FUNK(Funk), a direction of modern popular music. It was formed in the 1960s in the USA as a result of the fusion of various African-American styles: rhythm and blues (rhythm "n" blues), soul (soul) and elements of jazz. The founding fathers and generally recognized pillars of funk are James Brown, George Clinton and Sly Stone with the group Sly and the Family Stone. This direction had a significant influence on disco, hip-hop and other musical styles.
Initially, funk music was performed primarily by black Americans. The most characteristic features are complicated rhythmicity and emphasized syncopation of the rhythmic pattern. Rhythm is the main and formative element of funk: a typical example of this is the music of James Brown in the late 1960s. Not just drums, bass and rhythm guitar (as in a classic rock lineup), but the entire musical group becomes one big rhythm section, including horns, keyboards, and vocals. Everything is extremely rhythmic. Moreover, each instrument creates its own rhythmic pattern, which is typical of African musical traditions. Typically, funk compositions are built around one or two riffs (i.e., melodic lines repeated over and over again), and the vocalist or lead instrument leads the line. Although George Clinton used the melodic component in his work, it was not always secondary to rhythm.
The word “funk” in African-American slang initially had a not very decent meaning (approximate translation: the smell of the genitals). In the 1930s, jazz musicians introduced the epithet “funky” into their jargon to mean a fancy, showy manner of performance. In the 1960s, the concept of funky music was shortened to the word funk. In the 1970s, George Clinton formulated a colorful philosophical-cosmogonic theory. The concept of funk occupied a central place in this theory and meant vital energy, music and various positive phenomena. Gradually, over half a century, the obscene word turned into a sublime concept. Something similar happened with other famous African-American words, such as boogie-woogie.
Funk is such a big movement in music that various artists created dissimilar music using similar rhythmic principles: Curtis Mayfield - with an emphasis on rhythm and blues, J. Clinton - in psychedelia and hard rock, Miles Davis and Herbie Hancock (Herbie Hancock) - into jazz-rock, and Michael Jackson and Prince (Prince) - gravitated towards dance-pop music.
James Brown and Sly Stone in the late 1960s became active exponents of the ideas of the mass movement for racial equality in the United States. Brown wrote his famous song Say it loud: I'm black and I'm proud of it(Say it Loud I"m Black and I"m Proud), and Sly Stone performed in a more satirical vein, with compositions like Don't call me nigga, white (DON "T Call Me Nikger, Whitey).
George Clinton and his fellow musicians created a separate movement in funk, “P-Funk” / P-Funk (“pure funk” / Pure-Funk). A charismatic leader, Clinton organized around himself a conglomerate of several dozen talented black musicians under the collective name “The Mob”, who participated in two of his projects: Funkadelic, which focused on experimental music with elements of hard rock, and "Parliament", more commercial and with a predominance of elements of soul music. In the 1990s, George Clinton called his musicians the "P-Funk Allstars". He also introduced the concept of “funkateer” (by analogy with muscateer - “musketeer”), denoting a fan of funk.
Cult African-American films like Shaft (Shaft, 1971; not to be confused with the later remake), scored by Isaac Hayes and Suprefly (Superfly/ Handy Guy, 1972), composer Curtis Mayfield. In film Jackie Brown (Jackie Brown) by Quentin Tarantino, filmed in the late 1990s, many fragments are allusions to these famous films, and the music is replete with funk compositions.
In the late 1970s and early 1980s, funk was pushed aside by disco music. The disco style was born on the basis of funk, as a result of the extreme simplification of its rhythmic basis. Disco quickly became fashionable, and record labels and radio stations switched to the new style, requiring funk artists to simplify their music to ensure commercial success.
In the black urban environment in the early 1980s, a new musical movement, hip-hop, began to develop, which arose as a counteraction to disco music. According to J. Clinton, “hip-hop saved funk.” Inventive rhythms and meaningful lyrics have returned to the music. Hip-hop is commonly referred to as “new school” funk, while the term “old school” refers to classic funk, which includes the work of James Brown in the 1960s and 1970s and Sly and the Family Stone. , Ohio Players, Kool and The Gang, etc.
