Funk – Wikipedia

music writing style that originated in african-american communities in the mid-1960s

Funk is a music genre that originated in african american communities in the mid-1960s when musicians created a rhythmical, danceable raw shape of music through a mix of soul, wind, and rhythm and blues ( R & B ). [ 2 ] It de-emphasizes melody and chord progressions and focuses on a hard rhythmical rut of a bassline played by an electric bassist and a brake drum part played by a percussionist, frequently at slower tempo than other democratic music. Funk typically consists of a complex percussive rut with rhythm instruments playing interlocking grooves that create a “ soporific ” and “ danceable ” tactile property. [ 3 ] Funk uses the lapp lavishly colored extend chords found in bop jazz, such as minor chords with add sevenths and elevenths, or dominant allele seventh chords with interpolate ninths and thirteenths. Funk originated in the mid-1960s, with James Brown ‘s development of a touch groove that emphasized the downbeat —with heavy stress on the first perplex of every bill ( “ The One ” ), and the application of swing 16th notes and syncope on all basslines, drum patterns, and guitar riffs [ 4 ] —and rock and psychedelia-influenced musicians Sly and the Family Stone and Jimi Hendrix, fostering improvisation in funk. [ 5 ] other musical groups, including Kool and the Gang, [ 6 ] Earth, Wind & Fire, Chic, B.T. Express, Loose Ends, Shalamar, The S.O.S. Band, Slave, The Whispers, Cameo, Fat Larry ‘s Band, the Bar-Kays, and Imagination, [ 7 ] began to adopt and develop Brown ‘s innovations during the 1970s and adding R & B essences to the music genre from the early 1980s, while others like Parliament-Funkadelic and Ohio Players followed Hendrix ‘s path.

Funk derivatives include the avant-funk, an avant-garde breed of funk ; boogie, a loanblend of electronic music and funk ; funk metal, a mix of funk and metallic element ; G-funk, a desegregate of gangsta rap and flinch ; Timba, a form of funky Cuban dance music ; and funk jam. It is besides the main influence of Washington go-go, a funk sub-genre. [ 8 ] Funk samples and breakbeats have been used extensively in pelvis hop and electronic dance music .

etymology [edit ]

The discussion funk initially referred ( and still refers ) to a solid smell. It is primitively derived from Latin “ fumigare ” ( which means “ to smoke ” ) via Old French “fungiere” and, in this sense, it was first documented in English in 1620. In 1784 “ funky ” meaning “ moldy ” was foremost documented, which, in go, led to a sense of “ crude ” that was taken up around 1900 in early jazz slang for something “ profoundly or powerfully felt ”. [ 9 ] [ 10 ] Ethnomusicologist Portia Maultsby states that the expression “ funk ” comes from the cardinal african news “lu-funki” and art historian Robert Farris Thompson says the word comes from the Kikongo term “lu-fuki” ; in both proposed origins, the term refers to body odor. [ 11 ] Thompson ‘s nominate Kikongo origin discussion, “ lu-fuki ” is used by african musicians to praise people “ for the integrity of their artwork ” and for having “ worked out ” to reach their goals. [ 12 ] even though in white polish, the term “ funk ” can have minus connotations of olfactory property or being in a bad climate ( “ in a funk ” ), in african communities, the term “ funk ”, while still linked to body smell, had the incontrovertible sense that a musician ‘s hard-working, dependable effort led to sweat, and from their “ physical effort ” came an “ exquisite ” and “ greatest ” operation. [ 12 ] In early jam sessions, musicians would encourage one another to “ get down “ by telling one another, “ now, put some stank on it ! ”. At least a early as 1907, wind songs carried titles such as Funky. The beginning model is an live number by Buddy Bolden, remembered as either “ Funky Butt “ or “ Buddy Bolden ‘s Blues ” with improvise lyrics that were, according to Donald M. Marquis, either “ amusing and light ” or “ crude and downright abhorrent ” but, in one direction or another, referring to the sweaty air at dances where Bolden ‘s band played. [ 13 ] [ 14 ] As former as the 1950s and early 1960s, when “ funk ” and “ fetid ” were used increasingly in the context of jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans -born drummer Earl Palmer “ was the first to use the word ‘funky ‘ to explain to other musicians that their music should be made more syncopate and danceable. ” [ 15 ] The manner by and by evolved into a quite hard-driving, insistent cycle, implying a more carnal quality. This early form of the music set the model for later musicians. [ 16 ] The music was identified as slowly, aphrodisiac, loose, flick -oriented and danceable. [ citation needed ] The meaning of “ funk ” continues to captivate the genre of black music, feel, and cognition. recent eruditeness in black studies has taken the term “ funk ” in its many iterations to consider the scope of black campaign and culture. In particular, L.H. Stallings ‘s Funk the Erotic: Transaesthetics and Black Sexual Cultures explores these multiple meanings of “ funk ” as a way to theorize sex, culture, and western hegemony within the many locations of “ funk ” : “ street parties, drama/theater, strippers and strip clubs, pornography, and self-published fabrication. ” [ 17 ]

Characteristics [edit ]

Rhythm and tempo [edit ]

The rhythm section of a funk band—the electric bass, drums, electric guitar and keyboards — is the pulse of the funk heavy. Pictured here is the Meters Like soul, flinch is based on dance music, so it has a strong “ rhythmical role ”. [ 18 ] The strait of funk is arsenic much based on the “ spaces between the notes ” as the notes that are played ; as such, rests between notes are important. [ 19 ] While there are rhythmical similarities between funk and disco, funk has a “ central dance beat that ‘s slower, sexier and more syncopated than disco ”, and funk rhythm section musicians add more “ subtextures ”, complexity and “ personality ” onto the chief beat than a program synth-based disco corps de ballet. [ 20 ] Before funk, most pop music was based on sequences of eighth notes, because the fast tempo made far subdivisions of the beat impracticable. [ 3 ] The invention of funk was that by using slower tempo ( surely influenced by the revival of blues at early on 60s ), funk “ created space for promote rhythmical subdivision, so a bar of 4/4 could immediately accommodate possible 16 note placements. ” [ 3 ] specifically, by having the guitar and drums play in “ motoring ” sixteenth-note rhythm, it created the opportunity for the other instruments to play “ more syncopate, broken-up expressive style ”, which facilitated a move to more “ liberated ” basslines. together, these “ interlacing parts ” created a “ hypnotic ” and “ danceable feel ”. [ 3 ] A great deal of funk is rhythmically based on a two- celled onbeat/offbeat structure, which originated in sub-saharan african music traditions. New Orleans appropriated the bifurcated social organization from the Afro-Cuban mambo and conga in the late 1940s, and made it its own. [ 21 ] New Orleans funk, as it was called, gained external acclaim largely because James Brown ‘s rhythm section used it to great impression. [ 22 ]
Simple kick and trap funk motif. The kick back first sounds two onbeats, which are then answered by two offbeats. The snare sounds the backbeat .

harmony [edit ]

Funk uses the like lavishly colored extend chords found in bop jazz, such as minor chords with add sevenths and elevenths, or dominant one-seventh chords with adapted ninths. Some examples of chords used in funk are minor eleventh chords ( for example, F minor 11th ) ; dominant allele seventh with lend sharp ninth and a suspend fourth ( for example, C7 ( # 9 ) sus 4 ) ; prevailing ninth chords ( for example, F9 ) ; and minor sixth chords ( for example, C minor 6 ). [ 19 ] The six-ninth chord is used in funk ( for example, F 6/9 ) ; it is a major chord with an lend sixth and ninth. [ 19 ] In funk, minor one-seventh chords are more common than minor triads because minor triads were found to be besides thin-sounding. [ 23 ] Some of the best known and most nice soloists in flinch have jazz backgrounds. trombonist Fred Wesley and saxophonist Pee Wee Ellis and Maceo Parker are among the most noteworthy musicians in the funk music genre, having worked with James Brown, George Clinton and Prince. Unlike bop jazz, with its building complex, rapid-fire chord changes, funk about abandoned harmonize changes, creating electrostatic single chord vamps ( much alternating a child seventh chord and a relate prevailing one-seventh chord, such as A minor to D7 ) with melodo-harmonic drift and a complex, driving rhythmical feel. even though some funk songs are chiefly one-chord vamps, the rhythm section musicians may embellish this chord by moving it up or down a semitone or a tone to create chromatic sink chords. For case, “ Play that funky music “ ( by Wild Cherry ) chiefly uses an E ninth chord, but it besides uses F # 9 and F9. [ 24 ] The chords used in flinch songs typically imply a dorian or Mixolydian manner, as opposed to the major or natural child tonalities of most popular music. Melodic content was derived by mixing these modes with the blues scale. In the 1970s, wind music drew upon flinch to create a modern subgenre of jazz-funk, which can be heard in recordings by Miles Davis ( Live-Evil, On the Corner ), and Herbie Hancock ( Head Hunters ) .

