Galt_MacDermot-Shapes_of_Rhythm_bw_Woman_is_Sweeter-2000-soup
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- S O U P - ▓█ ▀█▄ ▀█▄
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┌───────────────────────────────────────────▄▀ ▄█▀───────────────────┐
│ s o u p p r o u d l y p r e s e n t s │
└────────────────────────────────────────────────────────────────────┘
│
│ Galt MacDermot - Shapes of Rhythm bw Woman is Sweeter
│
│ artist ........ Galt MacDermot
│ title ......... Shapes of Rhythm bw Woman is Sweeter
│ release date .. 2000
│ label ......... Kilmarnock Records / MacDermot Music
│ cat. no ....... KIL2000-6
│ url ........... http://www.galtmacdermot.com
│
│ rip date ...... 2005-05-18
│ genre ......... Jazz+Funk
│ quality ....... VBR kbps / 4410Hz
│ time .......... 70:11
│ size .......... 108 MB
│ source ........ CD
│
└──────────────────────────────────────────────────────[ S O U P ]─┐
│ release info │
└──────────────────────────────────────────────────────────────────┘
│ │
│ An official reissue of Herb Johnson's Damph F'aint. The │
│ emergence of down-and-dirty revival groups like the Breakestra │
│ and the Mighty Imperials. Compilations centered around backbeat │
│ driven numbers from progressive jazz labels such as Tribe and │
│ Strata East. The Third Guitar and Ernie and the Top Notes 45s │
│ routinely selling for three-digit figures on eBay. What does all │
│ this indicate? We believe it's obvious - a changing attitude │
│ toward an often underrated, but highly influential period in │
│ American music: the rhythmic revolution of the late 1960s and │
│ early 1970s. Funk, that raw feeling that hides behind the │
│ Parliament record you own, is finally getting the shine it │
│ deserves. │
│ │
│ One man benefitted by this rebellion against today's bubble gum │
│ anthems is Canadian expatriate Galt MacDermot. And rightfully │
│ so. MacDermot, in a large way, brought funk to the masses. │
│ Recall hisscore to HAIR. Idris Muhammad's tight shuffle on │
│ "Where Do I Go?," the percussive "Colored Spade," Jimmy Lewis' │
│ bass line on "Let the Sunshine In." Leagues of musicians were │
│ influenced by these songs - musicians that did not study Eddie │
│ Bo or Allen Toussaint, musicians that might have known James │
│ Brown, but only had a passing interest in Bobby Byrd and Fred │
│ Wesley. MacDermot and his score helped introduce one of │
│ America's greatest musical innovations to the world. │
│ │
│ But MacDermot's affair with funk did not begin or end with HAIR. │
│ With this CD, we present two examples of LPs MacDermot released │
│ independantly on his Kilmarnock label: Shapes of Rhythm │
│ (pre-HAIR) and Woman is Sweeter (post-HAIR). The former contains │
│ "Coffee Cold," a song mesmerizing not only because of its │
│ powerfully morose melody, but because of its prophetic nature. │
│ For MacDermot recorded "Coffee Cold" in 1966, well before James │
│ Brown recorded funk's first anthem, "Cold Sweat." The song │
│ heralds the same changes in rhythm that Brown would envision. │
│ │
│ However, Woman is Sweeter perhaps represents MacDermot's take on │
│ funk music. Recorded in 1969, this soundtrack does not linger in │
│ one tempo, nor does it stagnate in a single mood. As dynamic as │
│ the musicians behind its creation (the LP contains drumming by │
│ both funk masters Muhammad and Bernard Purdie), Woman is Sweeter │
│ has come to be known best for the minute-and-fifty-one-second │
│ ballad "Space," sampled for Busta Rhymes' breakthrough "Woo Haa! │
│ Got You All In Check.". │
│ │
│ And as if two notoriously rare LPs finally released on CD was │
│ not enough, we have included on this compilation a never before │
│ heard vocal version of "Coffee Cold" by Nova Scotian folk-phenom │
│ Fergus MacRoy. It has been some twenty-some-odd years since │
│ Kilmarnock has had the distinct pleasure of offering the world │
│ Fergus' delightful voice. This selection, taken from an acetate │
│ believed to have been recorded somewhere between Digby Gut, │