The most notable representatives of the “new school”: “Run D.M.C”, “Public Enemy”, “Digital Unerground”, “Fugees Funkdobiest” and later “ Roots, Outcast and Eminem.
The final return of funk to a mass audience occurred in the mid-1990s, in the wake of increased interest in the culture of the 1970s. Old CDs were reissued, funk veterans recorded new albums. Great promoters of funk were white groups that adopted this style: Primus, Jamiroquai, Red Hot Chili Peppers. J. Clinton produced one of the latter group's albums in 1985. Characteristic elements of funk, such as syncopated rhythmic patterns, are widely used in pop music. They can be found in most modern pop songs: from Christina Aguilera to the Russian group “Ruki Vverkh”.
Alexander Zaitsev
Funk- one of the fundamental styles in music of the second half of the twentieth century. It is an integral part of such styles as jazz-rock , fusion , hip hop , acid jazz , jungle , disco , drum bass and many others.
Music style funk is a direct continuation of soul music. Sometimes even a specialist finds it difficult to draw a clear line between them.
Term soul(soul) denoted the movement of American blacks in the struggle for their rights back during slavery in the United States. Believing American slave owners then tried to legitimize the killing of blacks, arguing that they, like animals, do not have souls and therefore the First Commandment of Christ is not violated. Black ideologues made the fact that blacks have souls the main point in the struggle for survival. As a result, soul fraternities arose, and American blacks began to call each other soul brothers or simply the word soul.
Like a new kind of music soul appeared in the mid-50s of the twentieth century. Originated in the late 30s rhythm blues(rhythm and blues) black urban electrified blues was called rock roll(rock and roll) for ease of distribution to white audiences. Some representatives of rhythm and blues, combining this music with the ideas of spiritual Negro chants spirituals(spirituals) and gospels(gospel music), gave it a new sound.
This is how soul came into being. Its founder is considered to be singer Ray Charles, and its first and most prominent representatives are James Brown and Sam Cooke. But, if Ray Charles gave soul music a lyrical, everyday character, then James Brown began to put more serious problems into his music. In 1962, he openly declared himself Soul Brother number one. Thus, from the very beginning, soul music began to develop in two directions: as socially filled, addressed to blacks, and as light-entertaining, beautiful and lyrical.
The commercial boom of soul music led to the emergence of many companies, two of which became the founders of entire trends in black pop music. These are Motown in Detroit and Stax in Memphis. It is characteristic that the first, created by the black Berry Gordy, set a course for creating entertaining soul music for whites, and therefore subsequently gained worldwide fame. The Motown direction is represented by such outstanding artists as Diana Ross, Marvin Gaye, Stevie Wander, Michael Jackson and many others. Stax, created by white entrepreneurs, on the contrary, tried to preserve the truly black spirit of soul music. Its representatives were such prominent figures as Wilson Pickett, Rufus Thomas, Otis Redding.
By 1968, the political situation in the United States had become tense. After the assassination of the black leader Martin Luther King, riots began in the black neighborhoods of many cities, and in the large cities of Chicago, Detroit, Boston, and Washington, blacks staged mass demonstrations, which were dispersed with a large number of casualties. The struggle for the rights of blacks in America has acquired a more active, and in some places aggressive, character. Organizations such as Black Panther and Black Muslims developed their activities. Some blacks, disappointed in Christianity, adopted the Muslim faith as a sign of protest, changing their names.
Some of the popular soul musicians realized that it was no longer possible to stay away from these problems, remaining a simple entertainer. Lady Soul singer Aretha Franklin, responding to the demands of the emerging black consciousness, released a number of songs in 1968 where the theme of protest was openly heard and the word freedom was uttered. At the same time, James Brown recorded the hit song Say It Loud, I"m Black and I"m Proud! (Say it loud - I'm black and proud of it!). It was from this time that the word appeared funk, as a symbol of a new, harder direction in black music. And this music itself becomes much tougher and sharper than soul .