improvisation [edit ]

Funk continues the african musical custom of improvisation, in that in a funk isthmus, the group would typically “ feel ” when to change, by “ jam ” and “ grooving ”, even in the studio read stage, which might only be based on the skeleton framework for each song. [ 25 ] Funk uses “ collective extemporization ”, in which musicians at rehearsals would have what was metaphorically a musical “ conversation ”, an approach which extended to the onstage performances. [ 26 ]

Instruments [edit ]

bass [edit ]

Bootsy Collins performing in 1996 with a asteroid bass Funk creates an acute furrow by using potent guitar riffs and basslines played on electric bass. Like Motown recordings, funk songs use basslines as the centerpiece of songs. indeed, flinch has been called the style in which the bassline is most outstanding in the songs, [ 27 ] with the bass playing the “ hook ” of the song. [ 28 ] early funk basslines used syncopation ( typically syncopated eighth notes ), but with the addition of more of a “ drive feel ” than in New Orleans funk, and they used blues scale notes along with the major third above the rout. [ 29 ] Later funk basslines use one-sixteenth eminence syncope, blues scales, and repetitive patterns, frequently with leaps of an octave or a larger interval. [ 28 ]
This funky bassline includes percussive slap, rhythmical touch notes, and glissando effects. Funk basslines emphasize insistent patterns, locked-in grooves, continuous act, and bang and popping bass. Slapping and popping uses a assortment of thumb-slapped gloomy notes ( besides called “ beat ” ) and finger “ popped ” ( or plucked ) high notes, allowing the bass to have a drum-shaped rhythmical character, which became a classifiable element of flinch. noteworthy slap and funky players include Bernard Edwards ( Chic ), Robert “ Kool ” Bell, Mark Adams ( Slave ), Johnny Flippin ( Fatback ) [ 30 ] and Bootsy Collins. [ 31 ] While slap and funky is important, some influential bassists who play funk, such as Rocco Prestia ( from Tower of Power ), did not use the approach, and rather used a distinctive fingerstyle method based on James Jamerson ‘s Motown play style. [ 31 ] Larry Graham from Sly and the Family Stone is an influential bassist. [ 32 ] Funk freshwater bass has an “ earthy, percussive kind of feel ”, in share due to the use of muted, rhythmical ghost notes [ 32 ] ( besides called “ dead notes ” ). [ 31 ] Some funk bass players use electronic effects units to alter the tone of their instrument, such as “ envelope filters ” ( an auto- wah effect that creates a “ gooey, slurpy, quacky, and honeyed ” voice ) [ 33 ] and imitate keyboard synthesizer bass tones [ 34 ] ( for example, the Mutron envelope filter ) [ 28 ] and overuse fuzz freshwater bass effects, which are used to create the “ classic hair tone that sounds like old school Funk records ”. [ 35 ] other effects that are used include the flanger and freshwater bass refrain. [ 28 ] Collins besides used a Mu-Tron Octave Divider, an octave pedal that, like the Octavia pedal popularized by Hendrix, can double a eminence an octave above and below to create a “ futuristic and fat low-end strait ”. [ 36 ]

Drums [edit ]

Funk drumming creates a rut by emphasizing the drummer ‘s “ feel and emotion ”, which including “ occasional tempo fluctuations ”, the function of swing feel in some songs ( for example, “ Cissy Strut ” by The Meters and “ I ‘ll Take You There ” by The Staple Singers, which have a half-swung feel ), and less manipulation of fills ( as they can lessen the groove ). [ 37 ] Drum fills are “ few and economical ”, to ensure that the drum stays “ in the pouch ”, with a steady tempo and groove. [ 38 ] These playing techniques are supplemented by a set-up for the barrel kit out that often includes dull bass drums and toms and tightly tuned trap drums. [ 37 ] Double bass drumming sounds are much done by funk drummers with a single pedal, an set about which “ accents the second note … [ and ] deadens the drumhead ‘s resonance ”, which gives a short, smother bass drum sound. [ 37 ]
James Brown used two drummers such as Clyde Stubblefield and John ‘Jabo ‘ Starks in recording and soul read [ 39 ] By using two drummers, the JB band was able to maintain a “ solid syncopated ” rhythmical sound, which contributed to the set ‘s classifiable “ Funky Drummer ” rhythm. [ 39 ] In Tower of Power drummer David Garibaldi ‘s play, there are many “ ghost notes ” and rim shots. [ 37 ] A keystone contribution of the funk drumming style is using the hi-hat, with opening and closing the hi-hats during playing ( to create “ dab ” emphasis effects ) being an authoritative approach. [ 40 ] ambidextrous sixteenth notes on the hi-hats, sometimes with a degree of swing feel, is used in funk. [ 37 ] Jim Payne states that funk drum uses a “ wide-open ” approach to improvisation around rhythmical ideas from Latin music, ostinato, that are repeated “ with alone slight variations ”, an approach which he says causes the “ hypnotic ” nature of funk. [ 41 ] Payne states that funk can be thought of as “ rock played in a more syncopate manner ”, peculiarly with the bass cram, which plays syncopated “ eighth note ” and “ sixteenth note ” patterns that were innovated by drummer Clive Williams ( with Joe Tex ) ; George Brown ( with Kool & the Gang ) and James “ Diamond ” Williams ( with The Ohio Players ). [ 42 ] As with rock, the snare drum backbeats on beats two and four are still used in most funk ( albeit with extra soft ghostwriter notes ). [ 41 ]

Electric guitar [edit ]

