I know how difficult that can be.

Pate also revealed his love for "Woman's Got Soul," a jazzy song I have also blogged about. "People Get Ready" and numerous other hits and gems of The Impressions appear in the documentary, as live performances (such as a somewhat cheesy but interesting live TV show rendition of "People Get Ready" featuring The Impressions on a boat with groups of other ships following) or back stories. For instance, the original "We're a Winner" featured explicit lyrics alluding to the death of Uncle Tom, but of course no record label would distribute it so Mayfield changed the lyrics. Mayfield did not have to be that explicit anyway, the intent and meaning of the lyrics were obvious, or at least obvious enough for the song to face difficulties getting radio airplay. According to the members of the group, it was quite a battle to get "Choice of Colors" recorded, too, given its black and proud lyrical content. Unfortunately, or perhaps for the betterment of his career, Mayfield left The Impressions to focus on his solo career and multiple side projects in the 1970s, which is when I stop listening to the group.

Besides his music's lyrical content and gradual shift in the 1960s from more of the soul and pop sounds with slight jazz touches or gospel traditions, Mayfield's quick embrace of funk, black empowerment, and the 1970s milieu of soul and Black Power reveal his flexibility and ability to bridge the gap between the older generation of civil rights activism to something that would appeal to the more youthful aesthetics of pro-blackness (natural hairstyles, anti-colorist, pro-black self-ownership). Yet through it all, Mayfield remained an integrationist, with the hopes and ideals of the 1960s leading to his proud claims in "This Is My Country," asserting blacks' central role and contributions to the US while avoiding some fringe forms of black cultural nationalism that aimed to reorient African-American identity to Africa. By singing "we people who are darker than blue," which really had some resonance with his childhood experiences as the butt of jokes and insults because of the color of his skin, Mayfield also called for black unity among the black, brown and yellow, too.

Even when expressing disillusionment with the state of race relations ("If There's a Hell Below"), Mayfield still penned songs about the need for peace, maintaining hope, or spiritually uplifting music (or funkified versions of his earlier songs with The Impressions about love, unity across racial lines ("Mighty Mighty"), and the inequities and destruction of the proliferation of drugs in urban communities (though Super Fly and other blaxploitation flicks mostly glamorized the 'street life') in some of his other work. Intriguingly, Pate actually considered many of the songs on Super Fly to be quasi-rapping, another sign of Mayfield's relevance to the times he lived in and future generations of music, since he would be sampled often in hip-hop, too.

Indeed, Mayfield's passion for what he calls owning himself led to him running his own publishing company, record label (Curtom), writing soundtracks (Super Fly is the best-known), and, at the same time, recognizing when he needed a break. His wife, children, family, musical interests, and music career became, at a point, too demanding and difficult to balance for a man who wanted to, at the end of the day, be there with and for his family. Of course, he still made music, and even after the accident that paralyzed him at a show in Brooklyn, Mayfield wrote music, hosted visitors such as Chuck D, so to the end of his days, I like to think he did own himself more than most of us ever will. And though such a sentiment of 'self-ownership' could be seen as relic of some conservative strands in black political thought (I'm looking at your, Booker T. Washington and Marcus Garvey), I prefer to see Mayfield's stance beyond class or economic interests, but a much broader moral question of owning your own time, life, and taking responsibility for your decisions. This could mean a degree of personal autonomy, but really just a much broader question of determining and having the power to decide what you want to do with your life and not having your time and life schedule decided by others. As descendants of slaves and oppressed people with limited options set out for them, it makes perfect since for black folk to want that degree of collective freedom.

Rest in peace, Curtis, your life and music will forever live on. The documentary was put together quite well and some of the live footage of performances are priceless. May the music of The Impressions never die, nor shall its zeitgeist of that elusive goal of a freer world. "Keep on pushing!"

Mayfield's I Loved and I Lost

This leaves me breathless. Beautiful, heart-aching, poignant, well-arranged by Johnny Pate, and featuring Mayfield and the rest of The Impressions singing their best. Mayfield's falsetto on "I loved and I lost" is also among his best vocal chops I have heard so far. "She was so beautiful, like flowers full bloom in May. Her kiss was like the roaring wind, it left me speechless with nothing to say, no, no, no." And the way the song concludes! Those crying horns match Mayfield's despondent voice! 