Word funk
has long been used as part of everyday slang by residents of black ghettos. According to some sources, it refers to the smell of the human body at the moment of sexual arousal. This word appeared in musical usage with the light hand of jazz composer and pianist Horace Silver, who released his play in 1952 called Funky Hotel. The term was later used by Dyke the Blazers in their hit Funky Broadway. Well, James Brown gave this term worldwide popularity, giving it a social meaning.
The first performers of what would later be classified as music funk, there were jazzmen who played back in the late 50s and early 60s a more energetic, specific type of jazz, close to music soul. First of all, this is Horace Silver, Adderley Brothers Quintet, Art Blakey and Jazz Messengers, Stanley Turrentine, Donald Byrd, Grant Green with a disc His Majesty King Funk, as well as Hammond organ stars Jimmy Smith and Jack McDuff. 
If we talk about the difference between FUNK And SOUL from a purely musical point of view, then first of all it should be noted that in music FUNK completely different rhythmic structures are used. Soul, like rhythm and blues, is triplet music, when each quarter of a bar is mentally divided into three eighths. Funk This is music in eight-eighths, when the quarter is divided exactly in half, or with a slight offset (this rhythm is called a shuffle). In addition, there are sharper syncopations and more varied textures created by the accompanying instruments.Harmonic structures in music funk extremely simple, usually everything rests on one chord, but the rhythmic fabric is quite complex. It is as if woven from several independent lines, superimposed on each other and filling the entire rhythmic space.
The peak of James Brown's popularity funk-stars fell in the late 60s, early 70s. 
James Brown is the most powerful and influential figure in funk, but to understand what funk James Brown's albums from the 70s should be listened to, particularly "Sex Machine Today" and "Body Heat".
His partners, who later separated from him, continued his business. This is guitarist George Clinton, who created such bands as The Parliament and Funkadelic, which are still popular today, as well as bassist Bootsy Collins and his Bootsy's Rubber Band. 
George Clinton on the covers of his records depicted the sign of black freedom fighters (a goat - a fist with a raised little finger and index finger, the image of the letter U from the word Unity unity, in response to the hippie sign V Victory victory), and also popularized the slogan One Nation united under the Groove (One nation, united by a sense of rhythm).
The rigidity of true funk in the person of Larry Graham, Kool and the Gang, Ohio Players, The Brothers Johnson on the one hand, and the aggressiveness of the black atonal jazz avant-garde in the person of Archie Shepp, Albert Ayler ( Albert Ailer or Pharoah Sanders became in tune with the black nationalist movement.
At the same time, rock culture was in its heyday, uniting mainly white youth.
Among rock performers, varieties of white blues (British Blues) and soul music emerged, which were called Blueyed Soul(Blue-Eyed Soul). Its brightest representatives were Joe Cocker 
(Joe Cocker) and Jennis Joplin, as well as the groups Righteous Brithers, Young Rascals, Delaney and Bonnie, Averige White Band and many others.
But gradually funk moved away from political struggle, developing as its own movement, as well as influencing other genres. As a result, a new type of pop ensemble emerged, using fairly complex rhythmic and harmonic structures (for example, Earth, Wind Fire or Tower of Power). Key places in the arena of world popularity were occupied for a long time by such artists as Michael Jackson, 
Prince or Stevie Wonder, whose music is permeated with the concept of funk.
On the other hand, it is funk with its sophisticated syncopations gave birth to disco, its opposite, music that is extremely simplified in rhythmic terms. And in this matter, the music of one of the outstanding representatives of funky fusion music, Herbie Hancock, played an important role.
Almost simultaneously with this, in the early 80s, funk took its strong place in hip-hop culture, which emerged from the depths of the black ghettos. Currently funk underlies such trends as Acid Jazz, Jungle, Drum Bass, and is also interspersed even in some types of new age music.
