Ipswich School Big Band: “Funky Town” CD Review
After many hours spent during the summer months recording and mixing, Funky Town is finally here. I’ll be passing my judgement here, and revealing some things that went on behind the scenes during the recording process. As I have so much work to avoid, I’ll look at it on a track-by-track basis.
1. Funky Town
This is the title track, and I’m of the personal opinion that the title track shouldn’t be the first on the CD (but, hey, I was outvoted on the issue and, to be fair, it is a good opening). There’s something a little odd about the first note – it doesn’t quite start together, but apart from that the track is brilliantly played and mixed. I like the way that the synth line is brought out right from the start (even though I don’t think I played it then!!) and the saxophone and trumpet figures are all bang in time. A few very minor blemishes, but that’s to be expected from a band of this level. All the solos are excellent (coming this time from Laura, Ashwin, Jim, Dave and Sam), and I just love the “Funky Town” drum fill, which leads into the coda. All in all, a very solid start to the CD and a track to hook the listener in, as some of the later tracks aren’t as well known as this song.
2. A Night in Tunisia
I can’t remember if this was done to a click, but some of the rhythms seem a touch out of kilter between the saxes and the trumpets, only a touch, mind. The intro is very well mixed with the piano and bass providing the bassline, with excellently played guitar chords laid over the top. The solos are once again top notch, with the backing figures perfectly together, no mean feat with so many off-beats! The ending works after many, many takes, although there’s still one small indiscretion between the bass and the saxes, but that’s very much nitpicking!
3. A Child is Born
Ah yes, my track – how embarrassing. This track was meant to originally feature a trumpet solo from Tom Craggs-Ward, but unfortunately he only had limited studio time as he was involved with a school play that week, and the take that we took when he played the solo didn’t go too well. So, the decision was made for me to record the solo on the French Horn, over the top of my piano solo which begins the piece. The rhythm section returned to the studio on a Wednesday afternoon/evening to overdub several things, of which this piece was one. I rerecorded the piano introduction on the acoustic piano – it did, however, have a noisy pedal – see if you can spot it (they have done a very good job of masking it!). After some overdubbing of percussion parts (for a variety of tracks on the album), it was time to record the French Horn solo. Trouble was, it was originally written for a trumpet’s range, so it lay either very high or rather low on my register – I opted for rather low. It was also quite late by then (around 10:00pm), and it was a very hot, dry day in the studio. I played like a drain, and the tuning was strangely off too. That’s when we realised that some of the original trumpet solo had “bled” through onto the drum mikes (despite them being in a supposedly sound-proof booth). Only one solution – rerecord the drums. This proved rather harder than anticipated – we were all completely shattered by now, and it took several takes to get it to perfection. So, 10:45pm, back in the studio to record the horn solo – hardly ideal. It seems to have come out OK, although parts are a little forced in tone. It was quite an effort though! The rest of the track is fine, and is a nice interlude from some of the pulsating tracks on the album.
4. The Chicken
This is, in my opinion, one of the best tracks on the album. Everything is really tight and the solos are electric. It is also mixed really well too, helped by incredibly tight bass and drum playing. The solos are excellent, provided here by Ben, Adam and Sam on the bass. The bass solo is incredible, toeing the line perfectly between structure and virtuosity, ably assisted by Sam on the drums. Perfection.
5. Soul Bossa Nova
There’s a nice acciaccatura in the intro by the trombones (what do you mean it was a split note?), before the piano solo is impressively in time. I seem to recall this being recorded with a click, and this shows, seeing as we don’t speed up as we have on the other live recordings I have of this. The solos are great (from Emma, Ashwin and Jim) and the ending is very tight too. Another success, a track which will be popular to the general punter.
6. The Look of Love
This is the track where I lost the part 3 years ago, so it’s somewhat embarrassing that the piano is so high in the mix, given that I made it all up! Away from myself, there seems to be some sort of filter over Charlotte’s voice (a bit like Cher’s Believe although not quite on that scale). Still, it’s a fantastic vocal performance (and it should be stressed that this filter was something put on during mixing, rather than Charlotte herself – the original recording was by all accounts fantastic). Ben’s sax solo in the middle is also very supportive and the backing figures are nicely in time too. Perhaps a touch too quick for my liking, but another very solid track, with a top-notch vocal line. The ending works too (it took enough takes!).