In flinch, guitarists frequently mix playing chords of a short duration ( nicknamed “ shot ” ) with debauched rhythm and riffs. [ 18 ] Guitarists playing rhythmical parts much play one-sixteenth notes, including with percussive “ ghost notes ”. [ 18 ] Chord extensions are favored, such as one-ninth chords. [ 18 ] Typically, funk uses “ two interlocking [ electric ] guitar parts ”, with a cycle guitarist and a “ tenor guitarist ” who plays single notes. The two guitarists trade off their lines to create a “ call-and-response, tat pocket. ” [ 43 ] If a band alone has one guitarist, this effect may be recreated by overdubbing in the studio, or, in a live show, by having a single guitarist play both parts, to the degree that this is possible. [ 43 ] In funk bands, guitarists typically play in a percussive style, using a style of picking called the “chank” or “chicken scratch”, in which the guitar strings are pressed lightly against the piano keyboard and then promptly released just enough to get a dull “ scratching ” sound that is produced by rapid rhythmical strum of the opposite hand near the bridge. [ 44 ] Earliest examples of that technic used on rhythm and blues is listened on Johnny Otis birdcall “ Willie and the Hand Jive “ in 1957, with the future James Brown band guitar player Jimmy Nolen. The technique can be broken down into three approaches : the “ chika ”, the “ chank ” and the “ gag ”. With the “ chika ” comes a muffle legal of strings being hit against the piano keyboard ; “ chank ” is a staccato attack done by releasing the chord with the fret pass after strumming it ; and “ die ” generally uses all the strings being strummed and heavily muted. [ 19 ]
The leave of these factors was a rhythm guitar sound that seemed to float somewhere between the low-end thump of the electric bass and the cutting tone of the snare and hi-hats, with a rhythmically melodious feel that fell trench in the air pocket. Guitarist Jimmy Nolen, longtime guitarist for James Brown, developed this proficiency. On Brown ‘s “ Give It Up or Turnit a loosen “ ( 1969 ), however, Jimmy Nolen ‘s guitar separate has a unsheathed bones tonal structure. The form of attack-points is the emphasis, not the pattern of pitches. The guitar is used the room that an african drum, or idiophone would be used. Nolen created a “ clean, trebly tonicity ” by using “ hollow-body wind guitars with single-coil P-90 pickups ” plugged into a Fender Twin Reverb adenosine monophosphate with the mid turned down low and the soprano turned up high. [ 45 ] Funk guitarists playing rhythm guitar broadly avoid distortion effects and adenosine monophosphate overdrive to get a cleanse voice, and given the importance of a chip, high heavy, Fender Stratocasters and Telecasters were widely used for their cutting treble tone. [ 45 ] The mids are frequently cut by guitarists to help the guitar sound different from the horn section, keyboards and other instruments. [ 45 ] Given the focus on providing a rhythmical groove, and the miss of emphasis on implemental guitar melodies and guitar solo, hold is not sought out by funk rhythm guitarists. [ 45 ] Funk rhythm guitarists use compressor volume-control effects to enhance the sound of muffle notes, which boosts the “ clucking ” sound and adds “ percussive agitation to funk rhythm ” ( an approach used by Nile Rodgers ). [ 46 ] Guitarist Eddie Hazel from Funkadelic is noteworthy for his solo improvisation ( peculiarly for the solo on “ Maggot Brain “ ) and guitar riffs, the tone of which was shaped by a Maestro FZ-1 Fuzz-Tone pedal point. [ 36 ] Hazel, along with guitarist Ernie Isley of the Isley Brothers, was influenced by Jimi Hendrix ‘s improvise, wah-wah infuse solo. Ernie Isley was tutored at an early old age by Hendrix, when Hendrix was a region of the Isley Brothers backing band and temporarily lived in the Isleys ‘ family. Funk guitarists use the wah-wah sound effect along with muting the notes to create a percussive sound for their guitar riffs. The phaser effect is frequently used in funk and R & B guitar play for its filter sweeping fathom effect, an exemplar being the Isley Brothers ‘ song “ Who ‘s That Lady “. [ 47 ] Michael Hampton, another P-Funk guitarist, was able to play Hazel ‘s virtuosic solo on “ Maggot Brain ”, using a solo set about that added in string bends and Hendrix-style feedback. [ 36 ]

Keyboards [edit ]

A crop of keyboard instruments are used in flinch. acoustic piano is used in funk, including in “ September ” by Earth Wind & Fire and “ Will It Go Round in Circles ” by Billy Preston. The electric piano is used on songs such as Herbie Hancock ‘s “ Chameleon ” ( a Fender Rhodes ) and “ Mercy, Mercy, Mercy ” by Joe Zawinul ( a Wurlitzer ). The clavinet is used for its percussive shade, and it can be heard in songs such as Stevie Wonder ‘s “ Superstition ” and “ Higher Ground ” and Bill Withers ‘ “ Use Me ”. The Hammond B-3 organ is used in funk, in songs such as “ Cissy Strut ” by The Meters and “ Love the One You ‘re With ” ( with Aretha Franklin sing and Billy Preston on keyboards ). Bernie Worrell ‘s range of keyboards from his recordings with Parliament Funkadelic demonstrate the wide-eyed image of keyboards used in funk, as they include the Hammond organ ( “ Funky Woman ”, “ Hit It and Quit It ”, “ Wars of Armageddon ” ) ; RMI electric piano ( “ I Wan sodium Know If It ‘s good to You ? “, “ free Your judgment “, “ idle Booty ” ) ; acoustic piano ( “ Funky Dollar Bill ”, “ Jimmy ‘s Got a little Bit of Bitch in Him ” ) ; clavinet ( “ Joyful Process ”, “ Up for the Down Stroke ”, “ Red Hot Mama ” ) ; Minimoog synthesizer ( “ Atmosphere ”, “ Flash Light “, “ Aqua Boogie ”, “ Knee Deep ”, “ Let ‘s Take It to the Stage ” ) ; and ARP string ensemble synth ( “ Chocolate City “, “ Give Up the Funk ( Tear the Roof off the Sucker ) “, “ Undisco Kidd ” ). Synthesizers were used in flinch both to add to the deep fathom of the electric bass, or even to replace the electric bass altogether in some songs. [ 48 ] Funk synthesizer bass, most much a Minimoog, was used because it could create layer sounds and new electronic tones that were not feasible on electric freshwater bass. [ 48 ]

Vocals and lyrics [edit ]

In the 1970s, funk used many of the lapp vocal styles that were used in african-american music in the 1960s, including singing influences from blues, gospel, jazz and doo-wop. [ 39 ] Like these other african-american styles, funk used “ [ yttrium ] ells, shouts, hollers, moans, hum, and melodic riffs ”, along with styles such as Call and Response and narrative of stories ( like the African oral tradition approach ). [ 49 ] The call and response in funk can be between the leash singer and the band members who act as stand-in vocalists. [ 50 ] As funk emerged from soul, the vocals in funk share soul ‘s approach ; however, flinch vocals tend to be “ more punctuate, energetic, rhythmically percussive [, ] and less deck ” with ornaments, and the vocal lines tend to resemble french horn parts and have “ pushed ” rhythm method of birth control. [ 51 ] Funk bands such as Earth, Wind & Fire have harmony vocal parts. [ 20 ] Songs like “ Super Bad “ by James Brown included “ double-voice ” along with “ yells, shouts and screams ”. [ 52 ] Funk singers used a “ black aesthetic ” to perform that made practice of “ colored and lively exchange of gestures, facial expressions, soundbox model, and vocal phrases ” to create an prosecute performance. [ 53 ]
The lyrics in funk music addressed issues faced by the african American community in the United States during the 1970s, which arose due to the move away from an industrial, wage-earning economy to an information economy, which harmed the Black working class. [ 54 ] Funk songs by The Ohio Players, Earth, Wind & Fire, and James Brown raised issues faced by lower-income Blacks in their song lyrics, such as poor people “ economic conditions and themes of poor inner-city life sentence in the black communities ”. [ 55 ] The Funkadelic song “ One nation Under A Groove “ ( 1978 ) is about the challenges that Blacks overwhelm during the 1960s civil rights motion, and it includes an exhortation for Blacks in the 1970s to capitalize on the raw “ social and political opportunities ” that had become available in the 1970s. [ 56 ] The Isley Brothers song “ Fight the Power ” ( 1975 ) has a political message. [ 57 ] Parliament ‘s sung “ Chocolate City ” ( 1975 ) metaphorically refers to Washington D.C. and other US cities that have a chiefly Black population, and it draws attention to the potential might that Black voters wield and suggests that a Black President be considered in the future. [ 58 ] The political themes of funk songs and the drive of the messages to a Black consultation echoed the raw image of Blacks that was created in Blaxploitation films, which depicted “ african-american men and women standing their prime and fighting for what was right ”. [ 59 ] Both flinch and Blaxploitation films addressed issues faced by Blacks and told stories from a Black perspective. [ 59 ] Another radio link between 1970s funk and Blaxploitation films is that many of these films used funk soundtracks ( for example, Curtis Mayfield for Superfly ; James Brown and Fred Wesley for Black Caesar and War for Youngblood ). [ 60 ] Funk songs included metaphorical linguistic process that was understood estimable by listeners who were “ companion with the total darkness aesthetic and [ black ] vernacular ”. [ 61 ] For example, funk songs included expressions such as “ shake your money manufacturer ”, “ flinch yourself right out ” and “ move your boogie body ”. [ 62 ] Another exemplar is the use of “ bad ” in the birdcall “ Super Bad ” ( 1970 ), which black listeners knew entail “ good ” or “ great ”. [ 50 ] In the 1970s, to get around radio obscenity restrictions, funk artists would use words that sounded like non-allowed words and double entendres to get around these restrictions. [ 63 ] For case, The Ohio Players had a song entitled “ Fopp ” which referred to “ Fopp me right, do n’t you fopp me wrong/We ‘ll be foppin ‘ all night long … ”. [ 63 ] Some flinch songs used made-up words which suggested that they were “ writing lyrics in a constant haze of marijuana pot ”, such as Parliament ‘s “ Aqua Boogie ( A Psychoalphadiscobetabioaquadoloop ) “, which includes words such as “ bioaquadooloop ”. [ 63 ] The mainstream white hearer floor was often not able to understand funk ‘s lyric messages, which contributed to funk ‘s miss of popular music chart success with white audiences during the 1970s. [ 64 ]

other instruments [edit ]

