New Orleans multi instrumentalist Nicholas Payton has been one of my favorite artists working in modern music for at least the past 5 years now. He’s escaped the limiting prison of “jazz” music despite being one of the greatest trumpeters on the scene, through his sense of groove and his broad artistic vision. He also has articulated the social and personal ideas behind his music through his blogging. He has turned his musical movement, which he has titled “Black American Music” or “#BAM”, into a record label and an ongoing institution. His latest album, “The Afro Caribbean Mixtape”, is self released on his own label and features a numnber of highly rhythmically and melodically engaging tunes, but today’s selection, “Junie’s Boogie” is one that stood out to me for Paytons’ patented brand of late ’70s/early ’80s funk, which was very much in the vein of a great musician we lost this past month, the Dayton Funk multi instrumentalist Junie Morrison.
“Junie’s Boogie” starts off with Payton playing a funky pentatonic bass line that moves upward. The line sounds as if its played on a piano sound and a clavinet sound together, so that it has that extra weight. The line plays two times unaccompanied to set the groove up. The second part of the bass riff has a little Nicholas Paytonism that I’ve heard on some of his other lines such as the one from “By Your Side (Illeth’s Blues).” After the bass figure is introduced, the groove starts to heat up with a percussion roll accompanied by string glissando’s and a 2 and 4 bass kick. The bass line also plays on synthesizer, while Payton also plays high synth lead melodies. When the groove comes in it has a funky churning motion, as the bass line steps upward and the melody descends. The drums just maintain a steady groove with an open hi hat. The groove swtiches up to a sweetly melodic section after 8 bars, based on a bouncy octave type of groove with multiple instruments maintaining the same rhythm. Payton also unleashes some sweetly wailing synth lead lines, switiching the analog synth sound to another lead sound as the arrangement goes into a passage that ratchets up the intensity through its use of insistent strings in the middle of the “Funky Worm” style synth patch. The strings and synth tastefully take their rest as the main groove returns, but continue to add punctuation as the groove begins to take on more and more of a jam feel within its well arranged structure. The groove calms down for Payton to begin his trumpet solo, which is backed by strings playing at a lower dynamic that occasionally swell, a funky electric bass, and Payton playing choice phrases. The regular groove comes back during Payton’s solo and is eventually joined by choral voices while Payton plays the same line the voices are singing on his trumpet. After the vocal/instruemntal interlude Payton adds some starp phrases followed by a change in the arrangmeent that takes on a darker minor tone over a rich chord progression. Payton trumpet interacts with his analog synth lines before he plays a long sustained note that signals the end of the tune, while he plays a phrase on piano very reminiscent of Marvin Gaye’s “Trouble Man.”
“Junie’s Boogie” is a wonderful tribute to the late Junie Morrison and a great example of how the rich late funk band vibe is still fertile for current musical growth. Payton’s musicality is of such that he creates a groove that fits in with the groove of the time period he was invoking without direct copying , but using subtleties such as the synthesizer melody reminiscent of the patch on The Ohio Player’s “Funky Worm.” “Junie’s Boogie” introduces a very funky groove and surrounds it with dynamics while also leaving room for improvisation. It has that epic late ’70s funk feel of a Junie Morrison classic like Funkadelics “(Not Just) Knee Deep.” Which is both a fitting tribute to that legacy and music to groove to in the here and now!!