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Funk
Funk
1 Etymology
The word funk initially referred (and still refers) to a
strong odor. It is originally derived from Latin fumigare (to smoke) via Old French fungiere and, in this
George Clinton and Parliament Funkadelic in 2006
sense, rst documented in English in 1620. In 1784
late 1960s when African American musicians created a funky meaning musty is rst documented, which, in
rhythmic, danceable new form of music through a mix- turn, led to a sense of earthy that was taken up around
in early jazz slang for something deeply or strongly
ture of soul music, jazz, and rhythm and blues (R&B). 1900[4][5][6]
felt.
Funk deemphasizes melody and harmony and brings a
strong rhythmic groove of electric bass and drums to the In early jam sessions, musicians would encourage one anforeground. Funk songs are often based on an extended other to "get down" by telling one another, Now, put
vamp on a single chord, distinguishing them from R&B some stank on it!". At least as early as 1907, jazz songs
and soul songs, which are built on chord progressions. carried titles such as Funky. The rst example is an unFunk uses the same extended chords found in bebop jazz, recorded number by Buddy Bolden remembered as eisuch as minor chords with added sevenths and elevenths, ther Funky Butt or Buddy Boldens Blues with improor dominant seventh chords with altered ninths.
vised lyrics that were, according to Donald M. Marquis
Like much African-inspired music, funk typically con- either comical and light or crude and downright obsists of a complex groove with rhythm instruments such as scene but, in one way or another, referring to the sweaty
[7][8]
electric guitar, electric bass, Hammond organ, and drums atmosphere at dances where Boldens band played.
playing interlocking rhythms. Funk bands sometimes As late as the 1950s and early 1960s, when funk and
have a horn section of several saxophones, trumpets, and funky were used increasingly in the context of jazz muin some cases, a trombone, which plays rhythmic hits. sic, the terms still were considered indelicate and inapFunk originated in the mid-1960s, with James Brown's propriate for use in polite company. According to one
development of a signature groove that emphasized the source, New Orleans-born drummer Earl Palmer was
downbeatwith heavy emphasis on the rst beat of ev- the rst to use the word 'funky' to explain to other mumusic should be made more syncopated
ery measure, funky bass lines, drum patterns, and syn- sicians that their[9]
The style later evolved into a rather
and
danceable.
[2]
copated guitar ris. Other musical groups picked up
hard-driving,
insistent
rhythm, implying a more carnal
on the rhythms and vocal style Brown developed and
quality.
This
early
form
of the music set the pattern
the funk style began to grow. In 1970, Sly & the Fam[10]
The
music was identied as slow,
for
later
musicians.
ily Stone's "Thank You (Falettinme Be Mice Elf Agin)"
sexy,
loose,
ri-oriented
and
danceable.
reached #1 on the charts, as did "Family Aair" in 1971.
While much of the written history of funk focuses on
men, there have been notable funk women, including
Chaka Khan, Labelle, Brides of Funkenstein, Klymaxx,
Mothers Finest, and Betty Davis.
2 Characteristics
1
2.1
3 HISTORY
Rhythm
3 History
The distinctive characteristics of African-American musical expression are rooted in sub-Saharan African music traditions, and nd their earliest expression in spirituals, work chants/songs, praise shouts, gospel, blues,
and body rhythms (hambone, patting juba, and ring
shout clapping and stomping patterns). Funk music is an
amalgam of soul music, soul jazz, R&B, and Afro-Cuban
rhythms absorbed and reconstituted in New Orleans.
Gerhard Kubik notes that with the exception of New Orleans, early blues lacked complex polyrhythms, and there
was a very specic absence of asymmetric time-line patterns (key patterns) in virtually all early twentieth century
African American music ... only in some New Orleans
genres does a hint of simple time line patterns occasionally appear in the form of transient so-called 'stomp' pat2.2 Harmony
terns or stop-time chorus. These do not function in the
[13]
Funk uses the same extended chords found in bebop jazz, same way as African time lines.