Horn section arrangements with groups of administration instruments are frequently used in funk songs. [ 20 ] Funk horn sections could include sax ( frequently tenor sax ), trumpet, trombone, and for larger horn sections, such as quintets and sextets, a baritone sax. [ 3 ] Horn sections played “ rhythmical and syncopated ” parts, often with “ far-out phrases ” that emphasize “ rhythmical displacement ”. [ 3 ] Funk birdcall introductions are an crucial place for horn arrangements. [ 3 ]
Funk horn sections typically include saxophones and trumpets. Larger horn sections much add a second legal document for one of the saxes or trumpets, and a trombone or bari sax may besides be used. Pictured is the Earth, Wind and Fire horn section. Funk automobile horn sections performed in a “ rhythmical percussive vogue ” that mimicked the approach used by flinch rhythm guitarists. [ 65 ] Horn sections would “ punctuate ” the lyrics by playing in the spaces between vocals, using “ abruptly staccato rhythmical blast [ s ] ”. [ 65 ] Notable funk horn players included Alfred “ PeeWee ” Ellis, trombonist Fred Wesley, and countertenor sax player Maceo Parker. [ 65 ] noteworthy funk horn sections including the “ Phoenix Horns ” ( with Earth, Wind & Fire ), the “ Horny Horns ” ( with Parliament ), the “ Memphis Horns ” ( with Isaac Hayes ), and “ MFSB “ ( with Curtis Mayfield ). [ 65 ] The instruments in funk horn sections varied. If there were two administration instruments, it could be trumpet and tenor sax, trumpet and trombone, or two saxes. [ 3 ] If there were three administration players, it could be trumpet, sax and trombone or a trumpet and two saxes. [ 3 ] A quartet of brass instruments would often be a pair of an instrument type and two other instruments. Quintets would typically take a pair of brass instruments ( saxes or trumpets ), and add different high and humble brass instruments. With six instruments, a brass section would typically be two pairs of administration instruments plus a trombone and baritone sax holding down the bed end. [ 3 ] celebrated songs with flinch automobile horn sections include :
In bands or shows where hiring a horn section is not feasible, a keyboardist can play the horn section parts on a synthesist with “ keyboard brass section patches ”, however, choosing an authentic-sounding synthesist and administration patch is important. [ 3 ] In the 2010s, with micro-MIDI synths, it may flush be possible to have another musician play the keyboard brass parts, thus enabling the keyboardist to continue to comp throughout the song. [ 3 ]

Costumes and style [edit ]

Funk bands in the 1970s adopted african-american fashion and vogue, including “ bell-bottomed pants, chopine shoes, basket earring [ mho ], Afros [ hairstyles ], leather vests, … beaded necklaces ”, [ 66 ] dashiki shirts, jumpsuits and boots. [ 67 ] In contrast to earlier bands such as The Temptations, which wore “ duplicate suits ” and “ neat haircuts ” to appeal to white mainstream audiences, funk bands adopted an “ african spirit ” in their outfits and dash. [ 61 ] George Clinton and Parliament are known for their imaginative costumes and “ exemption of dress ”, which included bedsheets acting as robes and capes. [ 68 ]

history [edit ]

The distinctive characteristics of african-american melodious saying are rooted in sub-saharan african music traditions, and find their earliest formulation in spirituals, bring chants/songs, praise shouts, gospel, blues, and “ consistency rhythm method of birth control ” ( hambone, patting juba, and ring abuse clap and stomping patterns ). Funk music is an amalgam of soul music, soul sleep together, R & B, and Afro-Cuban rhythm absorbed and reconstituted in New Orleans. Like other styles of african-american musical saying including wind, person music and R & B, funk music accompanied many protest movements during and after the Civil Rights Movement. Funk allowed casual experiences to be expressed to challenge day by day struggles and hardships fought by lower and working course communities .

New Orleans [edit ]

Gerhard Kubik notes that with the exception of New Orleans, early blues lacked building complex polyrhythms, and there was a “ very specific absence of asymmetrical time-line patterns ( key patterns ) in about all early twentieth hundred african-american music … merely in some New Orleans genres does a touch of simpleton fourth dimension line patterns occasionally appear in the form of transeunt alleged ‘stomp ‘ patterns or stop-time chorus. These do not function in the same way as african time lines. ” [ 69 ] In the late 1940s this changed slightly when the two-celled time line structure was brought into New Orleans blues. New Orleans musicians were specially centripetal to Afro-Cuban influences precisely at the time when R & B was first form. [ 70 ] Dave Bartholomew and Professor Longhair ( Henry Roeland Byrd ) incorporated Afro-Cuban instruments, arsenic well as the clave model and related two-celled figures in songs such as “ circus Day ” ( Bartholomew 1949 ) and “ Mardi Gras In New Orleans ” ( Longhair 1949 ). Robert Palmer reports that, in the 1940s, Professor Longhair listened to and played with musicians from the islands and “ fell under the spell of Perez Prado ‘s mambo records. ” [ 21 ] Professor Longhair ‘s particular style was known locally as rumba-boogie. [ 71 ] One of Longhair ‘s great contributions was his particular approach of adopting two-celled, clave-based patterns into New Orleans rhythm and blues ( R & B ). Longhair ‘s rhythmical approach became a basic template of funk. According to Dr. John ( Malcolm John “ Mac ” Rebennack Jr. ), the Professor “ put funk into music … Longhair ‘s thing had a direct hold I ‘d say on a large part of the funk music that evolved in New Orleans. ” [ 72 ] In his “ Mardi Gras in New Orleans ”, the pianist employs the 2-3 clave onbeat/offbeat motif in a rumba-boogie “ guajeo “. [ 73 ] The syncopate, but straight subsection feel of Cuban music ( as opposed to swung subdivisions ) took settle in New Orleans R & B during this time. Alexander Stewart states : “ finally, musicians from outside of New Orleans began to learn some of the rhythmical practices [ of the Crescent City ]. Most important of these were James Brown and the drummers and arrangers he employed. Brown ‘s early repertory had used by and large shuffle cycle, and some of his most successful songs were 12/8 ballads ( e.g. ‘Please, Please, Please ‘ ( 1956 ), ‘Bewildered ‘ ( 1961 ), ‘I Do n’t Mind ‘ ( 1961 ) ). Brown ‘s change to a funkier brand of soul required 4/4 metre and a unlike dash of drumming. ” [ 74 ] Stewart makes the bespeak : “ The remarkable style of rhythm & blues that emerged from New Orleans in the years after World War II played an crucial function in the development of funk. In a relate development, the underlying rhythm of american democratic music undergo a basic, so far generally unacknowledged transition from three or shuffle feel to even or heterosexual eighth notes. ” [ 75 ]

1960s [edit ]

James Brown [edit ]

