By Carl Glatzel, Editor
Deemed as the original funky drummer, Muhammad played a pivotal role on several Blue Note sides throughout the late 60s and early 70s. His unique and immediately recognizable sound propelled Blue Note Records into the world of jazz funk and inspired legions of followers along the way. The drummer usually found himself teamed up with the label’s heavy hitters of the day, Lou Donaldson and Grant Green were among his esteemed recording partners.
The year 1969 marked a rebirth of sorts for the jazz guitarist and the beginning of a fertile partnership with Muhammad firmly planted behind the drum kit — a match made in heaven.
His infectious backbeat graced one certain standout 1969 Grant Green recording, Carryin’ On. Muhammad laid down a solid foundation for Green’s airy, explorative lines which focused on the lighter side of the guitarist’s funk repertoire. This was a standout session for Green because it marked the beginning of a new direction in his recording career. He intentionally moved into a more economically-viable vein within the label, for obvious reasons. However, unlike some of his peers, he excelled at this new sub-genre and went on to record several inspired studio and live sessions, including the excellent Live at Club Mozambique in 1971. The year 1969 marked a rebirth of sorts for the jazz guitarist and the beginning of a fertile partnership with Muhammad firmly planted behind the drum kit — a match made in heaven.
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