Musicians: Maceo Parker (alto saxophone & vocals), WDR Big Band Cologne; Michael Abene (conductor), Andy Haderer, Wim Both, Rob Bruynen, Klaus Osterloh, John Marshall (trumpet); Ludwig Nuss, Dave Horler, Bernt Laukamp (trombone); Mattis Cederberg (bass trombone); Heiner Wiberny, Karolina Strassmayer (alto saxophone); Olivier Peters, Paul Heller (tenor saxophone); Marcus Barthelt (baritone saxophone); Frank Chastenier (Hammond B-3 organ, piano, Fender Rhodes, clavinet); Paul Shigihara (guitars); John Goldsby (acoustic bass); Rodney “Skeet” Curtis (electric bass); Hans Dekker, Dennis Chambers (drums)
Review: Roots & Grooves preserves one of those live performances where everyone on stage is “on.” Maceo Parker was decidedly inspired by the forceful back-up of the WDR Big Band Cologne during a tour of Europe in February and March of 2007. Reciprocally, due in no small part of conductor Michael Abene’s effective arrangements, the WDR Big Band Cologne integrated its fiery presence with the irresistibility of the saxophonist, whose landmark career they obviously not only respect, but also celebrate. And the audience breaks into applause and shouts in mid-performance numerous times as the, yes, soulfulness of the occasion excites those who attended. What’s interesting is the consistent level of excitement throughout all of the performances. The liner notes give no indication of how many European venues are represented in Roots & Grooves over those two months, but Parker’s and the band’s impact upon audiences never diminished, that much can be discerned.
From the start of the first CD, Roots & Grooves is certainly energetic. The WDR Big Band Cologne introduces “Hallelujah I Love Her So” and Parker duly comes in to solo and to lead the band with his infectious sound, squawking, stuttering, rippling. tripleting, swooping over Frank Chastenier’s B-3 organ funk that mightily rouses the audience along with Hans Dekker’s powerful drum work. “Hallelujah I Love Her So” certainly primes the audience, wherever the concert hall may have been. But it turns out that piece this serves merely, thrillingly as the concert’s opener. And it turns out that the music has a theme: a tribute to Ray Charles.
The surprise of the concert is revealed on the next track, “Busted.” For Maceo Parker sings. And well, like Ray Charles with more than a passing resemblance to Charles’ voice. In fact, without playing close attention, a casual listener could think that Charles is singing. Parker reports that he grew up listening to Ray Charles, absorbing the music and feeling it. No doubt. Parker sings with the extroversion signifying his saxophone playing and in the process brings to life or revivifies Ray Charles songs like “Hit the Road Jack,” “You Don’t Know Me,” What’d Say,” “Margie” and “Georgia on My Mind.” “Georgia on My Mind” bears an uncanny resemblance to Charles’ phrasing, choice of words and emotional conveyance, while his “Hit the Road Jack” builds the “no more no more no more no more’s” dynamically with swelling and diminishing volume to add to the effect.
Still, though Parker obviously had a great time singing the tribute to Ray Charles, it’s his saxophone playing with James Brown, punctuating phrases, given to call and response, evincing soulfulness that built his reputation. So on songs like “Them That’s Got,” Parker, though the force of not just his playing, but his personality leads the 16-piece band, replying in arranged unison to Parker’s calls. Though Parker’s presence unifies the feeling for the event, the WDR Big Band is respectfully effective in punching up Parker’s playing with explosive accents, riffs, vamps and solos that heighten the significance of the events.
The second CD in the Roots & Grooves package, the second theme, acknowledges Parker’s contributions to funk, especially after Rodney “Skeep” Curtis takes over on electric bass and Paul Shighara adds boogaloo-like back-up to Parker’s “Uptown Up.” Parker is obviously in his element with the Back to Funk segment of the release, stuttering, squealing, imprecating, grooving. Recalling his legendary work with James Brown on classic recordings like “I Feel Good”and “Papa’s Got a Brand New Bag,” Parker is decidedly unrestrained in his feel-good performance thoughout the second disk. Indeed, all of it consists of Parker composition, though the feel is that of James Brown, the WDR Big Band taking the place of the fiery horns who responded to and invigorated Brown even more.
Once again, Parker’s singing carries several of the songs—particularly “To Be or Not to Be” with its falsetto “What?” and repetition of the song title’s words. Parker’s sputtering, percussive delivery of “Pass the Peas” at the beginning of the performance is so effective that it becomes evident that he’s setting up Dennis Chambers’ drum beat. As the first band chorus recalls funk groups of the 60s and early 70s, tenor saxophonist Olivier Peters and trombonist Bernt Laukamp, not to mention the ever-soulful Frank Chastenier on organ, raise the temperature as their solos emerge seamlessly from the groove underlying the performances and which Parker started with but his own voice.
Though Parker’s enjoys recognition among listeners and other musicians, Roots & Grooves is the album that should forever seal his reputation as one of his generation’s leading saxophonists and certainly the best of those who play funk. Soulfulness defines Maceo Parker and his playing expresses who he is.
Tracks: Disk 1: Hallelujah I Love Her So, Busted, Them That’s Got, You Don’t Know Me, Hit The Road Jack, Margie, Georgia On My Mind, What’d I Say. Disk 2: Uptown Up, To Be Or Not To Be, Off The Hook, Advanced Funk, Shake Everything You Got, Pass The Peas
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