James Brown, a progenitor of funk music James Brown credited Little Richard ‘s 1950s R & B road band, The Upsetters from New Orleans, as “ the beginning to put the funk into the rhythm ” of rock and roll. [ 76 ] Following his impermanent exit from layman music to become an evangelist in 1957, some of Little Richard ‘s dance band members joined Brown and the Famous Flames, beginning a farseeing string of hits for them in 1958. By the mid-1960s, James Brown had developed his signature groove that emphasized the downbeat —with heavy stress on the first beat of every measure to etch his distinctive heavy, rather than the backbeat that typified african-american music. [ 77 ] Brown much cued his band with the command “ On the one !, ” changing the percussion section emphasis/accent from the one- two -three- four backbeat of traditional soul music to the one -two-three-four downbeat – but with an even-note syncopate guitar rhythm ( on quarter notes two and four ) featuring a hard-driving, insistent audacious swing. This one-three beat launched the stir in Brown ‘s key signature music style, starting with his 1964 hit single, “ Out of Sight “ and his 1965 hits, “ Papa ‘s Got a Brand New Bag “ and “ I Got You ( I Feel good ) “. Brown ‘s stylus of flinch was based on interlock, polyphonic parts : syncopated basslines, 16th beat cram patterns, and syncopated guitar riffs. [ 4 ] The chief guitar ostinato for “ Ai n’t it Funky ” ( c. late 1960s ) are an example of Brown ‘s refinement of New Orleans funk— an overwhelmingly danceable flick, stripped down to its rhythmical kernel. On “ Ai n’t it Funky ” the tonic structure is barebones. Brown ‘s innovations led to him and his band becoming the germinal flinch act ; they besides pushed the funk music stylus further to the vanguard with releases such as “ Cold Sweat “ ( 1967 ), “ Mother Popcorn “ ( 1969 ) and “ Get Up ( I Feel Like Being A ) sex Machine “ ( 1970 ), discarding even the twelve-bar blues featured in his earlier music. rather, Brown ‘s music was overlaid with “ catchy, anthemic vocals ” based on “ across-the-board vamps ” in which he besides used his voice as “ a percussive instrument with frequent rhythmical grunts and with rhythm-section patterns … [ resembling ] west african polyrhythms ” – a custom discernible in african-american study songs and chants. [ 78 ] Throughout his career, Brown ‘s frantic vocals, frequently punctuated with screams and grunts, channeled the “ ecstatic ambiance of the black church ” in a secular context. [ 78 ]
After 1965, Brown ‘s bandleader and organizer was Alfred “ Pee Wee ” Ellis. Ellis credits Clyde Stubblefield ‘s adoption of New Orleans drumming techniques, as the footing of modern flinch : “ If, in a studio, you said ‘play it funky ‘ that could imply about anything. But ‘give me a New Orleans beat ‘ – you got precisely what you wanted. And Clyde Stubblefield was just the epitome of this funky drum. ” [ 79 ] Stewart states that the popular feel was passed along from “ New Orleans—through James Brown ‘s music, to the democratic music of the 1970s. ” [ 75 ] Concerning the diverse flinch motifs, Stewart states that this model “ … is different from a fourth dimension note ( such as clave and tresillo ) in that it is not an exact radiation pattern, but more of a loose organizing principle. ” [ 80 ] In a 1990 interview, Brown offered his argue for switching the rhythm of his music : “ I changed from the cheerful to the downbeat … Simple as that, actually. ” [ 81 ] According to Maceo Parker, Brown ‘s erstwhile saxophonist, playing on the downbeat was at first hard for him and took some getting used to. Reflecting back to his early days with Brown ‘s band, Parker reported that he had trouble playing “ on the one ” during solo performances, since he was used to hearing and playing with the dialect on the second beat. [ 82 ]
A newfangled group of musicians began to further develop the “ funk rock ” access. Innovations were prominently made by George Clinton, with his bands Parliament and Funkadelic. together, they produced a fresh kind of funk reasoned heavily influenced by wind and psychedelic rock. The two groups shared members and are often referred to jointly as “ Parliament-Funkadelic. ” The break popularity of Parliament-Funkadelic gave rise to the terminus “ P-Funk “, which referred to the music by George Clinton ‘s bands, and defined a new subgenre. Clinton played a chief function in several other bands, including Parlet, the Horny Horns, and the Brides of Funkenstein, all region of the P-Funk conglomerate. “ P-funk ” besides came to mean something in its quintessence, of superior quality, or sui generis. Following the work of Jimi Hendrix in the late 1960s, artists such as Sly and the Family Stone combined the psychedelic rock of Hendrix with flinch, borrowing wah pedals, bull boxes, echo chambers, and outspoken distorters from the former, a well as blues rock candy and wind. [ 83 ] In the come years, groups such as Clinton ‘s Parliament-Funkadelic continued this sensibility, employing synthesizers and rock-oriented guitar shape. [ 83 ]

late 1960s – early 1970s [edit ]

other musical groups picked up on the rhythm and song style developed by James Brown and his band, and the funk manner began to grow. Dyke and the Blazers, based in Phoenix, Arizona, released “ Funky Broadway “ in 1967, possibly the first gear record of the soul music earned run average to have the word “ fetid ” in the deed. In 1969 Jimmy McGriff released Electric Funk, featuring his classifiable organ over a blaze horn section. meanwhile, on the West Coast, Charles Wright & the Watts 103rd Street Rhythm Band was releasing funk tracks beginning with its first gear album in 1967, culminating in the classic single “ Express Yourself ” in 1971. besides from the West Coast area, more specifically Oakland, California, came the ring Tower of Power ( TOP ), which formed in 1968. Their debut album East Bay Grease, released 1970, is considered an important milestone in funk. Throughout the 1970s, TOP had many hits, and the isthmus helped to make flinch music a successful writing style, with a broader audience. In 1970, Sly & the Family Stone ‘s “ Thank You ( Falettinme Be Mice Elf Agin ) “ reached # 1 on the charts, as did “ Family Affair “ in 1971. notably, these afforded the group and the music genre crossing success and greater realization, so far such success escaped relatively talented and moderately popular funk set peers. The Meters defined funk in New Orleans, starting with their lead ten-spot R & B hits “ advanced Cissy ” and “ Cissy Strut “ in 1969. Another group who defined funk around this time were the Isley Brothers, whose funky 1969 # 1 R & B collision, “ It ‘s Your Thing “, signaled a breakthrough in african-american music, bridging the gaps of the flashy sounds of Brown, the psychedelic rock of Jimi Hendrix, and the wellbeing soul of Sly & the Family Stone and Mother ‘s Finest. The Temptations, who had previously helped to define the “ Motown Sound ” – a discrete blend of pop-soul – adopted this new psychedelic sound towards the end of the 1960s adenine well. Their manufacturer, Norman Whitfield, became an pioneer in the field of psychedelic soul, creating hits with a new, funkier phone for many Motown acts, including “ War “ by Edwin Starr, “ Smiling Faces sometimes “ by the Undisputed Truth and “ Papa Was A Rollin ‘ Stone “ by the Temptations. Motown producers Frank Wilson ( “ Keep On Truckin ‘ “ ) and Hal Davis ( “ Dancing Machine “ ) followed befit. Stevie Wonder and Marvin Gaye besides adopted funk beats for some of their biggest hits in the 1970s, such as “ Superstition “ and “ You Have n’t Done Nothin ‘ “, and “ I Want You “ and “ Got To Give It Up “, respectively .

1970s [edit ]

The 1970s were the era of highest mainstream visibility for funk music. In summation to Parliament Funkadelic, artists like Sly and the Family Stone, Rufus & Chaka Khan, Bootsy ‘s Rubber Band, the Isley Brothers, Ohio Players, Con Funk Shun, Kool and the Gang, the Bar-Kays, Commodores, Roy Ayers, and Stevie Wonder, among others, were successful in getting radio play. Disco music owed a great softwood to funk. many early disco songs and performers came directly from funk-oriented backgrounds. Some disco music hits, such as all of Barry White ‘s hits, “ Kung Fu Fighting “ by Biddu and Carl Douglas, Donna Summer ‘s “ Love To Love You Baby “, Diana Ross ‘ “ Love Hangover “, KC and the Sunshine Band ‘s “ I ‘m Your Boogie Man “, “ I ‘m Every Woman “ by Chaka Khan ( besides known as the Queen of Funk ), and Chic ‘s “ Le Freak ” conspicuously include riffs and rhythms derived from funk. In 1976, Rose Royce scored a number-one hit with a strictly dance-funk record, “ Car Wash “. even with the arrival of disco, funk became increasingly democratic well into the early 1980s. Funk music was besides exported to Africa, and it melded with African singing and rhythm to form Afrobeat. nigerian musician Fela Kuti, who was heavy influenced by James Brown ‘s music, is credited with creating the style and terming it “ Afrobeat ” .

