Lafayette Afro-Rock Band - 1974 - Malik

Lafayette Afro-Rock Band
1974 

Malik

01. Djungi    5:32
02. Raff    3:11
03. Conga    4:48
04. Avi-Vo    3:36
05. Malik    4:53
06. Darkest Light    6:15
07. Baba Hya    5:19

Bass – Lafayette Hudson
Drums – Donny Donable
Guitar – Larry Jones
Keyboards – Frank Abel
Percussion  – Keno Speller
Trumpet  – Ronnie Buttacavoli
Trumpet, Clarinet, Synthesizer – Arthur Young

Released in 1974 on America Records, Malik by the Lafayette Afro-Rock Band stands as a cornerstone of jazz-funk and Afrobeat, a vibrant testament to the cross-cultural currents of the early 1970s. The album, recorded by a group of seven musicians from Long Island, New York, who relocated to Paris, captures a unique moment where American funk collided with African rhythms and European production sensibilities. Though it didn’t achieve commercial success upon release, Malik has since been recognized as an underground classic, revered for its innovative fusion and its profound influence on hip-hop through widely sampled tracks like “Darkest Light.” This review explores the album’s historical context, musical composition, cultural significance, and enduring legacy, offering a deep dive into why Malik remains a touchstone for funk enthusiasts and music historians alike.

To fully appreciate Malik, one must understand the band’s journey and the era in which it was created. Originally formed as the Bobby Boyd Congress in Long Island, the group relocated to France in 1971, believing the U.S. funk scene was oversaturated. Paris, with its vibrant, multicultural music scene, particularly in the African-immigrant-heavy Barbès district, offered a fertile ground for experimentation. Under the guidance of producer Pierre Jaubert at Parisound studio, the band—initially known as Ice—evolved into the Lafayette Afro-Rock Band, adopting a name that reflected their fusion of American funk, rock, and African influences.

Their 1973 debut, Each Man Makes His Destiny, laid the groundwork, but it was their subsequent albums, Soul Makossa (released as Voodounon in the U.S.) and Malik, that solidified their reputation. Released in 1974, Malik arrived during a period of global musical cross-pollination. Funk was at its peak in the U.S., with acts like James Brown and Parliament-Funkadelic pushing rhythmic and sonic boundaries. Meanwhile, Afrobeat was gaining traction through pioneers like Fela Kuti, whose music fused African rhythms with jazz and funk. In Paris, the Lafayette Afro-Rock Band absorbed these influences, blending them with a European studio polish that gave Malik a distinct, cosmopolitan flavor.

The album’s creation was also shaped by Jaubert’s Motown-inspired work ethic, which emphasized rigorous rehearsals and tight ensemble playing. This discipline, combined with the band’s immersion in the African-dominated Barbès district, infused Malik with a raw, rhythmic vitality that set it apart from its American contemporaries.

Malik is a seven-track LP that clocks in at just over 30 minutes, yet its concise runtime belies its depth and complexity. The album seamlessly blends jazz-funk, Afrobeat, soul, and psychedelic rock, creating a sound that feels both grounded in tradition and forward-looking. Below is a track-by-track analysis, highlighting the album’s sonic diversity and standout moments.

1. Djungi (5:32)

The opening track, “Djungi,” sets the tone with its infectious groove and layered instrumentation. A driving bassline by Lafayette Hudson anchors the track, while Donny Donable’s precise drumming provides a relentless pulse. The interplay between Larry Jones’ funky guitar riffs and Frank Abel’s electric piano creates a hypnotic, danceable foundation. Horns, led by Arthur Young and Ronnie Buttacavoli, add a bright, jazzy flourish, while Keno Speller’s percussion injects African-inspired polyrhythms. The track’s extended instrumental passages showcase the band’s tight musicianship and their ability to build tension and release without relying on vocals. “Djungi” feels like a celebration of rhythm, setting the stage for the album’s exploration of cross-cultural sounds.

2. Raff (3:11)

“Raff” is a compact, upbeat track that leans heavily into funk with a touch of soul. Its concise structure and catchy melody make it one of the album’s most accessible songs. The guitar work here is particularly notable, with Jones delivering crisp, staccato riffs that dance around the rhythm section. The track’s brevity doesn’t detract from its impact; it’s a masterclass in economy, packing a punch with its vibrant energy and memorable hooks.

3. Conga (4:48)

As the title suggests, “Conga” dives deeper into Afrobeat influences, with Speller’s percussion taking center stage. The track’s rhythmic complexity, driven by congas and layered drum patterns, evokes the spirit of African dance music. The horns add a celebratory vibe, while the bass and guitar maintain a funky undercurrent. “Conga” is a standout for its ability to bridge African and American musical traditions, creating a sound that feels both primal and modern.