│ Canada and London in the mid-1960s, is one of the only surviving │
│ examples of MacRoy's incredible talent. Like the record labels │
│ before us that painstakingly sought out and transferred old │
│ country blues 78s to more durable mediums, we believe we are │
│ doing the musical world a favor by preserving Fergus' voice in │
│ all its glory. │
│ │
│ Eothen "Egon" Alapatt │
│ Staten Island, NY │
│ June 2000 │
│ │
│ SHAPES OF RHYTHM: original liner notes │
│ │
│ Popular music is basically a singing matter, the songs having │
│ the same kind of interest and value as the daily news. But the │
│ performances of these songs is often given extra importance by │
│ the calibre of the musicians and singers. This is very │
│ strikingly true of the records being made today is what is │
│ called the rhythm and blues field. │
│ │
│ Three of the most skillful men working in New York at this job │
│ are the three described on this album as the "Mid-Manhattan │
│ rhythm secion". They are daily to be found in the studios around │
│ the middle of Manhattan putting together backgrounds to inspire │
│ and support the singers of the current popular songs. │
│ │
│ Bernard "Pretty" Purdie, the drummer, was born in Elkton │
│ Maryland. He played in his school band and various dance bands │
│ and later studied music and business administration at the │
│ Morgan State University in Baltimore. He came to New York about │
│ six years ago and has established himself as the top rock and │
│ roll drummer in the city. His aim, he says, has always been to │
│ make people dance, and by pursuing this aim he has developed a │
│ style completely free of the confusion of the jazz drummers but │
│ nevertheless with it's own sophistication. "Lady, You Look Good │
│ To Me" and "Farmland" show him at his unabashed best. │
│ │
│ Jimmy Lewis, the fender bass player has a tremendous background │
│ in jazz, dance music and recordings. Born in Nashville │
│ Tennessee, he started on the ukelele and later changed to the │
│ string bass. He has played the latter instrument with Count │
│ Basie, Duke Ellington and Cootie Williams. He helped develop the │
│ fabulous style of the King Curtis band and played with him for │
│ seven years before settling down to studio work in New York │
│ City. He is also a composer and his approach to his bass part is │
│ to create a melodic rhyhmical figure that lifts the music and │
│ gives it shape. He can be heard doing this with the │
│ extraordinary figure he plays on "Marsh Gas". │
│ │
│ "Snag" Napoleon Allan is a rhythm guitarist with a beautifully │
│ flexible but powerful beat. It is his ability to blend with the │
│ section but still retain his personal sound that makes him such │
│ an asset on records. He comes from Georgia and has played with │
│ various bands in New York, notably the Harlem Highlanders. │
│ Montrealers may have heard him in the Cafe St. Michelle when it │
│ was swinging a few years back. │
│ │
│ Galt MacDermot is both the pianist and composer on this record. │
│ It was his idea to make an album that used the instrumental │
│ ability of these men for it's own sake. Born in Montreal, he was │
│ trained in music in South Africa where he made a study of │
│ African music his specialty. He has earned his living as a │
│ church organist and jazz pianist in Montreal and London England. │
│ Since his song "African Waltz" became a hit in 1961, he has │
│ concentrated solely on composing and playing in the popular │
│ idiom. He now lives in New York writing and playing for │
│ recordings. │
│ │
│ "Lady, You Look Good To Me", "The Mouse Roared", "I'm Through │
│ With You" and "Coffee Cold" are adaptions of songs written with │
│ the poet Max Firth in England. │
│ │
│ "Spanish Night" and "Field of Sorrow" were written as incidental │
│ music for an off Broadway production of Garcia Lorca's Yerma. │
│ │
│ "Tender Meeting" and "Alive in Dar-Es-Salaam" are part of a tone │
│ poem based on the life and ancestors of Nova Scotian folk singer │
│ Fergus MacRoy. │
│ │