Curtis Mayfield's Woman's Got Soul

http://soultrain.com/2013/03/05/curtis-mayfield-a-pioneer-in-socially-conscious-music/

1. Jerry Butler sings a great version of "Woman's Got Soul" I had never heard before. It's very similar to the version by The Impressions, with similar syncopation and rhythm guitar but featuring a seemingly more pronounced deeper voice for the horns, a faster tempo, and a loud and proud pianist coming out of the blues and jazz tradition. Butler's approach to the song's lyrics are appropriately 'on point' in terms of emphasizing the same parts of the song Mayfield and The Impressions do, but with his deeper voice and immense gravity instead of Mayfield's falsetto, the song sounds much more forceful and yet weak in Butler's melismatic approach. It's almost as if the protagonist of the song is so giddy his voice falters a bit and his nervousness brings him back down to Earth.

2. Joe Williams has a baritone, but it all works with the jazzy orchestral arrangement of Mayfield's tune. I have written a review of the album on which Williams recorded "Woman With Soul," accessible here. He comes from the 'blues shouter' and jazz traditions, and it all works because, as mentioned previously in my other post on the relationship between jazz and soul in the collaborations of Mayfield and Pate. To be honest, as a sucker for jazz, the swinging drums and big band orchestration that is even 'jazzier' than the Mayfield original, makes this one of my favorite performances of "Woman's Got Soul." Listen to those horns, who could resist? And through it all, Williams miraculously manages to retain his dominance in the musical layers established by the large band.

3. The Cherokees also recorded a version, and honestly, I never heard of them before. They're a 1960s rock band, from Australia or the UK, and I am less fond of their guitar-driven rock cover and their almost dull singing. It's unfortunately true, in so much of the rock music from this era, rock musicians tended to lack the vocal styles and chops that were almost essential in soul. Their approach on the rhythm of the song is where things are more interesting, due to the almost 'garage' rock sound of the band. It's folksy or garage-like in its simplicity and clearly a product of rock percussion rather than the jazz swing of Williams. Nevertheless, those rocking drums combined with the guitar outro, is moving and dance-worthy. This song serves as a powerful reminder of the dialogue between rock/pop and 'black' genres of music in the 1960s. Everyone was singing each other's music and influences flowed both ways.

4. The Impressions (with Curtis Mayfield) features Mayfield on guitar, which probably explains some of the similarities between this version and Butler's. It lacks the same strolling piano licks of Butler's cover, but makes up with Mayfield's fine falsetto, the addition of his excellent back-up singers to round out his higher-pitched vocals and a more melodic, emphasis on Mayfield's rhythm guitar as the basis of the song without so much of the excess hornfare in Butler's take. In some ways, the lack of the strikingly independent piano licks on this version of the song allows Mayfield's voice to shine with his unique and aptly gospel-tinged hope for "the woman's got soul." It's imbued with so much spirituality and longing combined with fast-paced drumming to keep it all together. Though not swinging, clearly

5. The Impressions (live) is valuable for seeing a live performance of what to me represents the epitome of 1960s Chicago soul. Listen to Mayfield's voice, watch the relaxed smiles, well-dressed, stylish group. It's essentially the same as the studio recording, but with the addition of seeing the band look like they're enjoying themselves, it's worthwhile in my book. Mayfield's voice sounds less restrained, however, holding his lines a little longer with that irresistible falsetto. In addition, the smile on Gooden's face during his brief baritone interlude, sounding almost like Elvis, shows the group enjoying themselves! That visual appeal is obviously not going to be found in an audio recording. "And all the love that I have belongs to the woman with soul!"

6. B.B. King also sings the song, but I am not overly fond of this arrangement. It is, unsurprisingly, more about placing King's guitar at the forefront with electric piano instead of the acoustic piano found in the versions recorded by The Impressions and Jerry Butler. It is less centered around horn arrangements, and sounds like something from the 1970s or perhaps 1980s.