such as minor chords with added sevenths and elevenths, In the late 1940s this changed somewhat when the twoor dominant seventh chords with altered ninths. How- celled time line structure was brought into New Orever, unlike bebop jazz, with its complex, rapid-re chord leans blues. New Orleans musicians were especially rechanges, funk virtually abandoned chord changes, cre- ceptive to Afro-Cuban inuences precisely at the time
ating static single chord vamps with melodo-harmonic when R&B was rst forming.[14] Dave Bartholomew and
movement and a complex, driving rhythmic feel. Some of Professor Longhair (Henry Roeland Byrd) incorporated
the best known and most skilful soloists in funk have jazz Afro-Cuban instruments, as well as the clave pattern
backgrounds. Trombonist Fred Wesley and saxophonist and related two-celled gures in songs such as CarniMaceo Parker are among the most notable musicians in val Day, (Bartholomew 1949) and Mardi Gras In New
the funk music genre, with both of them working with Orleans (Longhair 1949). Robert Palmer reports that, in
3.2
3.2
Browns style of funk was based on interlocking, contrapuntal parts: funky bass lines, drum patterns, and syncopated guitar ris.[2] The main guitar ostinatos for Aint
it Funky (c. late 1960s) is an example of Browns renement of New Orleans funk an irresistibly danceable
ri, stripped down to its rhythmic essence. On Aint it
Funky the tonal structure is bare bones.
3 HISTORY
3.3
Other musical groups picked up on the rhythms and vocal style developed by James Brown and his band, and the
funk style began to grow. Dyke and the Blazers, based in
Phoenix, Arizona, released "Funky Broadway" in 1967,
perhaps the rst record of the soul era to have funky in
the title. In 1969 Jimmy McGri released Electric Funk,
featuring his distinctive organ over a blazing horn section. Meanwhile, on the West Coast, Charles Wright &
the Watts 103rd Street Rhythm Band was releasing funk
tracks beginning with its rst album in 1967, culminating
in the classic single Express Yourself in 1971.
P-Funk: Parliament-Funkadelic
The Original Family Stone live, 2006. Jerry Martini, Rose Stone,
and Cynthia Robinson
3.4
3.7
3.6
Jazz funk
3.6.1
Headhunters
5
of jams. Also cited as musical inuences on the album by
Davis were the contemporary composer Karlheinz Stockhausen,[27][28]
Rick James was the rst funk musician of the 1980s to assume the funk mantle dominated by P-Funk in the 1970s.
3.6.2 On the Corner
His 1981 album Street Songs with the singles Give It To
On the Corner (1972) was Miles Davis's seminal foray Me Baby and "Super Freak" resulted in James becominto jazz-funk. Like his previous works though, On the ing a star, and paved the way for the future direction of
Corner was uniquely experimental. Davis stated that On explicitness in funk.
the Corner was an attempt at reconnecting with the young Beginning in the late 1970s, Prince used a stripped-down,
black audience which had largely forsaken jazz for rock yet dynamic, instrumentation similar to James. Howand funk. While there is a discernible funk inuence in ever, Prince went on to have as much of an impact on
the timbres of the instruments employed, other tonal and the sound of funk as any one artist since Brown; he comrhythmic textures, such as the Indian tambora and tablas, bined eroticism, technology, an increasing musical comand Cuban congas and bongos, create a multi-layered plexity, and an outrageous image and stage show to ultisoundscape. From a musical standpoint, the album was mately create music as ambitious and imaginative as Pa culmination of sorts of the musique concrte approach Funk. Prince formed The Time, originally conceived as
that Davis and producer Teo Macero (who had studied an opening act for him and based on his "Minneapolis
with Otto Luening at Columbia University's Computer sound", hybrid mixture of funk, R&B, rock, pop & new
Music Center) had begun to explore in the late 1960s. wave. Eventually, the band went on to dene their own
Both sides of the record featured heavy funk drum and style of stripped-down funk based on tight musicianship
bass grooves, with the melodic parts snipped from hours and sexual themes.
3 HISTORY
ground mid-1990s funkcore movement and current funkinspired artists like Outkast, Malina Moye, Van Hunt, and
Gnarls Barkley.
In the 1990s, artists like Meshell Ndegeocello 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 close 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 worldwide. Meanwhile in Australia
and New Zealand, bands playing the pub circuit, such
as Supergroove, Skunkhour and The Truth, preserved a
more instrumental form of funk.
Since the late 1980s hip hop artists have regularly
sampled old funk tunes. James Brown is said to be the
most sampled artist in the history of hip hop, while PFunk is the second most sampled artist; samples of old
Parliament and Funkadelic songs formed the basis of
West Coast G-funk.
