 SoulMusic.com Records’ journey into the back catalogue of jazz-fusion drummer Harvey Mason continues with a trio of further reissues following the earlier releases this year of his MARCHING IN THE STREET (1975) and GROOVIN’ YOU (1979) sets. In case you missed my earlier reviews, to bring you up to speed with the prolific musician, “Mase” first made his mark playing on such seminal recordings as Donald Byrd’s BLACK BYRD and Herbie Hancock’s HEAD HUNTERS. He would later go on to feature on a veritable who’s who of fusion alongside the likes of Grover Washington Jr., Bob James, Charles Earland, Patrice Rushen, George Benson and even Carlos Santana.
Signing a five-album deal with Clive Davis’ then-new and very progressive Arista Records in 1975, his remaining three albums make their CD debut digitally remastered and fully annotated by esteemed Los Angeles journalist A. Scott Galloway; they even come with bonus single edits too. EARTHMOVER was Mason’s sophomore album, released in 1976, and although primarily instrumental, there are more than enough vocal hooks and adlibs to keep you humming along to the funky riffs. This self-produced set opens with the single “K.Y. And The Curb”, a sublime Philly Soul/Salsoul disco-infused jam with strings straight out of the MFSB dynasty and an infectious “ba-ba-ba-daa” hook. As with all Mason albums, this is an all-star fusion affair with the likes of Patrice Rushen, Greg Phillinganes, Ray Parker Jr., the Seawind Horns and Lee Ritenour guesting. Louis Johnson, from the Brothers Johnson, and Merry Clayton on background vocals, are featured on the P-Funk jam “Sho Nuff Groove”, while traditionalists will lap up the live freestyling on “No Lands Man”. Jan Hammer’s moog solos (a precursor to his later electronic soundtracks), Anthony Jackson’s bass, and Mason’s drums are the elements behind a truly organic jam. “The Mase” - which became Harvey’s music biz nickname – was the other 45 lifted from the album; the languid shuffling number has since become a staple on the UK rare groove scene.
By the time Mason’s third Arista set, FUNK IN A MASON JAR, arrived in 1977, his traditional jazz-fusion productions were starting to be replaced by a more mainstream dance sound that not only made the artist’s music more accessible in the clubs – remember, disco was king in the late-’70s – but also earned him valuable airplay. It also marked his first crossover recording reaching the top 40 on the US R&B charts and the top 10 on the jazz charts. It was also home to the sublime Merry Clayton-sung “Till You Take My Love” – widely regarded as the artist’s epochal recording that’s become a firm favourite with soul aficionados of all ages, particularly in the UK rare groove market. The song is a masterpiece of the juxtaposition of the simple and complex – with no less then 15 musicians combining as one. As a single, it was backed with an equally compelling 8-minute cover version of Marvin Gaye’s “What’s Going On” (with George Benson on guitar, and although the credits also site him as vocalist, you’d be hard pushed to hear him). The opus also includes a sax’d up rendition of Kenny Loggins’ “Set It Free”, featuring Tom Scott’s reed and Bob James’ keyboard skills. To keep his purist fan base appeased, the pair is joined by Dave Grusin and Earth Wind & Fire’s Verdine White on the “Breezin’”-meets-“Down For The Third Time”- styled fusion floater “Liquid”.
Finally, there’s M.V.P., Mason’s final album for Arista, which came after the crossover success of GROOVIN’ YOU and the disco hit of the same name. Perhaps this is his most adventurous album of the trio with elements of disco, rock, jazz and funk rubbing shoulders. The opener features an atypical soundclash with bassist and singer, Deon Estus (who wrote the track “Spell” and co-wrote “We Can Start Tonight”), adding an element that had previously been missing from Mason’s work. While the latter, a toe-tapping dancer with some great string and bass stabs, would become his highest-placed US R&B single, “Spell” would later become a hit in its own right when recorded by Estus, during a sabbatical touring with Wham! and George Michael. Singer Karen Floyd is featured on the soulful “Don’t Doubt My Lovin’” and the rousing “Going Through The Motions”, while Harvey and his brother Kenny sang on the balance of the set, including the rather twee 45, “On And On”. (Lewis Dene)
Earthmover - 6/10, Funk In A Mason Jar - 7/10 M.V.P. - 6/10
About the Writer
Lewis Dene has been involved in the many facets of music business for over 20 years. As a music journalist he has previously written for Blues & Soul, Record Collector, Music Week and the BBC, in the process compiling and/or writing liner notes for over 200 CDs (including a number for SoulMusic Records). Lewis currently consults for Kings Of Spins and is a resident DJ for Hed Kandi in America.
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