Back in the early 1970s, Chick Corea, Stanley Clarke, Tony Williams and John McLaughlin leveraged Miles Davis' new electric approach to jazz and created different streams of jazz-rock fusion. At the same time, vibraphonist Roy Ayers went off in a separate directionpioneering electronic jazz-funk, which Herbie Hancock would build on with Headhunters in 1973. This Thursday, Nov. 17, Ayers will make a rare performance appearance in Los Angeles at the Exchange LA club, from 8 p.m. to 2 a.m. Go here for more information.
Starting in 1970, with his group Ubiquity, Ayers shrewdly combined the bounce-rock feel of Sly Stone and riff-centric bottom of James Brownusing his cool, ringing vibes, electric piano and synthesizer to bond all of the elements. The result was a new electronic jazz-funk form that was both relaxing and energizing. Unlike many cookie-cutter funk bands of the period, Ayers added a different level of sophistication and soul, a more chilled approach that was possible largely because of his knack for jazz composing and arranging.
But Ayers' music wasn't strictly instrumental or groove-obsessed. In addition to implementing a seductive rubbery-ness to the bass and a pinball bumper-bell quality to his vibes, Ayers compositions shifted around a great deal, and he often added a soul vocal choir, giving the mix an earthy, gospel quality.
Ayers' successful blending of jazz, funk and soul was sopotent that many action movies that starred predominantly black actors (known euphemistically as blaxploitation" films) began to adapt his sound for their soundtracks. Ayers even scored oneCoffy (1973)which remains one of the most imaginative examples of the genre.
Ayers' biggest hit came in 1976,when he released Everybody Loves the Sunshine, a jazz-disco ballad that relied on a single throbbing riff and electronics to depict the sound of blinding solar heat. A high point for Ayers, the hit proved that an electronic riff could be repeated over and over again without ever being sounding dull or even repetitive.
Born in Los Angeles in 1940,Ayers received his first pair of mallets from Lionel Hampton when he was 5 years old. His first leadership date came in 1963West Coast Vibes, for United Artists. In the '60s, he recorded with Jack Wilson, Gerald Wilson, Herbie Mann and many others.
Throughout the '70 and '80s,Ayers and Ubiquity continued to develop jazz-soul fusion, which in the '90s gave rise to acid jazz, a conglomerate form that combined jazz, funk, hip-hop and looped beats. Ubiquity's fondness for riffs and textured instrumentation made for ideal samples by hip-hop groups. One of Ayers' last jazz-soul leadership dates before he began moving into house music was Naste, in 1995.
My only wish is that I could bein Los Angeles on Thursday to see and hear Ayers live. For too long his impact and legacy have been overlooked and underappreciated. Trust me, once you become familiar with Ayers and his music, it's impossible to let them go.
JazzWax tracks: Roy Ayers' has a sizable discography. My favorites include:
I love jazz because it is in my blood. It is the only original American art form. It is sacred. The greatest musicians are jazz artists.
I was first exposed to jazz in 1961 listening to my father's records of Duke Ellington, Billy Strayhorn, Count Basie, Nat King Cole, Ben Webster, Coleman Hawkins, Lester Young.
I met Sonny Stitt, Wayne Shorter, Branford Marsalis, Joey Calderazzo, Michael Brecker, Cannonball Adderley, Walter Booker, Dave Liebman, Joe Lovano, George Benson, Mike
Stern, Stanley Turrentine, Billy Harper, Skip Hadden, Charlie Haden.
The best show I ever attended was Joe Lovano with Soundprints at the Wexner Center in Columbus Ohio in 2014.
The first jazz record I bought was Miles Smiles.