Greatest influence funk influenced such a multifaceted musical phenomenon as jazz-rock/fusion.
The works of saxophonist Grover Washington Jr. in the early 70s were a striking example of the alliance of funk and soul-jazz traditions. Well, the late music of M. Davis of the 80s, starting with the disc Man with a Horn, is an example of conceptual funk that has absorbed many layers of musical culture. It is also important to note the fact that in the person of the jazz stars who came to funk, this music received a purely instrumental embodiment.
One of the first to openly apply rhythm pop-funk in jazz, combined with modern electronic instruments, was Herbie Hancock. 
His disc Headhunters (1973) became fundamental in the further development of the style funky-fusion
, and also significantly influenced what is now called the word Cool Jazz or Smooth Jazz(David Sanborn, Grover Washington, Kenny G., Bob James). Subsequently, Hancock more than once turned to funk in combination with such hip-hop styles as brakedance(break dance) Future Shock (1983), Sound System (1984), and rap Dis Is Da Drum (1994). His famous video clip, based on the play Rock It, became a worldwide hit and received a Grammy award.
Time gradually blurred the boundaries between white rock music and black funk. New generations of youth of the early 80s, especially in European countries where there are no racial problems, began to accept white funk for modern rock. A striking example of this are the wonderful examples of modern pop-funk recordings by Thomas Dolby, Level 42, or at least Peter Gabriel's Slangehammer.
Funk, in its most striking manifestations, has become music that requires both performers and listeners to have enormous nervous tension and a great return of energy. When was the first wave of passion for this style 
slept a little, it turned out that very few people can consider themselves true funkmen. In time, this coincided with a similar decline among a significant part of young people in interest in the true forms of rock music: art rock, hard rock, folk rock, blues rock, psychedelic and other manifestations of it. The mass consumer wanted something simpler, and most importantly, quieter.
Funk with a simpler rhythm became the basis of the rhythmic structure of the style DISCO .
In the late 70s" funk" has become a kind of disparaging term among professional musicians - the epithet "funky", that is, mediocre, unpretentious, is now often used by English and American critics when reviewing records. 
Only in the early 80s, when mechanical disco music finally became boring, funk, as a no less “dance” form, but much more lively and giving creative space, has become truly popular, including in Europe.
Funk, undoubtedly became the dominant dance beat of the 80s and successfully competed with Hi-Energy .
With the light hand of Herbie Hancock, who introduced the arsenal of musicians playing funk, the whole range of modern electronic instruments, funk The 80s began to sound in full accordance with the requirements of the time. The musicians enthusiastically took advantage of new opportunities and, unlike many disco stars, funk performers successfully survived the collapse of disco and continue to work today.
Funk from the early 70s to the present day - these are musicians of different generations, such as James Brown, Aretha Franklin, Paula Abdul, The Imagination, Freak Power, Brand New Heavies, EarthWind&Fire, Tower Of Power, Jamiroquai, Maceo Parker, Incognito, Count Basic, Michael Jackson, and many other great artists creating original music, in which it is often difficult to discern the roots - funk 60-70s.
In its original meaning the term " Funk" has practically disappeared from use, although the use of elements of this style in compositions of recent years suggests that the musical longevity of funk is guaranteed.
Creating funk in Russia is, whatever one may say, an activity for Don Quixotes (or Randle McMurphys, if you prefer). We love singing, melodic and drawn-out music too much, but all these grooves and syncopations of yours are not very held in high esteem. Nevertheless, funk has existed in Russia with varying degrees of success for 20-25 years now (experts will say that it’s been like this for 50 years, but I’m talking specifically about the established scene with the corresponding culture).
As our musicians increasingly absorbed the original style, the desire to perform funk in the original language grew. The widespread penetration of the Internet has made this aspiration practical, because nowadays you can reach listeners from many different parts of the world, and it is logical that it is better to sing in a common language in order to be understood.
