When Herbie Hancock released his iconic Headhunters in 1970, it was a widely popular album that moved away from the jazz-rock fusion of that era into certified jazz-funk. It represented a new sound that fans and the airwaves across several genres couldn’t get enough of. Percussionist Bill Summers was an original member of that band that included reedist Bennie Maupin, drummer Harvey Mason, and bassist Paul Jackson. Mike Clark replaced Harvey Mason and that lineup stayed intact for a few more releases including Thrust and Flood. There have been five studio albums with some iteration of this group since 1975, the latest being 2011’s Platinum, which was essentially a gathering of superstars including Azar Lawrence, Patrice Rushen, George Clinton, original member Maupin and a host of rappers including Snoop Dogg. This new offering, Speakers in the House, coming eleven years later, pairs down into a slimmer jazz-funk ensemble.
Here the unit revisits “Actual Proof” from Thrust along with six new jazz-funk burners and a couple of more straight-ahead offerings to close it out. This unit, besides Clark and Summers, features the lone reedist, NEA Jazz Master altoist Donald “Chief” Harrison, who also played on Platinum and 2003’s Evolution Revolution. Stephen Gordon takes the keyboards, and Reggie Washington the bass. Augmenting this quintet on select tracks are Scott Roberts (drum programming on the first three tracks), Jerry Z. on organ for “Vaspurakan,” and Fode Sissoke (kora and vocals for “Kongo Square”). It’s nearly impossible to find a technical jazz-funk keyboardist who measures up to Hancock, but Gordon does a decent job here filling that unenviable role.
The New Orleans and African roots of these jazz-funk pioneers are on prime display on that very same “Kongo Square” which combines kora, vocals, collective improvisations, and polyrhythms. The spelling alone lets you know that this is not the “Congo Square” associated with slide guitarist Sonny Landreth and bands such as the Neville Brothers. It has more African authenticity via the kora and the chanting vocals. Interestingly the use of the kora here is likely a reference to Hancock’s collaboration with Foday Musa Sosa in the ‘80s. Harrison blows fiercely while Clark and Summers feed off his energy. It sounds like more than one horn so Harrison must be layering in his parts.
“Rocking at the Mole House” settles into the kind of funk groove we have long associated with this band, as one clearly senses Roberts’ drum programming at work and Gordon rocks the clavinet. Given the stature of the two co-leaders, this one, like several, is heavy on drums and percussion, none more so than the next, the flowing but insistently beating “HH 75.” “Over the Bar” is the preeminent throwback track – tight, groovy, and funk filthy with Gordon on clavinet and later in a clean, pulsating electric piano solo. Jerry Z.’s organ gives a slightly different hue to “Vaspurakan” but the fiery elements of Harrison and a charged rhythm section joyously churn out the funk. Lock yourself in and it’s really not much different than the band’s infectious sound from fifty years ago.
“Stoop” offers a slightly more relaxed pace and a more lyrical bent as Harrison’s alto floats above the percolating rhythms and Gordon comps in a more ethereal way. Arguably, to cover “Actual Proof” from Thrust demands a new interpretation and the band takes it in a more straight-ahead jazz direction, accomplished mostly by Gordon playing the acoustic piano. In fact, due in part to Harrison sitting out, this piece sounds much like Clark’s recent piano trio recordings with bassist Leon Lee Dorsey. Clark’s kit work, especially on cymbals is especially outstanding here.
The closer “Stop Watch” has the full quintet back with a vibe at the intersection of jazz-funk and straight-ahead as Gordon is again on the acoustic piano. It’s the churning percussion combination of the two co-leaders and Washington’s heavy walking bass line that keeps this one in the funky groove. But wait, there are two sections, the second surprisingly spinning into exhilarating Latin rhythms.
These last two tunes elevate the album from simply a jazz-funk workout into a bigger sound and more expansive musical experience while the listener’s feet and/or body are shaking the whole way through. Let yourself go. That’s what this is all about.
