Galt MacDermot - 1966 - Shapes Of Rhythm

Galt MacDermot And His Mid Manhattan Rhythm Section 

1966 

Shapes Of Rhythm

01. Lady, You Look Good To Me 3:00

02. Farmland 2:53

03. Coffee Cold 3:22

04. Marsh Gas 2:20

05. If Our Love Is Real 2:58

06. The Mouse Roared 2:22

07. Tender Meeting 2:39

08. M'Babam 1:55

09. Field Of Sorrow 3:55

10. Alive In Dar-Es-Salaam 2:15

11. Spanish Nights 2:23

12. I'm Through WIth You 2:30

Bass – Jummy Lewis

Drums – Bernard "Pretty" Purdie

Guitar – "Snag" Napoleon Allan

Piano – Galt MacDermot

One of the greatest records to come out of Galt MacDermot's legendary Kilmarnock label! The album's a weird off-kilter batch of jazzy instrumentals, with Galt playing acoustic and electric piano -- and with backing by a tight little combo that includes Pretty Purdie on drums, Snag Napoleon Allan on guitar, and Jimmy Lewis on bass. Lewis' bass is especially nice, and he lays out some very phat lines next to Galt's groovy piano solos. The record's not an all-out funk classic, but it's got some wonderfully warm rolling riffs in the typical Galt MacDermot style.

Shapes of Rhythm is a lesser-known gem from Galt MacDermot, a Canadian composer best recognized for his work on the groundbreaking musical Hair. Released in 1966 on the small Kilmarnock label (catalog no. K-1001), this album predates his mainstream success with Hair and showcases his early explorations in jazz, funk, and soul-infused instrumental music. Recorded with His Mid Manhattan Rhythm Section—a tight ensemble featuring Bernard "Pretty" Purdie on drums, Jimmy Lewis on bass, and "Snag" Napoleon Allan on guitar, with MacDermot himself on piano—the album is a vibrant snapshot of mid-60s groove culture. Produced by Rick Shorter, the LP blends jazzy sophistication with an emerging funk sensibility, making it a fascinating artifact of its time.

Shapes of Rhythm occupies a unique space at the intersection of jazz, funk, and soul, reflecting the transitional sound of the mid-1960s when traditional jazz was beginning to meld with the rhythmic innovations of funk and R&B. MacDermot’s piano work anchors the album, delivering a blend of bluesy phrasing and percussive, groove-oriented playing that foreshadows the funky underpinnings of his later Hair compositions. The Mid Manhattan Rhythm Section provides a rock-solid foundation, with Purdie’s unmistakable drumming—crisp, syncopated, and subtly inventive—driving the tracks forward. Lewis’s basslines are deep and understated, locking in with Purdie to create a pocket that’s both tight and loose enough to swing, while Allan’s guitar adds tasteful fills and rhythmic accents.

The album’s tone is instrumental and groove-centric, with short, punchy tracks averaging around two to three minutes each. This brevity suggests a compositional approach akin to a soundtrack or a series of musical vignettes—fitting for MacDermot, who would soon excel in theatrical scoring. The titles, such as “Coffee Cold,” “The Mouse Roared,” and “Alive in Dar-Es-Salaam,” evoke vivid imagery, hinting at a narrative undercurrent despite the lack of vocals (except in later bonus tracks like the Fergus MacRoy version of “Coffee Cold”).

“Coffee Cold”: The album’s most iconic piece, later sampled by artists like Handsome Boy Modeling School and Boards of Canada, this track is a masterclass in cool, understated funk. Its rolling piano riff, paired with Purdie’s sly hi-hat work and a slinky bassline, creates an infectious groove that feels both timeless and ahead of its era. Some have noted its rhythmic similarity to James Brown’s “Cold Sweat” (released in 1967), suggesting MacDermot may have been an early innovator in this funky shift.

“Lady, You Look Good to Me”: The opener sets a playful, upbeat tone with a swinging jazz feel, showcasing MacDermot’s knack for catchy hooks.