Nevertheless, Russian-language funk still exists, although putting our chanting syllable into a broken rhythm is not an easy task. Today I want to tell you about some Russian bands that manage to perform the musical legacy of James Brown and George Clinton in their native language.
MD&S Pavlov
Who is this: The ex-drummer of the famous Moscow rock band “Zvuki Mu” Alexey Pavlov in the early 90s decided to radically change direction and turned to modern hip-hop and urban jazz. As a result, he almost single-handedly “imported” this unfamiliar music into Russia, and at the same time established contacts with such monsters of black music as Herbie Hancock and Roy Ayers.
Until about the mid-90s, MD&S (Minister of Affairs and Master of Ceremonies) Pavlov was a significant force on the capital’s club scene. Proclaiming himself the godfather of funk and hip-hop in Russia, he relied on a freakishly flamboyant image and eccentric musical humor. Now Alexey can be seen more often behind the drum kit, including as part of various incarnations of “Sounds of Mu”.
Listen first: MD&S Pavlov “I'm back” (2001)
Felix Lahouti
Who is this: Moscow virtuoso violinist playing a five-string electric variation of the instrument. He has performed countless concerts and recordings in a variety of genres, from funk and hip-hop to jazz, pop and electronica. In addition to his musical activities, he is also an organizer of festivals, concerts and other cultural projects.
In funk, Felix is positioned as a follower of George Clinton - at one time he even participated in P-Funk Allstars concerts. It is in the style of P-funk that the albums of Lahuti’s Funky Land project were recorded. Currently, the violinist is promoting the UniverSoul project, which unites representatives of the domestic soul scene.
Listen first: Felix Lahuti & Funky Land "FREAKosmos" (2005)
Positiva
Who is this: A metropolitan group led by vocalist Sergei Golovanov, declaring itself as the “Hurricane Funk Orchestra”. In general, from today’s list we can draw a completely logical conclusion that it is in Moscow that the tradition of singing funk in Russian is alive. Most likely, this is due to the desire to speak the same language with the multi-million population of the city, while the province is more aimed at the global online public.
Over the past two or three years, the guys from Pozitiva have done a lot of work on their sound and now they really sound hurricane and dense. In fact, now this is the most stable Russian-speaking line-up among domestic funkers.
Listen first: Pozitiva "Surprise" (2015)
South Band
Who is this: Yalta funk band, which, due to geopolitical changes, is now classified as Russian. It was formed in 2013 on the basis of the South Cafe establishment - hence the name. The band is led by a very famous person - DJ Scream, one of the most active popularizers of funk in the post-Soviet space.
The South Band's repertoire consists of both its own Russian-language songs and cover versions of classic and modern funk. Recently, Crimeans have been hinting at the imminent release of their first studio album, but for now their music can be heard, for example, on the official video of the international breakdancing championship Battle of the Year.
Listen first: VK playlist South Band
We're sorry, but the requests coming from your IP address appear to be automated. For this reason, we are forced to temporarily block access to search.
To continue the search, please enter the characters from the image in the input field and click “Submit”.
Cookies are disabled in your browser. Yandex will not be able to remember you and correctly identify you in the future. To enable cookies, follow the tips on our Help page.
In this article we will talk about such an interesting direction in music as Funk, which means you can read a little lower.
However, before continuing, I would like to recommend you a few more interesting publications on the musical topic. For example, what does MC mean, what is Hip-Hop, how to understand the word Grime, what does the expression Fast Flow mean, etc.
So let's continue what does Funk mean?? This term was borrowed from English" Funk", and is translated into Russian as "unpleasant smell", "stench". Although in fact everything is not so simple here, the word "Funk", in the slang of the inhabitants of the ghetto and black slums, means " human body odor during lovemaking"That is why true lovers of this style leave their bed of love only to eat and perform natural needs.