Prince
Similar to Prince, other bands emerged during the PFunk era and began to incorporate uninhibited sexuality, 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 all found their biggest hits in the early
1980s. However, by the latter half of the 80s, funk had
lost its commercial impact.
Inuenced by Yellow Magic Orchestra[31] and Kraftwerk,
the American musician Afrika Bambaataa developed
electro-funk, a minimalist machine-driven style of funk
with his single "Planet Rock" in 1982. Also known simply as electro, this style of funk was driven by synthesizers
and the electronic rhythm of the TR-808 drum machine.
The single "Renegades of Funk" followed in 1983.
3.8
While funk was all but driven from the radio by slick commercial hip hop, contemporary R&B and new jack swing,
its inuence continued to spread. Artists like Steve Arrington and Cameo still received major airplay and had
huge global followings. Rock bands began copying elements of funk to their sound, creating new combinations of "funk rock" and "funk metal". Extreme, Red Hot
Chili Peppers, Living Colour, Janes Addiction, Prince,
Primus, Fishbone, Faith No More, 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 under-
Original beats that feature funk-styled bass or rhythm guitar ris are also not uncommon. Dr. Dre (considered
the progenitor of the G-funk genre) has freely acknowledged to being heavily inuenced by George Clintons
psychedelic funk: Back in the 70s thats all people were
doing: getting high, wearing Afros, bell-bottoms and listening to Parliament-Funkadelic. Thats why I called my
album The Chronic and based my music and the concepts
like I did: because his shit was a big inuence on my
music. Very big.[33] Digital Underground was a large
contributor to the rebirth of funk in the 1990s by educating their listeners with knowledge about the history
of funk and its artists. George Clinton branded Digital
Underground as "Sons of the P", as their second fulllength release is also titled. DUs rst release, Sex Packets, was full of funk samples, with the most widely known
"The Humpty Dance" sampling Parliaments Lets Play
House. A very strong funk album of DUs was their
1996 release Future Rhythm. Much of contemporary club
dance music, drum and bass in particular has heavily sampled funk drum breaks.
Funk is a major element of certain artists identied with
the jam band scene of the late 1990s and 2000s. Phish
began playing funkier jams in their sets around 1996,
and 1998s The Story of the Ghost was heavily inuenced by funk. Medeski Martin & Wood, Robert Randolph & The Family Band, Galactic, Widespread Panic,
Jam Underground, Diazpora, Soulive, and Karl Densons
Tiny Universe all drawing 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 jam band scene. Many
members of the band including keyboardist Neal Evans
went on to other projects such as Soulive or the Sam
Kininger Band. Dumpstaphunk builds upon the New
7
Orleans tradition 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
band features keyboardist Ivan Neville and guitarist Ian
Neville of the famous Neville family, with two bass players and female funk drummer Nikki Glaspie (formerly
of Beyonc Knowles's world touring band, as well as the
Sam Kininger Band), who joined the group in 2011.
Since the mid-1990s the nu-funk scene, centered on the
Deep Funk collectors scene, is producing new material
inuenced 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 rpm 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.
5 Derivatives
From the early 1970s onwards, funk has developed various subgenres. While George Clinton and the Parliament
were making a harder variation of funk, bands such as
Kool and The Gang, Ohio Players and Earth, Wind and
Fire were making disco-inuenced funk music.[35]
5.4
5 DERIVATIVES
Electro funk
mat. Timba bands like La Charanga Habanera or Bamboleo often have horns or other instruments playing short
parts of tunes by Earth, Wind and Fire, Kool and the
Main article: Electro funk
Gang or other U.S. funk bands. While many funk motifs exhibit a clave-based structure, they are created intuElectro funk is a hybrid of electronic music and funk.
itively, without a conscious intent of aligning the various
It essentially follows the same form as funk, and reparts to a guide-pattern. Timba incorporates funk motifs
tains funks characteristics, but is made entirely (or parinto an overt and intentional clave structure.
tially) with a use of electronic instruments such as the
TR-808. Vocoders or talkboxes were commonly implemented to transform the vocals. The pioneering Elec- 5.7.1 Drumset
tro band Zapp commonly used such instruments in their
music. Other artists include Herbie Hancock, Afrika
Along with the Cuban congas and timbales, the drum set
Bambaataa, Egyptian Lover, Vaughan Mason & Crew,
provided powerful clave-based funk patterns that added
Midnight Star, and Cybotron.
