When my agent, Matt Johnson, booked me in for ‘A Night With…’, I hadn’t realised that it did exactly what it said on the tin, namely present just the one DJ for the full 8 hours the venue was open. I generally play for either 2 or 3 hours, with the odd 4 hour slot along the way – the only times I can recall playing longer (since I started out again), was a night at The Key in London back in 2005, and then the Credit To The Edit launch parties, both Sunday All-Dayers held at a couple of East End boozers (The Dolphin in 2005 and The Horse & Groom in 2009), so, as you can imagine, it came as a bit of a shock when the penny dropped and I realised that I’d unwittingly signed up for a marathon, but I quickly warmed to the idea and began to ponder the possibilities it presented.
Tag Archives | Jazz-Funk
Last month I was over in Chicago chilling out in my hotel room ahead of my first gig in the city, at Smart Bar, a venue with a rich tradition, which opened back in 1982. Chicago is, of course, along with Detroit, Philadelphia and New York, revered as a key US city when it comes to the evolution of dance culture (and, indeed, black culture, with, way before House, a deep heritage in Rhythm & Blues, Blues and Jazz, dating right back to the ‘great migration’ of black workers from the southern states, beginning just over 100 years ago).
Well, that was the London Olympics that was – what was initially greeted with mass cynicism ended up captivating the nation, engendering a new sense of identity that would have been unthinkable just two and a half weeks ago.
One of the defining moments of my DJ career took place exactly 30 years ago, on Monday May 10th 1982, when my first radio mix was broadcast on Mike Shaft’s show, ‘T.C.O.B’ (Taking Care Of Business), on Manchester’s hugely influential Piccadilly Radio, which played a major part in bringing black / dance music to wider attention during the ’70s and ‘80s – from Soul, Funk and Disco, through Jazz-Funk and Electro, and on into Hip Hop, House and Techno. I go into its rich legacy in greater depth here:
You don’t know how happy I am to be able to tell you that, after months and months of chipping away, the new redesigned revitalized Electrofunkroots website is now live and kicking, having undergone a complete overhaul, with loads of new content added. Full menu here:
Earlier this month Leftside Wobble shared an edit of Man Friday’s ‘Love Honey, Love Heartache’ on his SoundCloud. I left a comment highlighting the history of this track, which read as follows:
For my 100th blog post thought I’d flag up another personal anniversary this month.
Gil Scott-Heron died last Friday (May 27th 2011), aged 62. He was one of those artists who built his reputation on the fringes – hugely influential, yet almost completely unknown within a mainstream context. Initially a writer and poet, Scott-Heron hooked-up with musician Brian Jackson at university in Pennsylvania during the ’60s, the duo combining to great effect throughout the ’70s on a number of albums. His vocal style would be an inspiration to the oncoming Hip Hop generation, to whom his socially conscious lyrics, and their defiant delivery, helped lay the foundations for the Rap genre that would subsequently flourish during the ’80s and beyond, not least his keynote recording, ‘The Revolution Will Not Be Televised’, taken from his 1970 debut ‘Small Talk At 125th And Lenox’.