David Matthews - 1976 - Shoogie Wanna Boogie

David Matthews

1976

Shoogie Wanna Boogie

01. Shoogie Wanna Boogie

02. My Girl

03. You Keep Me Hanging On

04. California Dreaming

05. Gotta Be Where You Are

06. Just My Imagination (Running Away With Me)

David Matthews: Arranger, conductor, piano (on "Gotta Be Where You Are"), composer ("Shoogie Wanna Boogie," "Gotta Be Where You Are")

Andy Newmark: Drums

Sue Evans: Percussion

Jeff Berlin: Bass (notably on "California Dreamin'")

Will Lee: Bass (overdubbed on "Gotta Be Where You Are")

Anthony Jackson: Bass

Jerry Friedman: Guitar

Shoogie Wanna Boogie is a 1976 album by keyboardist, pianist, and arranger David Matthews, featuring the ensemble Whirlwind, released on Creed Taylor’s Kudu Records. This album is a vibrant blend of jazz-funk and disco, reflecting the mid-70s trend of fusing jazz with danceable rhythms. With a stellar lineup of musicians and a mix of original tracks and covers, the album showcases Matthews’ arranging prowess but didn’t achieve the commercial success it might have deserved.

The album is a quintessential product of the 1970s jazz-funk and disco crossover, with tight arrangements and a glossy production by Creed Taylor. Rudy Van Gelder’s mastering and mixing ensure a crisp, vibrant sound, recorded at A&R Recording and Mediasound in March and April 1976. The ensemble, featuring heavyweights like Michael Brecker, Jon Faddis, and Anthony Jackson, delivers virtuosic performances, though the album’s commercial appeal was limited, possibly due to its niche blend of genres.

Shoogie Wanna Boogie is described as one of David Matthews’ slickest funk records, with a polished yet engaging sound. Critics and fans appreciate its musicianship and energy, particularly on tracks like “Shoogie Wanna Boogie” and “You Keep Me Hanging On.” However, it didn’t break through commercially, overshadowed by more prominent disco and funk releases of the era. On platforms like Discogs and RateYourMusic, it’s celebrated by niche audiences for its jazz-funk grooves and all-star lineup.

David Richard Matthews (born March 4, 1942) is an American keyboardist, pianist, arranger, conductor, and bandleader known for his work in funk, soul, jazz, and pop. Born in Sonora, Kentucky, Matthews rose to prominence in the 1970s as a key figure in the jazz-funk scene. He became the primary arranger for Creed Taylor’s CTI Records and its Kudu imprint, working on albums for artists like Art Farmer, Urbie Green, Yusef Lateef, Hank Crawford, and Esther Phillips. His arranging style blended sophisticated jazz harmonies with accessible funk and disco rhythms, making him a sought-after collaborator.

Matthews also led his own projects, with Shoogie Wanna Boogie being a notable example. His work on this album highlights his ability to assemble top-tier musicians and craft danceable yet intricate arrangements. Beyond CTI, Matthews has arranged for artists like James Brown and composed for film and television. His versatility and technical skill have earned him a respected place in the jazz and funk communities, though he remains somewhat underrecognized compared to his peers.

Shoogie Wanna Boogie is a gem for jazz-funk and disco enthusiasts, offering a mix of infectious grooves, stellar musicianship, and creative covers. While it didn’t achieve mainstream success, its quality and energy make it a worthwhile listen for fans of the genre. David Matthews’ talent as an arranger and bandleader shines through, cementing his legacy as a key figure in 1970s jazz-funk.

The Kudu record label, established in July 1971 as a subsidiary of Creed Taylor Incorporated (CTI Records), represents a pivotal chapter in the evolution of American jazz during the 1970s, particularly in its fusion with soul, funk, and rhythm-and-blues elements. Founded by the visionary producer Creed Taylor, who had already cemented his reputation through earlier ventures at Impulse! and A&M Records, Kudu was conceived as a platform for more commercially oriented music "indigenous to the black popular music of the United States," emphasizing groove-driven soul jazz over the more intellectually ambitious or politically charged improvisations found on its parent label. The label's name, derived from the long-horned African antelope known for its majestic presence, was chosen partly for its phonetic resemblance to "voodoo," evoking a sense of rhythmic enchantment, while its logo incorporated the vibrant colors of the Jamaican flag to underscore an Afro-centric aesthetic. This branding aligned with Kudu's mission to target Black radio audiences, prioritizing repetitive riffs, solid rhythmic foundations, and accessible melodies that downplayed extended solos in favor of danceable appeal. Operating until approximately 1979, with its core activity ceasing by 1978, Kudu released around 38 to 39 albums, carving out a niche that bridged traditional jazz with emerging popular forms and influencing the broader landscape of crossover music.