Funk- this is a musical movement of African-American music, along with “soul”, which makes up rhythm and blues
Funk- this is a slang word meaning to dance so vigorously that you begin to sweat like a horse and therefore emit an unpleasant odor
Example:
Get funk!, Get funky!
The origin of the concept Funk, many attribute to the pianist Horace Silver, who wrote a play back in 1952, calling it “Funky Hotel”. A few years later, the word “funk” began to be used to describe modern music that came out of a movement such as Soul, but was significantly different from it.
After "Funk" found its admirers, it began to develop rapidly, and in the 60s of the last century it was divided into two directions - " psychedelic funk" and "funky jazz", and if the first direction was not accessible to everyone, then the second actively went to the masses.
In order for you to understand what funky jazz means, I will give scroll Several popular artists who play in this style are:
Jimmy Smith;
Adderley Brothers Quintet;
Horace Silver with his band;
Stanley Turrentine;
Drummer Art Blake is the permanent leader of the Jazz Messengers group.
As for the last guy mentioned in the list, named Art Blake, then he was able to gather around him a whole galaxy of like-minded people who later became one of the best performers. Perhaps they should transfer by name, because they deserve it, these are:
Wayne Shorter;
Winton Marsalis;
Emigrant trumpeter Valery Ponomarev.
Actually, Art Blake became the founder funk jazz, which is now a kind of elitist musical movement, as they say - not for everyone.
Great influence on the formation funk rock music had an impact, especially that part of it that is commonly called acid rock. The first sign was the group " Sly and the Family Stone"from San Francisco, which was created in 1966 by Sylvester Stewart, who played in the style psychedelic funk, at least that’s what he called his creation.
In the 70s of the last century, a raised fist with an extended little finger and index finger became a symbol of funk. Composer and singer George Clinton's records always featured the symbol of funk, letter "U", and the motto " One Nation United under the Groove"(One nation united by groove).
Groove(groove) is a word from the slang of blacks, which they use to denote uplifting, something incendiary, drive
"U" symbol(fist with raised little finger and index finger) - this is a sign of freedom, struggle and unity
It is impossible not to mention such a well-known personality in funk as James Brown, who was already a very popular soul performer in the 60s. Inspired by funk, James begins to compose music with harder rhythms, because a new time is coming, and it was time for him to move away from unhurried softness " soul".
At first, funk was played exclusively live; its tempo was not very fast - 70 - 100 bpm. Funk has a huge number of varieties, but they are all united by the so-called " Funky atmosphere".
Modern funk, somewhat reminiscent of a rhythmic pattern hip hop, quite a common thing for funk, is “black” vocals, and exclusively male ones, in combination with wind instruments such as trombone, saxophone, flute, although their use is not as mandatory as in the musical style of Acid-Jazz. In fact, they perform rather an auxiliary function, which gives the music a certain classical sound.
After reading this short but very informative publication, you will now know what does Funk mean?, and where it all began.
Funk (English funk) is one of the fundamental movements of African-American music. The term denotes a musical direction that, along with soul, makes up rhythm and blues. The formation of funk began in the 60s in opposition to the growing commercialization of rhythm and blues. The founders of the style were James Brown, George Clinton and Sly Stone. The word funk is slang and means to dance until you get very wet. The word “funk” (“Get funk!, Get funky!”) has been used by jazzmen since the beginning of the 20th century, when they addressed the audience, along with it the word “skunk” was used. Subsequently, the word funk was assigned to the style of music, which is considered the most danceable in all of rhythm and blues. Funk, first of all, is dance music, which determines its musical features: extreme syncopation of parts of all instruments (syncopated bass is called “funking”), pulsating rhythm, screaming vocals, repeated repetition of short melodic phrases. Larry Graham is often credited with inventing the slap bass drumming technique that became the hallmark of funk. Guitarists in funk bands play in a rhythmic style, often using a wah-wah sound effect. Dead or muted notes are used in riffs to enhance percussive elements. Jimi Hendrix was a pioneer of funk rock. A follower of funk in the new century was the funktronica style, a modern development of synth-funk.Funk is an independent musical style born from soul music. One of the fundamental movements of African American music. Funk, first of all, is dance music, which determines its musical features: extreme syncopation of parts of all instruments (syncopated bass is called “funking”), pulsating rhythm, screaming vocals, repeated repetition of short melodic phrases.