Jazz funk [edit ]

Jazz-funk is a subgenre of jazz music characterized by a impregnable back beat ( rut ), electrified sounds [ 84 ] and an early preponderance of analogue synthesizers. The integration of funk, person, and R & B music and styles into jazz resulted in the creation of a music genre whose spectrum is quite across-the-board and ranges from potent sleep together extemporization to soul, funk or disco with sleep together arrangements, jazz riffs, and jazz solo, and sometimes soul vocals. [ 85 ] Jazz-funk is primarily an american writing style, where it was popular throughout the 1970s and the early 1980s, but it besides achieved note appeal on the club-circuit in England during the mid-1970s. alike genres include soul jazz and jazz fusion, but neither wholly overlap with jazz-funk. notably jazz-funk is less outspoken, more arranged and featured more extemporization than soul sleep together, and retains a strong feel of rut and R & B versus some of the jazz coalition production .

Headhunters [edit ]

In the 1970s, at the like time that jazz musicians began to explore blend wind with rock to create jazz fusion, major jazz performers began to experiment with funk. Jazz-funk recordings typically used electric bass and electric piano in the rhythm department, in set of the double bass and acoustic piano that were typically used in sleep together up till that point. pianist and bandleader Herbie Hancock was the inaugural of many big jazz artists who embraced funk during the decade. Hancock ‘s Headhunters band ( 1973 ) played the jazz-funk style. The Headhunters ‘ batting order and instrumentality, retaining only wind actor Bennie Maupin from Hancock ‘s former sextet, reflected his newly musical management. He used percussionist Bill Summers in addition to a drummer. Summers blended african, Afro-Cuban, and Afro-Brazilian instruments and rhythms into Hancock ‘s flashy funk sound .

On the Corner [edit ]

On the Corner ( 1972 ) was jazz trumpeter-composer Miles Davis [ 86 ] ‘s seminal foray into jazz-funk. Like his former works though, On the Corner was experimental. Davis stated that On the Corner was an undertake at reconnecting with the unseasoned black hearing which had largely abandon jazz for rock and funk. While there is a discernible funk influence in the timbres of the instruments employed, other tonic and rhythmical textures, such as the indian tanpura and tablas, and Cuban conga and bongo, create a multi-layered soundscape. From a musical point of view, the album was a completion of sorts of the record studio apartment -based musique concrète approach that Davis and manufacturer Teo Macero ( who had studied with Otto Luening at Columbia University ‘s Computer Music Center ) had begun to explore in the late 1960s. Both sides of the record featured heavy funk drum and bass grooves, with the melodious parts snipped from hours of jams and mix in the studio. besides cited as melodious influences on the album by Davis were the contemporaneous composer Karlheinz Stockhausen. [ 87 ] [ 88 ]

1980s synth-funk [edit ]

In the 1980s, largely as a reaction against what was seen as the over-indulgence of disco, many of the core elements that formed the basis of the P-Funk formula began to be usurped by electronic instruments, drum machines and synthesizers. Horn sections of saxophones and trumpets were replaced by synth keyboards, and the horns that remained were given simplify lines, and few horn solos were given to soloists. The classic electric keyboards of funk, like the Hammond B3 organ, the Hohner Clavinet and/or the Fender Rhodes piano began to be replaced by the new digital synthesizers such as the Prophet-5, Oberheim OB-X, and Yamaha DX7. Electronic barrel machines such as the Roland TR-808, Linn LM-1, and Oberheim DMX began to replace the “ funky drummers “ of the past, and the bang and pop expressive style of freshwater bass dally were often replaced by synth keyboard basslines. Lyrics of funk songs began to change from indicative double entendres to more graphic and sexually denotative content. Influenced by Kraftwerk, the Afroamerican tap DJ Afrika Bambaataa developed electro-funk, a minimalist automated vogue of funk with his single “ Planet Rock “ in 1982. [ 89 ] besides known just as electro, this manner of funk was driven by synthesizers and the electronic rhythm of the TR-808 drum machine. The single “ Renegades of Funk “ followed in 1983. [ 89 ] Michael Jackson was influenced electro funk besides. [ 90 ] In 1980, techno funk musician used the TR-808 programmable brake drum machine, [ 91 ] while Kraftwerk ‘s strait influenced [ 92 ] former electro-funk artists such as Mantronix. [ 93 ] Rick James was the first funk musician of the 1980s to assume the flinch mantle dominated by P-Funk in the 1970s. His 1981 album Street Songs, with the singles “ Give It to Me Baby ” and “ Super Freak “, resulted in James becoming a star, and paved the way for the future direction of explicitness in funk .
Prince was an influential multi-instrumentalist, bandleader, singer and songwriter. Beginning in the late 1970s, Prince used a stripped, moral force instrumentality similar to James. however, Prince went on to have angstrom much of an impact on the sound of flinch as any one artist since Brown ; he combined amorousness, engineering, an increasing musical complexity, and an hideous prototype and stage show to ultimately create music as ambitious and imaginative as P-Funk [ citation needed ]. Prince formed the Time, originally conceived as an open act for him and based on his “ Minneapolis sound “, a hybrid mix of flinch, R & B, rock ‘n’ roll, start & new wave. finally, the ring went on to define their own style of stripped funk based on close musicianship and sexual themes. exchangeable to Prince, early bands emerged during the P-Funk era and began to incorporate uninhibited sex, dance-oriented themes, synthesizers and other electronic technologies to continue to craft funk hits. These included Cameo, Zapp, the Gap Band, the Bar-Kays, and the Dazz Band, who all found their biggest hits in the early 1980s. By the latter half of the 1980s, pure funk had lost its commercial impact ; however, pop artists from Michael Jackson to Culture Club often used funk beats .

late 1980s to 2000s nu-funk [edit ]