│ "Mbabam" was written in Africa and named after the Capital of │
│ Basuto land. │
│ │
│ "Farmland" and "If Our Love Is Real" are two piano melodies and │
│ "Marsh Gas" is a portrait of a flying saucer. │
│ │
│ All these tunes have been molded into their present form by │
│ three experts in rhythm in conjunction with the composer, and │
│ the product, we call Shapes of Rhythm. │
│ │
│ Galt MacDermot: Piano │
│ Bernard Purdie: Drums │
│ Jimmy Lewis: Bass │
│ Napolean "Snag" Allen: Guitar │
│ │
│ Cover Design: Mary Drummond │
│ Photography: Michale Drummond │
│ Records Production: Rick Shorter │
│ │
│ WOMAN IS SWEETER: original liner notes │
│ │
│ The multi-track studio tapes ahve been mixed down and edited to │
│ form the Dolby stretched master tapes. The latter have been │
│ delivered to the cutting room and the lacquer to the plant. The │
│ data for the litho has been turned over to the studio and the │
│ credits, titles, times, etc., for the basic liner information │
│ have been prepared. │
│ │
│ This means that that the writing of these notes cannot be │
│ delayed any longer. Having mixed down the tapes, we know about │
│ the music. This we can guarantee is great and is fresh off the │
│ MacDermot pen. It is in fact, his first series of compositions │
│ following the music he wrote for HAIR. It was recorded at │
│ National Studios in New York with his regular group. │
│ │
│ Unfortunately, we are slightly ahead of the game with respect to │
│ the movie. Martine Barrat is the producer of the movie "Woman is │
│ Sweeter". The film is about designer Yvest St. Laurent and we │
│ are advised that it starts off with an interview with him and │
│ then proceeds through various scenes taken in New York City, │
│ Paris, Morocco and other places. The movie is now in New York, │
│ but has not yet been released. We are told that the sound track │
│ is fabulous and we know that it was filmed around the music. │
│ Preliminary viewer reaction to the movie is extremely │
│ enthusiastic as was our reaction to the music on the studio │
│ master tapes. │
│ │
│ Our information on Galt MacDermot is more complete and in fact │
│ his talents and past history have been well documented by "The │
│ English Experience" (KIL-70001) and "Haircuts" (KIL-690001). The │
│ tunes and playing style on this record are natural successors to │
│ such familiar numbers as Aquarius, Let The Sun Shine In, Hare │
│ Krishna and other songs from HAIR. │
│ │
│ Although this album has excited us here at Kilmarnock more than │
│ any other production to date, we must mention that the most │
│ exciting thing that happened was our luck in having the famous │
│ folk singer Fergus MacRoy, sing the title song from the movie. │
│ The numbers had all been cut with the exception of the title │
│ song and a number of well known New York vocalists had been │
│ lined up to sing this number. The day before the final recording │
│ session we had a call from Fergus who just happened to be │
│ passing through New York on his way to Vancouver Island. We had │
│ been out of touch with the MacRoy family since the day we │
│ brought the brothers down to New York for that first record. We │
│ had no idea that they had left Digby Gut and had been involved │
│ in the happenings in North Vietnam. Our only reaction at the │
│ time was to ask Fergus to come and say hello. This he did, sat │
│ in for the session and we captured on tape the great MacRoy │
│ voice singing "Woman is Sweeter". Unfortunately Fergus had to │
│ make his connections to get on to his new life on Vancouver │
│ Island and we were unable to obtain any details concerning his │
│ movements over the past few years. He promised to be in touch │
│ with us when he was settled and we are confident again we will │
│ be in a position to bring the MacRoy talent to the world. │
│ │
│ This brings us to the end of our data concerning the record, the │
│ music and the movie. We would have had more to say but life, │
│ talent and music move on quickly and both Martine and Galt have │