more punch to the rhythm section. Funk is especially evident in timbas breakdown sections. The following example is Calixto Oviedos funky drumset pattern for a type
5.5 Funk metal
of high-energy breakdown known as presin.[38] Watch:
Calixto Oviedo play funky timba drumset. on YouTube
Main article: Funk metal
Funk metal (sometimes typeset dierently such as funkmetal) is a fusion genre of music which emerged in the
1980s. It typically incorporates elements of funk and
heavy metal. It features hard-driving heavy metal guitar
ris, the pounding bass rhythms characteristic of funk,
and sometimes hip hop-style rhymes into an alternative
rock approach to songwriting. A primary example is the
all-African-American hard rock band Living Colour, who
Funky presin breakdown drumset pattern in 2-3 clave by Calixto
have been said to be funk-metal pioneers by Rolling Oviedo.
Stone.[37]
5.6
G-funk
5.7
Timba funk
5.7.2 Bass
Timba bass players incorporated techniques associated
with funk, such as slapping, and pulling the strings in
a percussive way. The following excerpt demonstrates
several funk characteristics of timba bass. This is Alain
Prezs bass tumbao from a performance of Issac Delgado piece La vida sin esperanza. Prezs playful interpretation of the tumbao is what timba authority Kevin
Moore refers to as controlled improvisation;" the pattern
continuously varies within a set framework.[39] Watch:
Alain Prez play funky timba bass. on YouTube Watch:
Alan Prez - Bajista Cubano - Ejemplo Tumbao No Me
Mires (Issac Delgado) on YouTube
7 Notes
[1] Presence and pleasure: the funk grooves of James Brown
and Parliament, p.3
[2] Slutsky, Allan, Chuck Silverman (1997).
The
Funkmasters-the Great James Brown Rhythm Sections.
ISBN 1-57623-443-6
[3] Vincent, Rickey (1996). Funk: The Music, the People, and
the Rhythm of the One. New York: St. Martins Press. pp.
293297. ISBN 978-0-312-13499-0.
[4] [Online Etymology Dictionary: funk http://www.
etymonline.com/index.php?term=funk]
[5] [Online Etymology Dictionary: funk http://www.
etymonline.com/index.php?term=funky]
[6] [World Wide Words: Funk http://www.worldwidewords.
org/qa/qa-fun2.htm]
[7] Donald M. Marquis: In Search of Buddy Bolden,
Louisiana State University Press, 2005, p. 108-111 ISBN
978-0-8071-3093-3
Funky timba bass tumbao by Alain Prez, p. 1.
See also
Chanking
List of funk musicians
10
REFERENCES
[37] Fricke, David (November 13, 2003). Living Colour Collideoscope. Rolling Stone. Archived from the original
on April 12, 2009. Retrieved December 11, 2011. Blackfunk-metal pioneers return in righteous form when blackrock warriors Living Colour broke up in 1995,
[38] "Presin, like muela, is a breakdown, but the two gears
lie at opposite ends of the emotional spectrum. Muela
lowers the energy level, allowing everyone to take a breath
and the singer to set up the next section. In contrast, presin begins suddenly and majestically, surging into new
material, often the most memorable material of the arrangement, and creating an orgasmic moment of arrival
that exhorts the dancers to throw their hands in the air with
abandon (manos p'arriba!"). Moore, Kevin (2011: 127).
Beyond Salsa Percussion: v. 3 Calixto Oviedo. Drums
and Timbales: Timba Gears. Moore Music/Timba.com.
ISBN10: 145634398X
[39] Moore, Kevin (2012: 80). Beyond Salsa Bass; The Cuban
Timba Revolution v. 6, Alain Prez p. 1. Moore Music/Timba.com. ISBN10: 1470143909
8 References
Vincent, Rickey (1996). Funk: The Music, The People, and The Rhythm of The One. St. Martins Press.
ISBN 0-312-13499-1.
Thompson, Dave (2001). Funk. Backbeat Books.
ISBN 0-87930-629-7.
Wermelinger, Peter (2005). Funky & Groovy Music
Records Lexicon. . ISBN 3-9522773-1-2.
11
9.1
Text
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