4. Avi-Vo (3:36)

“Avi-Vo” shifts gears with a more introspective, jazzy feel. The track features a slower tempo and a prominent electric piano line, giving it a dreamy, almost psychedelic quality. The interplay between the keyboards and horns creates a rich, textured soundscape, while the rhythm section keeps things grounded. This track showcases the band’s versatility, proving they could handle quieter, more reflective moments as deftly as their high-energy funk.

5. Malik (4:53)

The title track, “Malik,” is a bold, swaggering piece that encapsulates the album’s fusion of styles. Its mid-tempo groove, driven by Hudson’s funky bass and Abel’s swirling keys, creates a cinematic feel. The track’s arrangement is dynamic, with shifts in intensity that keep listeners engaged. The horns, layered over the rhythm section, add a regal quality, as if paying homage to the album’s titular figure. “Malik” is a microcosm of the album’s strengths: tight musicianship, inventive arrangements, and a fearless blend of genres.

6. Darkest Light (6:15)

Arguably the album’s crown jewel, “Darkest Light” is a haunting, soulful track that has become a sampling staple in hip-hop. Its iconic saxophone intro, played by Arthur Young, is both desolate and evocative, setting a moody tone. The track builds slowly, with a laid-back groove that allows each instrument to shine. The bass and drums lock into a hypnotic rhythm, while the guitar and keys add subtle flourishes. “Darkest Light” gained fame after being sampled by Public Enemy in “Show ‘Em Whatcha Got” (1988), and its influence extends to artists like Jay-Z and N2Deep. Its enduring appeal lies in its emotional depth and its ability to balance melancholy with groove.

7. Baba Hya (5:19)

Closing the album, “Baba Hya” is a high-energy funk workout that leaves listeners on a euphoric note. The track’s relentless rhythm, driven by Donable’s drums and Speller’s percussion, is complemented by blistering guitar work and soaring horns. It’s a fitting finale, encapsulating the band’s ability to blend raw energy with sophisticated musicianship. “Baba Hya” feels like a live jam, capturing the band at their most uninhibited.

The production on Malik, helmed by Pierre Jaubert, is a key factor in its distinct sound. Recorded at Parisound studio, the album benefits from a clean, polished aesthetic that contrasts with the rawer production of many American funk records of the era. Jaubert’s experience as a producer allowed the band to achieve a balanced mix, where each instrument is given space to breathe. The use of stereo panning, particularly on the horns and percussion, adds depth to the recordings, while the rhythm section remains crisp and punchy.

The album’s sound is also shaped by its African influences, absorbed from the Barbès district’s vibrant music scene. Tracks like “Conga” and “Djungi” incorporate polyrhythms and percussive textures that evoke African dance music, while the funk and jazz elements keep the album rooted in American traditions. This fusion, combined with the European studio polish, creates a sound that’s both timeless and ahead of its time.

While Malik didn’t achieve commercial success in 1974, its influence has grown exponentially over the decades. The album’s innovative blend of jazz-funk, Afrobeat, and soul made it a favorite among crate-diggers and producers in the hip-hop era. “Darkest Light,” in particular, became a sampling goldmine, with its saxophone intro and laid-back groove appearing in tracks by Public Enemy, Jay-Z, and others. This sampling legacy introduced Malik to new generations, cementing its status as a cult classic.

The album also reflects the broader cultural moment of the 1970s, a time when African diasporic music was gaining global prominence. The Lafayette Afro-Rock Band’s relocation to Paris and their immersion in the African community there mirrors the transatlantic exchange that defined much of the era’s music. By blending American funk with African rhythms, the band contributed to the evolution of Afrobeat and jazz-funk, influencing artists both in Europe and beyond.

Contemporary reviews of Malik are sparse, as the album flew under the radar upon release. However, retrospective reviews have been glowing. Dusty Groove describes it as “a fantastic bit of Afro funky soul,” praising its “incredible blend of American funk, African rhythms, and European production.” The album’s reissues, particularly the 2024 remastered edition by Strut Records, have been lauded for their fidelity to the original tapes, with The Carvery’s meticulous remastering preserving the album’s warmth and clarity.

Malik by the Lafayette Afro-Rock Band is a masterful fusion of jazz-funk, Afrobeat, and soul, a record that captures the spirit of a transformative era in music. Its blend of American groove, African rhythms, and European production creates a sound that’s both rooted and revolutionary. Tracks like “Darkest Light” and “Djungi” showcase the band’s ability to craft music that’s emotionally resonant and rhythmically compelling, while their disciplined musicianship and innovative arrangements elevate the album above its contemporaries.

Though it didn’t achieve commercial success in its time, Malik has found a lasting audience through its sampling legacy and reissues. It stands as a testament to the power of cross-cultural collaboration, reflecting the vibrant exchange of ideas that defined the 1970s. For fans of funk, Afrobeat, or hip-hop’s roots, Malik is essential listening—a hidden gem that continues to shine brightly.