Compost - 1972 - Take Off Your Body

Compost

1972 

Take Off Your Body

01. Take Off Your Body 3:00

02. Thinkin' 6:36

03. Bwaata 4:51

04. Happy Piece 6:50

05. Country Song 2:31

06. Sweet Berry Wine 4:04

07. Funky Feet 4:31

08. Inflation Blues 7:09

Bass – Jack Gregg

Congas, Percussion – Jumma Santos

Drums, Vocals – Bob Moses

Drums, Vocals, Clavinet, Organ, Vibraphone – Jack DeJohnette

Producer – Martin Rushent

Tenor Saxophone, Flute – Harold Vick

The jazz-funk fusion band with possibly the most... organic name in music history. Formed in 1971 as a cooperative supergroup of sorts, these guys described themselves as a "potpourri of mixes: jazz, rock, some soul, and some free-form things," resulting in what Jack DeJohnette called "good compost music." If that doesn't make you chuckle while nodding appreciatively, I don't know what will. It's like they were fertilizing the soil of early '70s fusion, turning musical scraps into something rich and groovy. Their debut album, Take Off Your Body (sometimes just titled Compost on reissues), dropped in February 1972 on Columbia Records, and it's a delightfully weird, funky romp that feels like Miles Davis's electric era crashed into a hippie jam session.

The lineup is stacked with heavy hitters:

Jack DeJohnette (fresh off Miles Davis's Bitches Brew band) on clavinet, vibraphone, organ, and occasional drums – the electric keyboard wizard here.

Bob Moses on drums and vocals (yes, vocals – more on that in a sec).

Harold Vick on tenor sax and flute, bringing that soulful wail.

Jack Gregg on bass, holding down the groove.

Jumma Santos (aka Jim Riley) on congas and percussion, adding Afro-Latin spice.

Produced by Martin Rushent (who'd later helm new wave hits), it's a tight, energetic set blending jazz improvisation with rock energy and funk rhythms – think Herbie Hancock's Headhunters vibe but with a freer, more psychedelic edge, or a less polished Weather Report.

Sound and Highlights

This album is pure early jazz-funk fusion joy: heavy on electric clavinet riffs (DeJohnette's funky comping is addictive), polyrhythmic percussion layers, and sax lines that dart between soulful and avant-garde. The grooves are uptempo and infectious, with African influences bubbling under – congas and percussion drive everything forward like a perpetual motion machine. It's "hippie mode" fusion, as one reviewer aptly put it: fun, loose, and unpretentious, without the overly complex beats or pretentious lyrics that plagued some contemporaries.

Standout tracks:

"Take Off Your Body" (the title opener): A speedy, funky blast with crazy lyrics from Bob Moses, groovy clavinet stabs, and uptempo bass. It's an invitation to dance – or, uh, disrobe metaphorically? The energy grabs you immediately.

"Funky Feet": Pure groove heaven – those percussion breaks and clavinet lines make it a rare-groove favorite for DJs even today.

"Inflation Blues": A standout for its blend of free-jazz edges and funk, with Vick's tenor soaring.

Other gems like "Bwaata" and "Sweet Berry Wine" keep the Afro-funk pulse alive.

Bob Moses handles most vocals, and here's the humorous caveat: he's not exactly a crooner. His singing is enthusiastic but often off-key or quirky – think a jazz drummer who's having too much fun to care about pitch perfection. It adds charm, though; the album feels like a party where everyone's invited, even if someone's warbling the chorus. No difficult concepts here – just good vibes and solid playing.

From a musician's perspective, this record shines in its rhythmic complexity masked as simplicity. The dual percussion setup (Moses on kit, Santos on congas) creates dense polyrhythms that feel organic rather than forced – influenced by Afro-Cuban and free-jazz traditions, but locked into funk grooves. DeJohnette's clavinet work is a highlight: he uses it like a rhythmic guitar, with wah-wah effects and staccato comping that prefigures later funk-fusion (e.g., Headhunters-era Hancock). The bass (Gregg) is walking but electric-tinged, providing a rock-solid foundation without flashy solos.

Harmonically, it's modal jazz territory – lots of vamps over one or two chords, allowing extended improv. Vick's sax/flute adds melodic flair, often layering flute for ethereal textures over the funk. Recording-wise, Rushent captures a live-in-the-room feel: warm, punchy drums, prominent percussion (no burying the congas here), and a raw edge that avoids the slickness of later fusion. It's analog goodness – vinyl rips reveal the subtle vibe hits and room ambience that digital remasters sometimes flatten.

Weaknesses? It's short (around 40 minutes), and some tracks meander a bit in free-form sections. Moses's vocals might grate on purists seeking instrumental purity. But that's part of the fun – this isn't polished perfection; it's fertile, messy compost turning into musical gold.

Overall, Take Off Your Body is an underrated gem of 1972 fusion – groovy, experimental, and endlessly replayable. It didn't chart big (fusion was niche then), but it's aged beautifully as a cult classic for crate-diggers and jazz-funk heads. If you're into Miles's On the Corner era or early Mahavishnu vibes but want something lighter and funkier, dig this up. Just don't blame me if you start composting your own band afterward. Highly recommended – 8.5/10, with extra points for the name alone. Take off your body and get down!