7. Tavis Minner, last but not least, does a good job singing the song in what sounds like a very similar arrangement used by Joe Williams, with similarly large band accompaniment. Minner, unfortunately, is not as strong a vocalist as Mayfield or Butler, but ain't bad. Minner's physicality, energy, endeavors to channel Williams, improvises on the lyrics, and gets the crowd clapping, earning him an 'A' for effort. Not bad, not bad at all. "She got soul!!!!"

I will really have to locate a biography of Mayfield to expand upon his life and music for this blog. Enjoy!

No Thing On Me (Cocaine Song)

Absolutely beautiful. This song epitomizes the best of post-Impressions Curtis Mayfield: embracing the funk idiom while retaining the sweet and soulful strings, horns, and smooth vocals of his earlier Chicago soul days. "My life's a natural high" indeed! With music like this, it's no surprise the Super Fly soundtrack was so popular and Mayfield rightfully honored by his work. I will be honest, part of the reason I love this song is the contributions of Johnny Pate's arrangements and conducting, a key ingredient in the brilliance and touch of jazz and a uniquely Chicago sound in Mayfield's music. I have written extensively on the importance of the Pate-Mayfield musical partnership here. Enjoy, I know I am. 

Keep On Pushing

"I know I can make it with just a little bit of soul."

Curtis Mayfield's Girls Are Out to Get You

Apparently Curtis Mayfield wrote "Girls Are Out to Get You," a catchy gem sung by The Fascinations. It sounds like a Curtis jam, perhaps with arrangements by Pate. The funky brief sax, pronounced drums, syncopated rhythms, and and lyrical content all shout Mayfield. Now I have to listen to more Mayfield-penned jams by The Fascinations and other groups.

"Hold On" is another instance of a Mayfield song for The Fascinations, which is soul more of the gospel and blues vein. That lead voice!! She can bring down the house (or the church)! It definitely sounds like a song from the second half of the 1960s with its funkiness though.

Wherever She Leadeth Me

Just discovered another Mayfield gem of Chicago soul, written and produced by Curtis Mayfield himself. Featuring a beautiful string arrangement, stirring drums, a 'cutesy' hornline and Mayfield's soulful tenor, what's not to love? Check it here!

The Curtis Mayfield Stamp of Approval: "Patty Cake"

Another brilliant short gem of Chicago soul, "Patty Cake," exemplifies everything I love about Chicago soul, produced by Curtis Mayfield. That glorious backbeat keeps things rolling, the horns complement the simple melody perfectly, the guitar is smooth and refined (probably played by Mayfield himself, or so it sounds to me), and cutesy lyrics fulfill the lyrical goals of most popular music of that era. Arranger and conductor Riley Hampton, surprisingly not Johnny Pate, performs his roles excellently. "I'm gonna love her anyway!"

Billy Butler and The Enchanters' "You're Gonna Be Sorry"

The world should know by now that I love me some Curtis Mayfield, particularly the 1960s output with The Impressions. I also love me songs he wrote and produced for other Chicago-based soul artists of that decade, such as Walter Jackson, Billy Butler, Major Lance, The Opals, and many others. Some of his compositions, such as those for Major Lance, incorporated Latin rhythms while others were just his usual style of soul composition, with 'cute' and catchy melodies, a little brass or other orchestration, sweet soulful singing, and perhaps a touch of Johnny Pate producing to bring in touches of jazz or blues to the downright spiritual and gospel tones of Mayfield. Check out this song to see what I am talking about and you too will forever fall in love with Curtis Mayfield, specifically his earlier work (not that his solo material is 'bad' at all. To me it's like pre-afrobeat Fela vs. highlife jazz Fela because both are good for you in the end, but I prefer me the earlier period in his music).

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.

