TRACKING THE BIG Q FACTOR, PART 3: More on t ..
Happy New Year, y’all. Rob Bowman’s extensive notes to the 1999 box set, Malaco Records: The Last Soul Company , revealed a lot to me when it first came out about Wardell Quezergue’s years working out of the company’s Jackson, MS studio, including the exact line-up of vocalists he and his partner, Elijah Walker, brought up from New Orleans on May 17, 1970 to wrap up their first big production project there. That trustworthy account, backed up by Knight’s recollections to Jeff Hannusch in The Soul of New Orleans , have Knight, King Floyd, Bonnie & Sheila, the Barons, and Joe Wilson all tracking vocals on songs which were eventually released on singles by various labels. Since I covered the Barons’ Malaco sessions in the prior post (just scroll down, if you missed it), this installment focuses on the rest of the slate and examples of records they made at the studio under Big Q’s direction. Most of the contingent took that first trip up in a funky, old, un-air-conditioned school bus that Walker arranged for, an appropriate conveyance in a sense, when you consider the way Wardell schooled singers and musicians for his sessions, and the poly-rhythmic grooves to be found on many of the resulting tracks. What he presided over during his tenure at Malaco was actually a unique re-allignment of the funk feel, first expressed by his arrangement of King Floyd’s “Groove Me” . Since the song is fairly well-known and easily accessible, I’m not featuring the audio here; but how ...
Home of the Groove
4 January 2012