“Field of Sorrow”: A slower, more introspective number, this track introduces a melancholic edge, with MacDermot’s piano taking on a more emotive, bluesy character.

“Alive in Dar-Es-Salaam”: With its exotic title and lively tempo, this piece hints at MacDermot’s interest in global rhythms, a thread that would reappear in his later work.

The album oscillates between lighthearted, danceable cuts and moodier, reflective moments, creating a dynamic listening experience despite its concise runtime.

Released in 1966, Shapes of Rhythm emerged during a pivotal moment in popular music. Jazz was evolving, with artists like Ramsey Lewis and Herbie Hancock bridging the gap between sophisticated improvisation and accessible, groove-heavy sounds. Simultaneously, funk was coalescing as a distinct genre, with James Brown and others pushing rhythmic complexity into the mainstream. MacDermot’s work here feels like a precursor to these shifts, blending the harmonic richness of jazz with the insistent pulse of funk and soul.

This was also a period when MacDermot, a Montreal-born musician trained in classical and jazz traditions, was establishing himself in New York’s vibrant music scene. Shapes of Rhythm reflects his versatility and willingness to experiment, qualities that would soon catapult him to fame with Hair (1967). The album’s obscurity at the time—released on a small label with limited distribution—belies its forward-thinking sound, which has since earned it a cult following among crate-diggers and funk enthusiasts.

At the time of its release, Shapes of Rhythm flew under the radar, overshadowed by bigger jazz and soul releases of 1966. However, its rediscovery in later decades—particularly with the 1999 reissue—has cemented its status as a cult classic. Fans on platforms like Rate Your Music and Discogs praise its funky jazz credentials, with user reviews calling it “very funky” and “a soundtrack in standalone form.” The track “Coffee Cold” has become a breakout hit in retrospect, thanks to its sampling by modern artists, which introduced MacDermot’s early work to new audiences.

Critics and listeners have drawn comparisons to Vince Guaraldi’s piano-driven jazz (think Peanuts soundtracks) and the Ramsey Lewis Trio’s accessible grooves, though MacDermot’s edge lies in his funkier, more experimental leanings. Some argue it prefigures the rhythmic innovations of Hair and even James Brown’s late-60s output, positioning MacDermot as an unsung pioneer.

Vinyl enthusiasts, however, have mixed feelings about the physical product. While the music is widely admired, complaints about poor pressing quality—crackles, pops, and inconsistencies—have tempered enthusiasm for collecting original or reissued copies.

Shapes of Rhythm is a fascinating study in contrasts: it’s both a product of its time and a harbinger of future trends. MacDermot’s classical training shines through in the harmonic sophistication of his piano lines, yet his embrace of raw, earthy rhythms aligns him with the countercultural energy of the 1960s. The album feels like a bridge between the cocktail jazz of the early decade and the gritty funk of the late 60s and 70s, embodying a moment of musical evolution.

Thematically, the titles suggest a blend of the personal (“If Our Love Is Real”), the whimsical (“The Mouse Roared”), and the worldly (“Alive in Dar-Es-Salaam”), hinting at MacDermot’s storytelling instincts. While not as overtly theatrical as Hair, the album lays the groundwork for his ability to craft vivid, groove-driven narratives—a skill that would define his legacy.

Shapes of Rhythm is an underrated treasure that rewards close listening. It’s not a perfect album—the short tracks and uneven production hold it back from masterpiece status—but its infectious energy, innovative spirit, and stellar musicianship make it a standout in Galt MacDermot’s discography. For fans of jazz-funk, soul jazz, or the roots of 60s groove culture, it’s a must-hear, offering a glimpse into the creative mind of a composer on the cusp of greater fame. Whether you’re drawn in by the hypnotic “Coffee Cold” or the album’s broader palette of rhythms, Shapes of Rhythm remains a compelling testament to MacDermot’s artistry and the era’s musical ferment.