The historical trajectory of Kudu began with its launch amid the shifting dynamics of the jazz industry in the early 1970s, a period marked by economic pressures and the rise of fusion genres. Creed Taylor, having achieved independence for CTI in 1970 after a brief stint as an A&M subsidiary, envisioned Kudu as a complementary imprint to explore funkier, more marketable expressions of jazz, drawing from the soul-jazz traditions pioneered by labels like Prestige and Atlantic in prior decades. Unlike contemporaries such as Bob Thiele's Flying Dutchman, which infused productions with overt political messaging, Kudu's output remained apolitical, focusing instead on visceral, groove-oriented tracks that appealed to a wide listenership. The label's early years were bolstered by a 1974 distribution deal with Motown Records, which expanded its reach but ultimately proved contentious; Taylor's decision to reclaim independence in 1977 resulted in the loss of key artist Grover Washington, Jr., and his catalog to Motown, a blow that hastened Kudu's decline. By the late 1970s, as jazz-funk waned in commercial viability amid the disco boom, Kudu's releases tapered off, with its final original album appearing in 1978, though Taylor attempted sporadic revivals in 1983, 1993, and 1996 that failed to recapture the label's initial momentum. Throughout its run, Kudu shared resources with CTI, including arrangers like Bob James and musicians such as Ron Carter, yet distinguished itself through simpler packaging—often single-pocket sleeves with bold typography and artist portraits—contrasting CTI's more elaborate gatefold designs and photographic artistry.

Kudu's significance lies in its role as a conduit for jazz's integration into mainstream popular culture, fostering a hybrid sound that anticipated the smooth jazz movement of the 1980s while providing a commercial counterpoint to CTI's more artistic endeavors. By emphasizing rhythmic propulsion and melodic hooks, the label not only achieved chart success but also expanded jazz's audience beyond traditional enthusiasts, particularly among urban Black listeners tuned to soul and funk radio. This approach democratized jazz, making it more accessible without sacrificing musical integrity, and highlighted the talents of artists who might otherwise have been confined to niche markets. Moreover, Kudu's output reflected broader cultural shifts in the post-civil rights era, subtly affirming Black musical heritage through its roster and stylistic choices, even as it avoided explicit activism. The label's legacy endures through its influence on subsequent genres, including hip-hop, where its tracks have been extensively sampled, and through ongoing reissues by entities like Sony Music Entertainment, Motown's MoJazz imprint, and Japanese series such as "I Love Kudu," which have kept its catalog alive for new generations. Critically, while Kudu's music was sometimes dismissed as lightweight compared to purist jazz, its commercial triumphs and innovative fusions have earned retrospective acclaim, positioning it as a key artifact in the history of jazz's commercialization and cross-pollination with soul and funk.

Among Kudu's most important releases, Johnny Hammond's Breakout (1971, KU-01) stands as the label's inaugural offering, setting a template with its energetic organ-driven soul jazz, blending originals and covers to establish the imprint's commercial groove focus and featuring contributions from emerging talents like Grover Washington, Jr. Lonnie Smith's Mama Wailer (1971, KU-02) followed, distinguished by its epic 17-minute rendition of Sly Stone's "Stand!" alongside interpretations of pop hits like Carole King's "I Feel the Earth Move," showcasing Smith's Hammond B-3 prowess and the label's knack for extended, immersive tracks that balanced improvisation with accessibility, bolstered by sidemen including Ron Carter and Billy Cobham. Grover Washington, Jr.'s Inner City Blues (1971, KU-03), born from a serendipitous studio substitution, marked his solo debut and propelled him to stardom with its soulful saxophone interpretations of Marvin Gaye's title track and other contemporary tunes, exemplifying Kudu's ability to transform session musicians into headliners and achieving significant airplay on Black radio. Esther Phillips' From a Whisper to a Scream (1972, KU-05) highlighted her versatile vocal range across bluesy ballads and funky grooves, earning Grammy nominations and underscoring Kudu's success in reviving careers through eclectic repertoire. Hank Crawford's Help Me Make It Through the Night (1972, KU-06) demonstrated the alto saxophonist's emotive style on country-soul crossovers, arranged with Taylor's signature polish to appeal to diverse audiences. Idris Muhammad's Power of Soul (1974, KU-17) emerged as a jazz-funk cornerstone, its hypnotic rhythms and Bob James arrangements making it a sampling staple in hip-hop, reflecting Kudu's forward-looking fusion that resonated beyond its era. Grover Washington, Jr.'s Mister Magic (1975, KU-20) represented the label's commercial zenith, topping jazz charts with its infectious title track and smooth saxophone lines, solidifying Washington's crossover appeal and Kudu's role in popularizing instrumental funk. Similarly, his Feels So Good (1975, KU-24) continued this trajectory with chart-dominating tracks like the title cut, emphasizing melodic hooks and rhythmic drive that defined the label's peak output. Esther Phillips' What a Diff'rence a Day Makes (1975, KU-23) achieved Billboard success with its disco-inflected title single, illustrating Kudu's adaptability to mid-1970s trends while preserving jazz roots. Finally, Grant Green's The Main Attraction (1976, KU-29), the guitarist's last as a leader, captured his bluesy finesse in a funk context, serving as a poignant capstone to Kudu's catalog and highlighting its commitment to veteran artists amid evolving musical landscapes. These releases, through their innovative blends and broad appeal, not only drove Kudu's success but also cemented its enduring contributions to American music history.