While funk was driven away from radio by satiny commercial pelvis hop, contemporary R & B and new jack swing, its influence continued to spread. Artists like Steve Arrington and Cameo even received major airplay and had huge ball-shaped followings. Rock bands began adopting elements of funk into their good, creating new combinations of “ funk rock “ and “ funk metallic “. extreme, Red Hot Chili Peppers, Living Colour, Jane ‘s Addiction, Prince, Primus, Urban Dance Squad, Fishbone, Faith No More, Rage Against the Machine, Infectious Grooves, and Incubus spread the approach and styles garnered from funk pioneers to new audiences in the mid-to-late 1980s and the 1990s. These bands later inspired the clandestine mid-1990s funkcore motion and stream funk-inspired artists like Outkast, Malina Moye, Van Hunt, and Gnarls Barkley. In the 1990s, artists like Me’shell Ndegeocello, Brooklyn Funk Essentials and the ( predominantly UK-based ) acid jazz movement including artists and bands such as Jamiroquai, Incognito, Galliano, Omar, Los Tetas and the Brand New Heavies carried on with strong elements of funk. however, they never came near to reaching the commercial success of funk in its heyday—with the exception of Jamiroquai, whose album Travelling Without Moving sold about 11.5 million units global. meanwhile, in Australia and New Zealand, bands playing the public house circumference, such as Supergroove, Skunkhour and the Truth, preserved a more implemental form of flinch .
Since the late 1980s hip hop artists have regularly sampled old funk tunes. James Brown is said to be the most sample artist in the history of hip hop, while P-Funk is the second most sample artist ; samples of old Parliament and Funkadelic songs formed the basis of West Coast G-funk. original beats that feature funk-styled bass or rhythm guitar riffs are besides not uncommon. Dr. Dre ( considered the progenitor of the G-funk music genre ) has freely acknowledged to being heavily influenced by George Clinton ‘s psychedelia : “ rear in the 70s that ‘s all people were doing : getting high, wearing Afros, bellbottom trousers and listening to Parliament-Funkadelic. That ‘s why I called my album The Chronic and based my music and the concepts like I did : because his bullshit was a big influence on my music. very large ”. [ 94 ] Digital Underground was a large contributor to the conversion of flinch in the 1990s by educating their listeners with cognition about the history of flinch and its artists. George Clinton branded Digital Underground as “ Sons of the P “, as their second full-length publish is besides titled. DU ‘s first exhaust, Sex Packets, was fully of funk samples, with the most widely known “ The Humpty Dance “ sampling Parliament ‘s “ Let ‘s Play House ”. A very hard funk album of DU ‘s was their 1996 release Future Rhythm. Much of contemporary clubhouse dance music, barrel and bass in finical has heavily sampled flinch drum breaks. Funk is a major chemical element of certain artists identified with the throng isthmus scene of the deep 1990s and 2000s. In the late 1990s, the band Phish developed a live strait called “ cow funk ” ( aka “ distance funk ” ), which consisted of extended danceable deep freshwater bass grooves, and often emphasized fleshy “ wah ” pedal and early psychedelic effects from the guitar player and layer Clavinet from the keyboard actor. [ 95 ] Phish began playing funkier jams in their sets around 1996, and 1998 ‘s The Story of the Ghost was heavily influenced by funk. While Phish ‘s funk was traditional in the sense that it much accented beat 1 of the 4/4 fourth dimension signature, it was besides highly exploratory and involve construction jams towards energetic peaks before transitioning into highly composed progressive rock and roll. Medeski Martin & Wood, Robert Randolph & the Family Band, Galactic, Widespread Panic, Jam Underground, Diazpora, Soulive, and Karl Denson ‘s Tiny Universe all drew heavily from the funk tradition. Lettuce, a band of Berklee College Of Music graduates, was formed in the late 1990s as a pure-funk emergence was being felt through the jamming band scene. [ citation needed ] Many members of the isthmus including keyboardist Neal Evans went on to other projects such as Soulive or the Sam Kininger Band. Dumpstaphunk builds upon the New Orleans custom of funk, with their gritty, low-ended grooves and soulful four-part vocals. Formed in 2003 to perform at the New Orleans Jazz & Heritage Festival, the set features keyboardist Ivan Neville and guitarist Ian Neville of the celebrated Neville syndicate, with two bass players and female funk drummer Nikki Glaspie ( once of Beyoncé Knowles ‘s world tour band, a well as the Sam Kininger Band ), who joined the group in 2011. Since the mid-1990s the nu-funk or funk evangelist scenery, centered on the deep funk collectors scene, is producing new material influenced by the sounds of rare funk 45s. Labels include Desco, Soul Fire, Daptone, Timmion, Neapolitan, Bananarama, Kay-Dee, and Tramp. These labels often release on 45 revolutions per minute records. Although specializing in music for rare funk DJs, there has been some crossover into the mainstream music industry, such as Sharon Jones ‘ 2005 appearance on Late Night with Conan O’Brien. Those who mix acid jazz, acerb theater, trip hop, and early genres with funk include Tom Tom Club, [ 96 ] Brainticket, [ 97 ] Groove Armada, et aluminum. [ 98 ] [ 99 ] Funk has besides been incorporated into modern R & B music by many female singers such as Beyoncé with her 2003 hit “ Crazy in Love “ ( which samples the Chi-Lites ‘ “ Are You My Woman ” ), Mariah Carey in 2005 with “ Get Your Number “ ( which samples “ Just an Illusion “ by british band Imagination ), Jennifer Lopez in 2005 with “ Get Right “ ( which samples Maceo Parker ‘s “ Soul Power ’74 “ horn audio ), Amerie with her song “ 1 Thing “ ( which samples the Meters ‘ “ Oh, Calcutta ! “ ), and besides Tamar Braxton in 2013 with “ The One “ ( which samples “ Juicy Fruit “ by Mtume ) .

2010s funktronica [edit ]

During the 2000s and early 2010s, some punk funk bands such as Out Hud and Mongolian MonkFish performed in the indie rock scene. Indie ring Rilo Kiley, in keeping with their leaning to explore a diverseness of rockish styles, incorporated flinch into their song “ The Moneymaker “ on the album Under the Blacklight. Prince, with his by and by albums, gave a reincarnation to the funk audio with songs like “ The ageless now ”, “ Musicology “, “ Ol ‘ Skool Company ”, and “ Black Sweat “. Particle, [ 100 ] for case, is character of a scene which combined the elements of digital music made with computers, synthesizers, and samples with analogue instruments, sounds, and improvisational and compositional elements of funk. [ 101 ] [ 102 ]

Derivatives [edit ]

From the early 1970s onwards, funk has developed assorted subgenres. While George Clinton and the Parliament were making a harder version of funk, bands such as Kool and the Gang, Ohio Players and Earth, Wind and Fire were making disco-influenced funk music. [ 103 ]

Funk rock [edit ]

Funk rock ( besides written as funk-rock or funk/rock ) fuses funk and rock elements. [ 104 ] Its earliest personification was heard in the late ’60s through the mid-’70s by musicians such as Jimi Hendrix, Frank Zappa, Gary Wright, David Bowie, Mother ‘s Finest, and Funkadelic on their earlier albums. many instruments may be incorporated into funk rock, but the overall phone is defined by a definitive bass or drum beat and electric guitars. The bass and drum rhythms are influenced by flinch music but with more intensity, while the guitar can be funk-or-rock-influenced, normally with distortion. Prince, Jesse Johnson, Red Hot Chili Peppers and Fishbone are major artists in flinch rock candy .
The term “ avant-funk ” has been used to describe acts who combined flinch with art rock ‘s concerns. [ 105 ] Simon Frith described the stylus as an application of liberal rock mentality to rhythm rather than melody and harmony. [ 105 ] Simon Reynolds characterized avant-funk as a kind of psychedelia in which “ oblivion was to be attained not through rising above the consistency, rather through ingress in the physical, self loss through animalism. ” [ 105 ]
Acts in the genre include german krautrock ring Can, [ 106 ] american flinch artists Sly Stone and George Clinton, [ 107 ] and a wave of early 1980s UK and US post-punk artists ( including Public Image Ltd, Talking Heads, the Pop Group, Gang of Four, Bauhaus, Cabaret Voltaire, D.A.F., A Certain Ratio, and 23 Skidoo ) [ 108 ] who embraced total darkness dance music styles such as disco and funk. [ 109 ] The artists of the late 1970s New York no wave scene besides explored avant-funk, influenced by figures such as Ornette Coleman. [ 110 ] Reynolds noted these artists ‘ preoccupations with issues such as alienation, repression and technocracy of western modernity. [ 105 ]
Go-go originated in the Washington, D.C. area with which it remains associate, along with other spots in the middle atlantic. Inspired by singers such as Chuck Brown, the “ Godfather of Go-go ”, it is a blend of funk, cycle and blues, and early pelvis hop, with a focus on lo-fi percussion instruments and in-person jam in place of dance tracks. As such, it is primarily a dance music with an vehemence on live audience call and reply. Go-go rhythm are besides incorporated into street percussion .

Boogie [edit ]

Boogie ( or electro-funk ) is an electronic music chiefly influenced by funk and post-disco. The minimalist approach of boogie, consisting of synthesizers and keyboards, helped to establish electro and house music. Boogie, unlike electro, emphasizes the slapping techniques of sea bass guitar but besides sea bass synthesizers. Artists include Vicky “ D ”, Komiko, Peech Boys, Kashif, and late Evelyn King .