7. Gonna Fly Now
The introduction to this track contains perhaps my favourite second of the CD. Following the second phrase, Sam’s djembe fill goes across the stereo field from left to right – fab! The keyboards are nicely high in the mix, too, so that gets my vote! Sax solos are fantastic, but I’m not perfectly happy with the synth lead sound – it’s my fault, but it’s a touch too tremblo-ey. Drum solo is fab from Tom (love the subdivision in the final two beats!), before the closing of the track. The sax figures are perfectly together behind the trumpet solo – no mean feat. This will be a favourite for many, I predict, as it is a very good recording of a popular concert track.
8. Mas Que Nada
The style switches to Latin, as the tempo remains impressively steady throughout this track, credit to Sam on the drums here. The rhythms are once again very tight and the ending is all right (after (bass) Sam had to rerecord it due to playing the wrong note!).
9. Don’t Know Why
This more subdued track provides a break from the more up-tempo stuff, and Charlotte once again delivers a dazzling vocal performance. There are still elements of the aforementioned filter, but this track seems to be more faithful to the original recording (pre-mixing), than The Look of Love. I am very impressed with the mixing – rhythm section elements are brought out perfectly, with saxes and trumpets nicely in the background. I think this might speed up a bit, but I could be wrong. Another excellent track.
10. Children of Sanchez
The infamous percussion opening gives way to the sounds of a “Cathedral Organ” (at the request of Mr D Leach, might I add!) and saxes/trumpets. This is another very tight track, although there are some elements of speeding up. Good dynamic contrasts, also. There’s something a bit odd about the phrase around 1:48 in. I am playing the semiquaver as an upbeat, whereas the saxes/trombones are playing it on the beat (or it’s been mixed like that). Perhaps I’m wrong. The “hey!” has come out well, at least. The organ solo is a little embarrassing (spot the Bach quotes, everybody!), before Adam delivers an excellent trombone solo, which is followed by Ben on the tenor sax. Dave completes the solo set, before the return to the main theme and the closing of the piece with Sam’s tam-tam solo. Brilliant – another excellent track, although not quite as tight as some others on the CD.
11. Moanin’
Almost there! This is the Hammond Organ feature track, and for the first time I actually played it on a real Hammond! It was an excellent experience going back in on a Friday morning in the summer holidays to record it, and it seems to have come across quite well, although there are one or two cringeworthy moments. I felt that I was really pushed out of my comfort zone, which made for a better solo – it was unlike anything I’d ever done before. There is good dynamic contrast in the later sections, and I like the ending too – a good track.
12. Watermelon Man
The ever-popular Herbie Hancock classic follows, and this contains possibly the best collection of solos on the album. There is a funny note in the trombones which clashes with the piano (if you listen carefully), but it could well be deliberate. Another well-mixed track, with the piano up when it should be. Ben kicks off the solo section with a gem of a sax solo, before band director Paul Shepherd takes centre stage with another top solo. Dave concludes with an excellent guitar solo. I am also very impressed with how the backing figures sound – due to both fine playing and mixing. Sam’s drum solo is captured fantastically, which turns a great live solo into a fantastic recording one too. A fine penultimate track.
13. Beat It
While Strike up the Band ended with Beating the Skins, Funky Town ends with Beat It, arranged by Dave. Trivia fact: we were recording this while Michael Jackson died on 25th June 2009. Wow! The fantastic guitar solo is a fitting end to the album, and Dave deserves credit for a top arrangement. A superb finale!
General comments
This CD is undoubtedly a triumph. The Big Band of 2009 deserved it as many members have now departed. All will be missed, and this CD is a fitting end to it all. Credit too to the school for funding the CD and giving us all the experience. I, for one, loved it, and it is actually one of my highlights of the last academic year. I am glad that it turned out so well. Thanks to Mr Saunders for organising the project, and supervising us on the two main recording days. There are two men who put tremendous time into the CD – Paul Shepherd, our director, did a fantastic job leading the recording sessions, and also producing and mixing the album. Thanks also go to Pat Grueber at Gemini Studios, where we recorded the album. It was brilliant to work with him, and he has done a marvellous job on this CD. Thank you all, I shall look back on this CD in the years to come with genuine fondness and happy memories.
Funky Town is priced at £12 and available to purchase from the Ipswich School Music Department.