Donny Hathaway's Live

1. "What's Goin' On" (Renaldo "Obie" Benson, Al Cleveland, Marvin Gaye)
2. "The Ghetto" (Donny Hathaway, Leroy Hutson)
3. "Hey Girl" (Earl DeRouen)
4. "You've Got a Friend" (Carole King)
5. "Little Ghetto Boy" (Derouen, Eddy Howard)
6. "We're Still Friends" (Hathaway, Watts)
7. "Jealous Guy" (John Lennon)
8. "Voices Inside (Everything Is Everything)" (Richard Evans, Philip Upchurch, Ric Powell)

Jazzy, funky, soulful, and awesome crowd participation, this live set takes from Hathaway's performances in New York and LA. Some tracks, such as "The Ghetto," ain't nothing but soul-jazz and instrumental funk(and you can hear the blues here, too, in solos and the vamp, and the influence of Afro-Caribbean music in the congas playing a sacred 6/8 groove; but don't forget about the nice soul-clap that leads to the song's final movement!), whereas other tracks achieve a balance between Hathaway's not-quite but very similar to Stevie Wonder-esque vocal style and technique. Unlike Stevie, however, there is more jazz here than most of the former's 1970s releases, including Hathaway on the electric piano and organs. The brother knew how to play, too, though acknowledging that the album was not primarily jazz so his voice prevails. His cover of Gaye's "What's Goin On" is superior, with a jazzed-up refinement and unique interpretation that surpasses Gaye's original (though Marvin Gaye plays some nice acoustic piano for a jazz live rendition, here). The instrumental delights of "The Ghetto" come out again in "Voices Inside (Everything is Everything)," which additionally features a funky bass solo from Willie Weeks. And of course the crowd's participation in "You've Got a Friend" is nothing short of a direct transport back to the club in the early 1970s, a powerful feeling that only the best live albums truly capture. "Lil' Ghetto Boy" may be the best track on the album, perfectly jazzy yet funky and soulful, later sampled by Dr. Dre in the 1990s because of its message (with nice electric piano soloing by Hathaway but definitely not McCoy Tyner or Herbie Hancock, and heavy bass). More so than even Marvin, Hathaway's social consciousness permeated his oeuvre so that his music contained poignant and relevant social and political commentary. So, while you're getting down to his quasi-Wonder vocalization, which is strongest in "We're Still Friends," and the funk, the jamming bandmates and political subtext pervades the entirety of the recording. Moreover, the John Legend cover "Jealous Guy" shows off the band's flexibility, playing a 'rock' song while Hathaway's Stevie Wonder-like style, far more appealing as a vocalist than Lennon, actually works.

Any fan of live 1970s soul recordings will love this. In fact, listening to this album reminds me of Curtis Mayfield's Live, recorded at the Bitter End in New York in the same period. Like Mayfield, this album fuses 1970s funk and soul with touches of jazz and extended bouts of improvisation with social commentary. The instruments used are both typical of 1970s soul: electric piano and organ, congas, electric bass, electric guitar, drums, and, in other forms of funk and soul groups, horns. Both artists are signifyin' and "testifyin' to their hearts content, as well as that of their respective audiences. Remember, "lil' ghetto boy, playing in the ghetto street, what you gonna do when you grow up and have to face responsibility?" Also, "everything has got to get better" shows a profound sense of optimism, joy, and determination in the face of great obstacles, best exemplified by "Lil' Ghetto Boy" and "The Ghetto." As for those who want to knock Hathaway for sound too similar to Stevie, I say, well, he's playing a different style of jazzy soul that Wonder, also proficient in the jazz idiom, recorded less often. Moreover, he does not aim for the Wonder falsettos or other characteristically Wonder style. Thus, Hathaway remains singularly and uniquely Hathaway, while also performing fascinating covers. Regardless, this style of early 1970s soul is among my favorites of the genre, an atmostphere successfully created in early Gil Scott-Heron albums such as Pieces of a Man (blogged about here). As a fan of both jazz and soul, seeing their successful fusion into the 1970s remains utter delight.

We're a Winner

Two great live versions of Mayfield's "We're a Winner" by The Impressions and Marcus Shelby Orchestra. Enjoy.

I"m the One Who Loves You

Curtis Mayfield wrote one of my favorite examples of Chicago soul, "I'm the One Who Loves You." Beautiful background harmony, orchestration, and arrangement. Jerry Butler, The Impressions, Santana, and Stevie Wonder have recorded versions of the song, too, although my favorite remains that of The Impressions with lead vocals from Curtis Mayfield. Here is the Jerry Butler version, which is quite moving and similar to that of The Impressions. The best version, in my humble opinion, remains the one featuring Curtis on lead. In addition to Jerry Butler and The Impressions, Stevie Wonder recorded a stirring tribute, too while Santana's falls rather flat in comparison. Major Lance, Chicago soul singer who often sung material by Mayfield, also recorded a great version! Another catchy song with the same title by Darrell Banks is also worth hearing.

