Fred Wesley Albums (11)
'It Don't Mean a Thing If It Ain't Got That Swing'
Release Date 1/1/2006
Tracks 11
Label Sons of Sound Productions (SSP)
See Album Tracklist and Review
What The Critics Say
This CD came into being as a fundraiser for The Commission Project, which has evolved into a multi-city project that encourages students to contribute to the creation of original music as they work with professional musicians. After an annual fundraiser that involved some 40 musicians, a few of them remained in town to participate in the making of this recording. Trombonist Fred Wesley, known for his work in both jazz and R&B, is the musical director. The rest of the cast, which varies from track to track, includes trumpeter/flugelhornist Marvin Stamm, bassist Keter Betts (who, sadly, died shortly after the sessions ended), drummer Akira Tana, bassist Jay Leonhart, guitarist Bob Sneider, pianist Mike Holober, saxophonist Carl Atkins and drummer Rich Thompson. One can just imagine the fun in the studio as the players worked. Holober's lively arrangement of "It Don't Mean a Thing (If It Ain't Got That Swing)" produces some of the best solos of the project, while the poignant interpretation of the standard "Body & Soul" is a brilliant showcase for Stamm backed solely by the pianist. Leonhart's heartfelt tribute "Missin' RB Blues" to the late bassist Ray Brown has an overdubbed vocal line that gave its composer fits, while Duke Ellington's "Just Squeeze Me" is a swinging duet by both bassists that Brown would have appreciated. Wesley's swaggering R&B-flavored "Wicked Walk" features Atkins playing some gritty baritone sax, along with choice solos by Stamm, Holober, Sneider and the trombonist himself. For those who can't make it to the annual Swing'n Jazz fundraising event (which includes concerts, workshops, food and golf) in Rochester, this rewarding CD may provide the encouragement to check it out. Information is available online at www.tcp-music.org. ~ Ken Dryden, All Music Guide
'Wuda Cuda Shuda'
Release Date 9/9/2003
Tracks 12
Label Hip Bop Essence
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What The Critics Say
Recorded during a European tour in the fall of 2002, Fred Wesley's Wuda Cuda Shuda is a typical collection of funk tunes from the trombone-playing bandleader who is a former member of James Brown's JB's and George Clinton's Parliament/Funkadelic. Anyone who has heard Wesley's horn work in those former associations will know what to expect here in music that retains the funky rhythms (courtesy of drummer Bruce Cox and bass player Michael Mondesir) in a somewhat more stripped-down form than they were heard in Wesley's earlier bands. This time, the focus is on the horns -- Wesley, saxophonist Ernie Fields Jr., and trumpeter Gary Winters -- and that gives the tracks an unfinished feel to those who are accustomed to thinking of the horns as one element in an overall arrangement to be topped off by the focus brought by a Brown or Clinton. Without such a star player, the sidemen shine, but they don't draw the spotlight like the absent leaders. This is especially noticeable when Wesley, Cox, or guitarist Reggie Ward takes the microphone for a vocal turn. Wesley's music, like Brown's and Clinton's, is built up out of riffs and rhythms, but without a strong frontman it is left to lean toward jazz without really getting there. The playing of Wesley and his mates is always tasty, but it is more of an appetizer than a full meal. ~ William Ruhlmann, All Music Guide
What The Critics Say
The last of the Fred Wesley and the JB's albums. "Breakin' Bread" and "Makin' Love" charted R&B. The funk is still much in evidence, although some new twists and turns manifest themselves on the "rapped" title cut. (Credited to Fred Wesley & the New JB's.) ~ Rob Bowman, All Music Guide
What The Critics Say
Although the live Swing and Be Funky captures Fred Wesley in typically sharp form, his backing band is woefully inconsistent--saxophonist Karl Denson provides a strong counterpoint to Wesley's trombone leads, but the rhythm battery of bassist Dwayne Dolphin and drummer Bruce Cox is anemic at best, falling flat on the funkier numbers and delivering workmanlike performances on the more traditional jazz entries. For reasons unknown, Wesley nevertheless showcases all of his sidemen (including trumpeter Hugh Ragin and pianist Peter Madsen) via extended solos that take their sweet time going absolutely nowhere--each song (culled mostly from Wesley's Antilles dates New Friends and Comme Ci Comme Ca) drags on interminably. ~ Jason Ankeny, All Music Guide
What The Critics Say
Jazz purists have long argued that jazz and funk are incompatible -- that the minute you bring in funk or soul elements, you're no longer playing jazz. But that myth has been exploded time and time again by everyone from Lou Donaldson, Eddie Harris, David Sanborn, and Grover Washington, Jr. to Charles Earland, the Crusaders, and Herbie Hancock. Fred Wesley is another musician who has demonstrated how compatible jazz and funk/soul can be. In fact, the two complement one another beautifully on Amalgamation, a German release that unites the trombonist with trumpeter Hugh Ragin, saxman Karl Denson, keyboardist/organist Peter Madsen, bassist Dwayne Dolphin, and drummer Bruce Cox. Although groove-oriented accessibility is the rule on such funky jams as "Peace Power" and "No One," jazz considerations are not sacrificed. Spontaneity prevails, and there's still plenty of room for improvisation and blowing. The CD detours into Afro-Caribbean territory on the festive "My Neighborhood," while Wesley's romantic side asserts itself on Wham's "Careless Whisper." When Wesley was backing the James Brown, he had to do things Brown's way, but on this 1994 date, he maintains the driver's seat with engaging results. ~ Alex Henderson, All Music Guide
What The Critics Say
Trombonist Fred Wesley has spent much of his career either in the R&B groups of James Brown or Brown's sidemen but he has long been a closet bebopper. This CD offers several fine examples of Wesley's J.J. Johnson-inpsired style. Using a superior group of associates (including altoist Maceo Parker, Karl Denson on tenor and trumpeter Hugh Ragin), Wesley is quite unselfish in delegating solo space. The selections (originals plus "On Green Dolphin Street" and "Moose the Mooche") all fall into the hard bop realm; Teresa Carroll chips in a couple of decent vocals. In general the music is consistently predictable and safe but enjoyable, one of Fred Wesley's better dates as a leader. ~ Scott Yanow, All Music Guide
'The J.B. Horns'
Release Date 1/1/1991
Tracks 11
Label Mesa Blue Moon
See Album Tracklist and Review
What The Critics Say
Trombonist Fred Wesley, best-known for his long-term association with James Brown, has long expressed the desire to play jazz. This is mostly a jazz-oriented CD although he hedges his bets a little with "Honey Love" (which has a cute vocal by Wesley over a calypso groove), an R&B-ish Carmen Lundy vocal on "Love We Had Stays On My Mind," the ballad "Eyes So Beautiful" and the funky "D-Cup And Up." But on the other six numbers Wesley plays in a boppish style influenced most by J.J. Johnson and there is a suitable amount of solo space for altoist Maceo Parker (heard at his best when trying to emulate Hank Crawford), trumpeter Stanton Davis and a restrained but tasteful Geri Allen on piano. Highlights include "Rockin' In Rhythm," Thelonious Monk's "Bright Mississippi" and "Birks Works" on the mixed but generally enjoyable bag. ~ Scott Yanow, All Music Guide