Electro funk [edit ]

Electro funk is a hybrid of electronic music and funk. It basically follows the lapp shape as funk, and retains funk ‘s characteristics, but is made entirely ( or partially ) with a use of electronic instruments such as the TR-808. Vocoders or talkboxes were normally implemented to transform the vocals. The pioneer electro dance band Zapp normally used such instruments in their music. Bootsy Collins besides began to incorporate a more electronic sound on later solo albums. other artists include Herbie Hancock, Afrika Bambaataa, Egyptian Lover, Vaughan Mason & Crew, Midnight Star and Cybotron .

Funk metallic element [edit ]

Funk metal ( sometimes typeset differently such as funk-metal ) is a fusion writing style of music which emerged in the 1980s, as share of the alternative metallic campaign. It typically incorporates elements of funk and clayey alloy ( often thrash metallic ), and in some cases other styles, such as bum and experimental music. It features hard-driving heavy metallic element guitar riffs, the pounding sea bass rhythm characteristic of funk, and sometimes hip hop -style rhymes into an alternative rock ‘n’ roll approach to songwriting. A chief exercise is the all-African-American rock isthmus Living Colour, who have been said to be “ funk-metal pioneers ” by Rolling Stone. [ 111 ] During the recently 1980s and early 1990s, the style was most prevailing in California – peculiarly Los Angeles and San Francisco. [ 112 ] [ 113 ]
Dr. Dre ( pictured in 2011 ) was one of the influential creators of G-funk. G-funk is a fusion genre of music which combines gangsta tap and funk. It is by and large considered to have been invented by West Coast rappers and made celebrated by Dr. Dre. It incorporates multi-layered and melodious synthesizers, decelerate hypnotic grooves, a deep bass, background female vocals, the extensive sampling of P-Funk tunes, and a high portamento saw wave synthesist contribute. Unlike other earlier rap acts that besides utilized funk samples ( such as EPMD and the Bomb Squad ), G-funk frequently used fewer, unaltered samples per birdcall .

Timba funk [edit ]

Timba is a form of fetid Cuban popular dance music. By 1990, respective Cuban bands had incorporated elements of funk and rap into their arrangements, and expanded upon the instrumentation of the traditional conjunto with an american drum set, saxophones and a two-keyboard format. Timba bands like La Charanga Habanera or Bamboleo often have horns or early instruments playing curtly parts of tunes by Earth, Wind and Fire, Kool and the Gang or other U.S. flinch bands. While many funk motifs exhibit a clave -based social organization, they are created intuitively, without a conscious purpose of aligning the versatile parts to a guide-pattern. Timba incorporates flinch motifs into an overt and intentional clave social organization .

Funk jam [edit ]

Funk jam is a fusion genre of music which emerged in the 1990s. It typically incorporates elements of funk and frequently exploratory guitar, along with gallop cross music genre improvisations ; much including elements of wind, ambient, electronic, Americana, and pelvis hop including improvise lyrics. Phish, Soul Rebels Brass Band, Galactic, and Soulive are all examples of flinch bands that play flinch jam .

Social impact [edit ]

Women and flinch [edit ]

Despite funk ‘s popularity in modern music, few people have examined the work of funk women. noteworthy funk women include Chaka Khan, Labelle, Brides of Funkenstein, Klymaxx, Mother ‘s Finest, Lyn Collins, Betty Davis and Teena Marie. As cultural critic Cheryl Keyes explains in her try “ She Was Too Black for Rock and Too Hard for Soul : ( Re ) discovering the Musical Career of Betty Mabry Davis, ” most of the scholarship around flinch has focused on the cultural work of men. She states that “ Betty Davis is an artist whose name has gone unannounced as a pioneer in the annals of funk and rock. Most writing on these musical genres has traditionally placed male artists like Jimi Hendrix, George Clinton ( of Parliament-Funkadelic ), and bassist Larry Graham as trendsetters in the shape of a rock ‘n’ roll music sensitivity. ” [ 114 ] In The Feminist Funk Power of Betty Davis and Renée Stout, Nikki A. Greene [ 115 ] notes that Davis ‘ provocative and controversial style helped her rise to popularity in the 1970s as she focused on sexually motivated, self-empowered subject matter. furthermore, this affected the young artist ‘s ability to draw large audiences and commercial success. Greene besides notes that Davis was never made an official spokesperson or supporter for the civil rights and feminist movements of the prison term, although more recently [ when? ] her work has become a symbol of sexual liberation for women of color. Davis ‘ sung “ If I ‘m In Luck I Just Might Get Picked Up ”, on her self-titled debut album, sparked controversy, and was banned by the Detroit NAACP. [ 116 ] Maureen Mahan, a musicologist and anthropologist, examines Davis ‘ impact on the music diligence and the american public in her article “ They Say She ‘s different : subspecies, Gender, Genre, and the Liberated Black Femininity of Betty Davis ”. Laina Dawes, the author of What Are You Doing Here: A Black Woman’s Life and Liberation in Heavy Metal, believes respectability politics is the reason artists like Davis do not get the same recognition as their male counterparts : “ I blame what I call respectability politics as separate of the reason the funk-rock some of the women from the ’70s are n’t better known. Despite the importance of their music and presence, many of the funk-rock females represented the aggressive behavior and sex that many people were not comfortable with. ” [ 117 ]
Janelle Monáe (born 1985) is part of a new wave of female funk artists. According to Francesca T. Royster, in Rickey Vincent ‘s bible Funk: The Music, The People, and The Rhythm of The One, he analyzes the impingement of Labelle but only in limited sections. Royster criticizes Vincent ‘s analysis of the group, stating : “ It is a shame, then, that Vincent gives such minimal attention to Labelle ‘s performances in his discipline. This reflects, unfortunately, a still coherent sexism that shapes the evaluation of funk music. In Funk, Vincent ‘s psychoanalysis of Labelle is brief—sharing a single paragraph with the Pointer Sisters in his three-page substitute chapter, ‘Funky Women. ‘ He writes that while ‘ Lady Marmalade ‘ ‘blew the lid off of the standards of sexual insinuation and skyrocketed the group ‘s asterisk condition, ‘ the band ‘s ‘glittery image slipped into the disco undertow and was ultimately wasted as the trio broke up in search of solo status ” ( Vincent, 1996, 192 ). [ 118 ] Many female artists who are considered to be in the music genre of flinch, besides share songs in the disco, soul, and R & B genres ; Labelle falls into this class of women who are split among genres due to a critical horizon of music theory and the history of sexism in the United States. [ 119 ] In recent years, [ when? ] artists like Janelle Monáe have opened the doors for more scholarship and analysis on the female impact on the funk music writing style. [ dubious – discuss ] Monáe ‘s manner bends concepts of gender, sex, and self-expression in a manner similar to the means some male pioneers in funk broke boundaries. [ 120 ] Her albums center around Afro-futuristic concepts, centering on elements of female and blacken authorization and visions of a dystopian future. [ 121 ] In his article, “ Janelle Monáe and Afro-sonic Feminist Funk ”, Matthew Valnes writes that Monae ‘s engagement in the funk writing style is juxtaposed with the traditional view of funk as a male-centered genre. Valnes acknowledges that flinch is male-dominated, but provides insight to the social circumstances that led to this situation. [ 120 ] [ clarification needed ] Monáe ‘s influences include her mentor prince, Funkadelic, Lauryn Hill, and other funk and R & B artists, but according to Emily Lordi, “ [ Betty ] Davis is rarely listed among Janelle Monáe ‘s many influences, and surely the younger singer ‘s high-tech concepts, virtuosic performances, and meticulously produced songs are far removed from Davis ‘s proto-punk aesthetic. But … like Davis, she besides is closely linked with a visionary male mentor ( Prince ). The title of Monáe ‘s 2013 album, The Electric Lady, alludes to Hendrix ‘s Electric Ladyland, but it besides implicitly cites the clique of women that inspired Hendrix himself : that group, called the Cosmic Ladies or Electric Ladies, was together led by Hendrix ‘s lover Devon Wilson and Betty Davis. ” [ 122 ]

See besides [edit ]

References [edit ]

further reading [edit ]

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