R.I.P. Curtis Mayfield, your legacy lives on.

The Impressions's We're In Love

I love The Impressions and I love Curtis Mayfield. Chicago soul for the rest of my life.

Curtis Mayfield's Gypsy Woman

Originally recorded by The Impressions in 1961, "Gypsy Woman" reached number 2 on the R&B charts. Composed by Mayfield at the age of 14, the lead singer and guitarist of the Chicago vocal group, "Gypsy Woman" has a "Spanish flair" or influence and lyrics that pertain to a dark-haired woman with hypnotizing eyes. As a "Gypsy" this particular woman travels in a caravan and never stays in one place, thereby making this song one of unrequited love. They even use castanets to emphasize the Spanish theme. Listen to the original recording here!

Curtis Mayfield also recorded the song on a live album at the Bitter End in New York City in the early 1970s. By this time, Curtis had embraced funk and this version sounds nothing like the original recording with The Impressions. Without castanets, replaced by the funky congas and rhythms, the song loses the Spanish tinge but Mayfield of course shines as the vocalist. Indeed, I may even prefer this version over the original because of the funky percussion and Mayfield's smooth voice. Everyone has to love Curtis, especially with the great percussion backing him up.

Joe Bataan, an Afro-Filippino Latin soul singer from New York, recorded his own unique version of the tune with different lyrics. In fact, the song, recorded in 1968, is very different from Mayfield's versions. When I first heard the song, I recognized it immediately from a Fugees track from their classic, The Score. Bataan was also part of the boogaloo phase in Nuyorican music and, though a good singer and adept at fusing Puerto-Rican and Afro-Cuban rhythms with R&B, nevertheless faded from popularity with the death of the boogaloo craze in the late 1960s. Nevertheless, this version is great, especially the brass and the unforgettable handclaps at the end of the song. Listen. Bataan has some other great cuts as well, check out "Subway Joe" here. Unfortunately, Joe is not anywhere close to being as strong of a vocalist as Curtis Mayfield, but his version is far more danceable.

The Uniques, a Jamaican rocksteady group, recorded a cover in 1967 that is also radically different from the original. The vocals are more closely following the vocal group format and melody of the original, but we get that Jamaican riddim, bwoy. The harmonization here is just a pleasant treat for one's ears, even though the rocksteady beat deviates so much from the castanets. Definitely worth a listen to see how influential The Impressions were in the formation of Jamaican rocksteady and reggae music, since everyone else also recorded covers of great songs by Mayfield, Motown artists, and many other African-American soul artists. Here!

Major Lance also recorded a cover of the song that retains the Spanish-sounding percussion and theme with the string section, also differs in the guitarist's more funky sound. Nevertheless, a nice cover though Major Lance, like Bataan, lacks the ethereal voice of Mayfield. Check it out to hear a song, that in my ears, sounds like the meeting place between the original 1961 recording and Curtis's live recording from 1971. Interestingly, Major Lance went to the same high school as Curtis and lived in the Cabrini-Greens projects, he recorded other songs by Curtis Mayfield such as this. If you listen closely, you can detect the hand of Mayfield since "Um Um Um Um Um Um" sounds very similar to other songs penned by Mayfield. Don't forget to check out "Monkey Time" and "Hey Little Girl." And "Rhythm" which is a Curtis Mayfield song with a Latin beat!

Bobby Womack also recorded a cover of "Gypsy Woman." He is a great singer and has a broad range and emotional depth, making him closer to Curtis Mayfield as a strong singer. The keyboard accompaniment is not ideal, but it's interesting to hear "Gypsy Woman" as a 1980s R&B song.

