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I have three others form this recording that I'd also like to redo, I'll post em if you like. A little slower, allow the groove to settle in, rather than push itself along. I have access to a fantastic sax player and a fantastic trumpet player now, and I'm capable of cutting the whole rhythm section part myself. Man, I miss that band, we were really about to be something. I did remaster it a few years ago, but it really didn't change a lot. It's surprising how little generational loss there was, and how high the fidelity was. We cut the guitar, bass and drums in one pass, I overdubbed the piano part, and then the leads and solos came last. But, he put 11 mics on the drums (and the kit as eminently mikable, as ALL the toms were Rotos, down the the 18" floor!). On this recording, a friend of ours (Gregg Hodge, good drummer, great engineer) had his 4-track setup in the studio, sort of a primordeal home studio compared to what most of us have today. I was the bass player in the band, and there was a drummer (Scott Ercoliani, lives in Washington state now, I think), a guitarist (Bill Galanin, who can give Metheny a serious run for his money, lives in Weschester county in NY and does solo gigs), and the sax player who doubled on keys (Brian Dyre, I think he's a professor at University of Illinois, Champiagn these days.). Wow, geez, guys, thanks, all of you!!! The band was called Sgt. Do you think this one bears a rework? The recording is remarkably good, considering the date and technology (Fostex 4-track cassette!). Anyway, I was so into the Lorber thing that I decided to write an exercise piece as a tribute, and to see if I could understand some of Lorber's songwriting devices and as an aside, I got to really piss off my sax player, because the chart is KILLER hard.Īnyway, I've been trolling the archives in between a LONG songwriting drought, looking for more stuff worth redoing with a modern flair and a more experienced hand. I grew up on jazz and funk and fusion in the late 70s and early 80s, and one of the watermark songwriting and playing influences for me was The Jeff Lorber Fusion (the band featured a then-unknown MONSTER sax player named Kenny Gorelick, who went on to write some abysmally boring smooth jazz of his own and gain a reputation as a sell-out). Friday (I was a 19 year old wee-beastie!). Since Lorber is celebrating his birthday today,this is just the song I’d personally chose to represent his groove.This is a piece I wrote in 1984, and the band playing it is the band I was in at the time, called Sgt. Either way,its still one of those “bass in your face” songs where the funk is very accessible to identify. I’m not entirely sure if Stanley Clarke plays all the bass lines here,or is accompanying bassist Danny Wilson (who plays on the rest of the album) on this song. I dare say it is the most thoroughly funky song Jeff Lorber made in the 1980’s. Artist: The Jeff Lorber Fusion Composer: Leff Lorber, Stanley Clarke Producer: Jeff Lorber, Rik Pekkonen. And the entire song never takes its eyes off the groove. The bass leads the way from beginning to end. ‘Monster Man” is indeed a heavy funk monster. On the bridge of the song,the drums take on a Brazilian flavor as the slap bass gets a duetting solo from non other than Stanley Clarke himself before the song fades out on the main theme. On the refrains,Lorber’s keyboards lead a group lead the harmony vocals.
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All songs composed by Jeff Lorber, except where noted. Released in 1981, this was Lorbers last album as leader of his band 'The Jeff Lorber Fusion' until 2010s Now Is The Time. And each of his vocals lines is accented by the horn charts from Jerry Hey. Galaxian is the fifth album by Keyboardist Jeff Lorber as leader of his band 'The Jeff Lorber Fusion'. After this,Donnie Gerrard’s vocals come in. The thick drums and slap bass start out the song before a fruity voice does a short rap at the beginning-while the bass burbles with an accenting rhythm guitar beneath him. The opening track of this album is one of the best examples of this that I can think of. That played a big part in their final album together for almost 30 years entitled Galaxian.
![jeff lorber fusion monster man jeff lorber fusion monster man](https://inv.vinyltap.co.uk/media/5e4048e504399.jpg)
This also arrived at the same time that the Jeff Lorber Fusion were beginning to focus on heavy rhythm along with improvised instrumental soloing. On the other hand,his grooves hit a fevered pitch in the early 1980’s.Ībout 12 years ago when discovering Jeff Lorber’s albums from approximately 1980 to 1986, it came to me how much he was able to do with in the time period when analog based synthesizers were transitioning to digital ones. This is something he’s shown with his recent comebacks. Lorber has realized that as long as he keeps the rhythms tough and strong,and his solos jazzy and hummable,that the jazz/funk/fusion sound he’s now a veteran of,he can modernize his sound but keep its basic flavors intact. Jeff Lorber has remained one of the major jazz/funk keyboard players whose continued through the smooth jazz era by remaining consistently funky.