│ been busy in foreign lands creating new sights and sounds for │
│ the world. Of this we approve heartily and will let the music │
│ speak for itself. │
│ │
│ All songs composed by Galt MacDermot │
│ Lyrics for the title song "Woman is Sweeter" │
│ written by William Dumaresque │
│ │
│ Galt MacDermot: Piano, Rocksichord │
│ Bernard Purdie: Drums (Tracks 13-19) │
│ Idris Muhammad: Drums (Tracks 20-26) │
│ Jimmy Lewis: Bass │
│ Charlie Brown: Guitar, Violin │
│ Unknown Violin on "Princess Gika" │
│ │
│ Vocal on title song "Woman is Sweeter" sung by Fergus MacRoy │
│ │
│ Movie Production: Martine Barrat │
│ │
│ Recorded at National Recording Studios Inc., │
│ In New York City - Autumn 1969 │
│ │
│ Recording Engineer: Roger │
│ Record Production: John Holden │
│ Photography: June Sauer │
│ │
└──────────────────────────────────────────────────────[ S O U P ]─┤
│ track list │
└──────────────────────────────────────────────────────────────────┘
│ │
│ shapes of rhythm │
│ │
│ 01 lady you look good to me 03:04 │
│ 02 farmland 02:58 │
│ 03 coffee cold 03:26 │
│ 04 marsh gas 02:27 │
│ 05 if our love is real 03:03 │
│ 06 the mouse roared 02:25 │
│ 07 tender meeting 02:44 │
│ 08 mbabam 01:59 │
│ 09 field of sorrow 03:56 │
│ 10 alive in dar-es-salaam 02:20 │
│ 11 spanish nights 02:26 │
│ 12 im through with you 02:36 │
│ │
│ woman is sweeter │
│ │
│ 13 tango 04:02 │
│ 14 fragments 1a 01:51 │
│ 15 fragments 1b 02:58 │
│ 16 fragments ii 01:36 │
│ 17 bass 02:13 │
│ 18 cathedral 02:15 │
│ 19 woman is sweeter 02:30 │
│ 20 moving clothes 02:24 │
│ 21 bathtub 02:46 │
│ 22 radio rock 03:50 │
│ 23 princess gika 02:10 │
│ 24 merry-go-round 02:55 │
│ 25 space 01:55 │
│ 26 perfume bottles 02:09 │
│ │
│ bonus track │
│ │
│ 27 coffee cold (with fergus macroy) 01:28 │
│ │
└──────────────────────────────────────────────────────[ S O U P ]─┤
│ EAC logfile │
└──────────────────────────────────────────────────────────────────┘
│ │
│ EAC extraction logfile from 18. May 2005, 19:17 for CD │
│ Unknown Artist / Unknown Title │
│ │
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│ Overread into Lead-In and Lead-Out : No │
│ │
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│ 44.100 Hz; 16 Bit; Stereo │
│ │
│ Other options : │
│ Fill up missing offset samples with silence : Yes │
│ Delete leading and trailing silent blocks : No │
│ Native Win32 interface for Win NT & 2000 │
│ │
│ │
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│ │
│ Peak level 97.7 % │
│ Track quality 100.0 % │
│ Copy CRC E7A6A30F │
│ Copy OK │
│ │
│ Track 26 │
│ Filename C:\GaltMacdermot\Track26.wav │
│ │
│ Peak level 97.7 % │
│ Track quality 100.0 % │
│ Copy CRC 2E87A8BB │
│ Copy OK │
│ │
│ Track 27 │
│ Filename C:\GaltMacdermot\Track27.wav │
│ │
│ Peak level 76.4 % │
│ Track quality 100.0 % │
│ Copy CRC 31F74A11 │
│ Copy OK │
│ │
│ No errors occured │
│ │
│ │
│ End of status report │
│ │
└──────────────────────────────────────────────────────[ S O U P ]─┤
│ │
└──────────────────────────────────────────────────────────────────┘
Files
| Path | Size |
|---|---|
| 01-lady_you_look_good_to_me.mp3 | 4,69 MB |
| 02-farmland.mp3 | 4,62 MB |
| 03-coffee_cold.mp3 | 5,02 MB |
| 04-marsh_gas.mp3 | 3,62 MB |
| 05-if_our_love_is_real.mp3 | 4,21 MB |
| 06-the_mouse_roared.mp3 | 3,71 MB |
| 07-tender_meeting.mp3 | 3,92 MB |
| 08-mbabam.mp3 | 2,95 MB |
| 09-field_of_sorrow.mp3 | 5,65 MB |
| 10-alive_in_dar-es-salaam.mp3 | 3,58 MB |
| 11-spanish_nights.mp3 | 3,56 MB |
| 12-im_through_with_you.mp3 | 3,74 MB |
| 13-tango.mp3 | 6,05 MB |
| 14-fragments_1a.mp3 | 2,65 MB |
| 15-fragments_1b.mp3 | 4,46 MB |
| 16-fragments_ii.mp3 | 2,32 MB |
| 17-bass.mp3 | 3,05 MB |
| 18-cathedral.mp3 | 3,18 MB |
| 19-woman_is_sweeter.mp3 | 3,66 MB |
| 20-moving_clothes.mp3 | 3,65 MB |
| 21-bathtub.mp3 | 3,98 MB |
| 22-radio_rock.mp3 | 6,06 MB |
| 23-princess_gika.mp3 | 3,27 MB |
| 24-merry-go-round.mp3 | 4,43 MB |
| 25-space.mp3 | 2,74 MB |
| 26-perfume_bottles.mp3 | 3,41 MB |
| 27-coffee_cold_(with_fergus_macroy).mp3 | 1,41 MB |