Curtis Mayfield's Mighty Mighty

One of Curtis Mayfield's best songs in my humble opinion is "Mighty Mighty (Spade and Whitey)," a black power anthem also advocating interracial unity to achieve social change. It also represents part of The Impressions' fundamental shift in the late 1960s to a funkier sound instead of their characteristic Chicago soul style emphasizing clean melodies and harmonization. Below I shall share 3 different versions of this funky jam. Like "This Is My Country," this black nationalist, pro-civil rights anthem is integrationist in tone, rather than separatist like other manifestations of black nationalism.

1. The original recording by The Impressions here
Funky good times will ensue if you listen to this. "Mighty, mighty, spade and whitey, your black and white power." Curtis Mayfield also gets down on the guitar here, though too briefly.

2. Baby Huey, a soul legend who died too soon, was also an artist who recorded on Curtis Mayfield's label, Curtom, including a cover of "Mighty Mighty." His version is great, listen! Baby Huey has a very distinct voice, deeper than Curtis Mayfield's. He also has a child singing along! He also throws in some spoken word discussing a restaurant in black Chicago. Baby Huey also recorded a very unique version of "A Change is Gonna Come." Check it out!

3. Curtis Mayfield recorded a great live version of the song featuring Latin percussion live in 1971. By this period, I believe The Impressions disbanded and Curtis fully embraced the funky aesthetic of 1970s  R&B. Naturally, he maintains his falsetto but the addition of congas (and there is a brief solo) on this track enhances his funk card in my book. He also adds in some James Brown, adding the verse, "I gotta to say it loud, I gotta say it loud, I'm black and I'm proud." The live album this great album is from is definitely worth a listen to hear how Mayfield reinterprets some classics from his Impressions days back in the 1960s. Check it. Check this here to see how Curtis reinterprets "Gypsy Woman," too. And "We're a Winner." He even does "People Get Ready" beautifully.

The Best of The Impressions

My new favorite soul group, The Impressions, deserve better recognition. This is the finest Chicago soul, featuring my man Curtis Mayfield with his amazing falsetto, guitar, and songwriting talent. Prior to discovering their influence on Jamaican popular music and Mayfield's involvement in the Civil Rights Movement, I was ignorant of this amazing group. Here are their best cuts in my humble opinion:

1. Emotions with Jerry Butler. "Why can't I cry?"
http://www.youtube.com/watch?v=SrcY5glwbx0

2. Minstrel and Queen became popular with 1960s Jamaican vocalists. Better known as "Queen Majesty" in Jamaica.
http://www.youtube.com/watch?v=lB751HLIT5M&feature=related
http://www.youtube.com/watch?v=mAxxgnQQ6po Jamaican version by Dennis Brown

3. I'm So Proud is the first Impressions song I liked. "I'm so proud of being loved by you"
http://www.youtube.com/watch?v=Ow00BrG6K9I

4. People Get Ready is a civil rights jam. Inspired Bob Marley's One Love. "People get ready there's a train a'comin"
http://www.youtube.com/watch?v=2nH3fKH10oM&feature=related
http://www.youtube.com/watch?v=6MnbrN38sJ4&feature=related Jamaican version

5. Keep On Pushing is another pro-civil rights anthem. "I know I can make it with just a little bit of soul" http://www.youtube.com/watch?v=dvM0bDj3pOk

6. Meeting Over Yonder is a funky jam cut. "Children, are you ready? There's gonna be a meeting over yonder!" http://www.youtube.com/watch?v=NKYOwOPjVcU

7. We're a Winner is another jam about the Civil Rights Movement and black pride. Mayfield is beginning to lean more toward funk music in this 1967 song. http://www.youtube.com/watch?v=uLMRzDFMvEo&feature=related

8. It's All Right is perhaps my favorite song by The Impressions. "You got soul and everybody knows and it's all right..."
http://www.youtube.com/watch?v=7X7Esq8nu0s&feature=related
http://www.youtube.com/watch?v=rhTjPYxQKMw&feature=related

9. Talking 'Bout My Baby is another great cut by The Impressions. "I want to talk about my baby"
http://www.youtube.com/watch?v=0O0wuuh-Tlg&feature=related

10. I'm the One Who Loves You.
http://www.youtube.com/watch?v=LGNkcYwTywQ&feature=related

11. Gypsy Woman is also catchy with some castanets
http://www.youtube.com/watch?v=3Wd4tlX5t-Q&feature=related

12. Choice of Colors is a black power jam http://www.youtube.com/watch?v=SNV1Y01xNk8

13. Never Let Me Go is old school doo wop http://www.youtube.com/watch?v=kjGW8Eg9nQg&feature=related

14. Don't Let it Hide "Speak your mind if we can't get along"
http://www.youtube.com/watch?v=HoS7ZzWh-k8

15. My Woman's Love is a beautifully orchestrated song
http://www.youtube.com/watch?v=lcFbyZb-5cA

16. Little Young Lover http://www.youtube.com/watch?v=ILdKTumrQIM

17. Hard to Believe http://www.youtube.com/watch?v=y_QzvTTcZ28

18. Can't Work No Longer http://www.youtube.com/watch?v=wQcwF93JWM4

19. Sometimes I Wonder is funky http://www.youtube.com/watch?v=1PBKVwS-EBY

20. I Need You "I don't wanna be happy with somebody else when I know in my mind I'd be wastin' her time"
http://www.youtube.com/watch?v=n1QeoyWg45Y

21. Can't Satisfy http://www.youtube.com/watch?v=5-jTOskAGso  Almost sounds like Motown

22. You've Been Cheating http://www.youtube.com/watch?v=QSEj5OQLbjU

23. I've Been Trying http://www.youtube.com/watch?v=RQFCT3cWGyM

24. Amen http://www.youtube.com/watch?v=WMZcUZQ8C78

25. I Thank Heaven http://www.youtube.com/watch?v=eK4oheZcEXI

26. See the Real Me http://www.youtube.com/watch?v=TX-PUndGge0

27. You Must Believe Me. http://www.youtube.com/watch?v=cL_1w_sJRt4

28. Get Up and Move "Get up and move!"
http://grooveshark.com/s/Get+Up+And+Move/3DAvAo?src=5

29. We're in Love http://www.youtube.com/watch?v=vw4vduoCKCo

30. Woman's Got Soul http://www.youtube.com/watch?v=PRwJ2WDdxaU

31. Somebody Help Me is a blues song http://grooveshark.com/s/Somebody+Help+Me/3DAyYY?src=5

32. Long, Long Winter was covered by The Wailers! "It's gonna be a long, long winter for me. A long, long winter, you'll see."
http://www.youtube.com/watch?v=BwUpqbhU1Og
http://www.youtube.com/watch?v=JvYFDcKunVQ

33. Dedicate My Song to You sounds like Sam Cooke's Wonderful World
http://grooveshark.com/s/Dedicate+My+Song+To+You/3DAy0q?src=5

34. I'm Loving Nothing http://www.youtube.com/watch?v=MRedezmCpeY

35. Twist and Limbo is a silly dance tune but still catchy
http://www.youtube.com/watch?v=ZyRrD4AvGWs

36. This is My Country (black folks built this country)
http://www.youtube.com/watch?v=z_esbRoOeR0

37. Finally Got Myself Together is pure funk
http://www.youtube.com/watch?v=kiS5L-WCthQ

38. We're Rolling On is another funk jam
http://www.youtube.com/watch?v=c5fIpXLlhtY

39. Seven Years also worth checking out
http://www.youtube.com/watch?v=Co6Q6jpUdUE

40. My Deceiving Heart is gospel
http://www.youtube.com/watch?v=Yi49YVZOKJQ

41. Mighty Mighty is a funk jam about black and white empowerment together. "Black and white power"
http://www.youtube.com/watch?v=u7Rdr22dBPE

42. Check Out Your Mind is more Mayfield funk
http://www.youtube.com/watch?v=6HxvRoqDefI

43. I'm a Telling You
http://www.youtube.com/watch?v=GryV3721QgY

44. I'm Still Waiting
http://www.youtube.com/watch?v=SRGHdp35lQw

45. Fool for You
http://www.youtube.com/watch?v=w3i4hOYnJ_E

46. I Gotta Keep on Movin'
http://www.youtube.com/watch?v=0krjcpXt6yE