History of funk
Since 1967, within the framework of soul music, an independent direction has been developing, called “funk”. The term itself appeared in musical usage back in the 50s. He was especially loved by some jazzmen who were trying to move away from the dryness of bebop and cool jazz; from the emerging trend towards the intellectualization of jazz music. Their main desire was a return to folk roots, but not to the old rural blues, but to the emotional and at the same time uncomplicated modern music of the black ghettos of big cities.
Perhaps the first to use this term were the drummer, the permanent leader of the Jazz Messagers ensemble, as well as the pianist and composer Horace Silver, who laid the musical foundations of jazz funk (back in 1953, he called one of his plays “Opsude Funk”).
Initially "funk"- in the jargon of the inhabitants of the black ghettos - This is the smell of the human body at the moment of sexual arousal. By calling their music this way, its performers seemed to specifically emphasize their belonging to the lower social classes and independence from the aesthetics of the establishment, their reluctance to conform and seem nobler. This term contains a certain irony, bitterness, and a hint of the special sexuality of this type of music.
Since 1967, the term “funk” has occupied an increasingly important place in the lives of black soul musicians, symbolizing a certain new attitude to rhythm, arrangement, and the very energy of performance.
A fashion has emerged to name songs in a new way:
- "Funky Broadway"
- "Funky Street"
- "Funky Wolk" etc.
Funk finally separated from soul, thanks to the influence of white Californian psychedelic rock music, and acid rock in particular. In 1966, the black group “Slay & Family Stone” arose in San Francisco, led by Sylvester Stewart, who chose the pseudonym Slay Stone. Her style, called "psychedelic funk", had a significant influence on both white progressive rock fans and a number of black soul groups, such as the Temptations.
One of the ideologists and propagandists of funk was the singer, composer and producer, who created several groups in this style: “Parlament”, “Funkadelic”, “Funkenshtain” and others. He saw funk as a philosophy of life, as the elixir of life and the answer to all the world's problems. On the covers of his records of the late 70s there was always a sign of funk - letter "U" ("unity" - unity) raised fist with index finger and little finger extended), as well as a funk slogan
"One Nation united under groove!"
"One nation, united in one impulse"
The name of George Clinton was subsequently associated with the punk-funk style.
King of Soul James Brown - Father of Funk
But still, the most powerful and influential figure in funk music remains, who by the end of the 60s already had worldwide fame as a soul artist. Following the demands of the time, he made his music harder and rhythmically sharper. This happened in close connection with the changing nature of the struggle for equal rights for blacks in the United States, with the emergence of the Black Power movement and the activation of the aggressive organizations Black Muslims and Black Panthers. The peak of James Brown's popularity as a funk artist came in the mid-70s; he released records: "Sex Machine Today", "Body Hit". The manner of his singing and the nature of the orchestration influenced a whole generation of funk musicians, which is noticeable in the compositions of such groups as "Cool and de Gang", "Ohio Players", "Blackbirds", "Air, Wind & Fire"...
Funk's influence on white rock and pop music, as well as jazz rock and its later form - fusion, became widespread in the second half of the 70s and in the 80s.
It was jazz musicians, both black and white, who contributed to the development of new, special instrumental techniques and the improvement of the art of orchestration in the funk style. In this regard, one cannot help but recall
- drummers: Billy Cobham and Steve Gadd
- bassists: Paul Jackson, Stanley Clarke and Jaco Pastorius
- saxophonists: Michael Breaker and David Sanborn
- composers and arrangers: Herbie Hancock, George Duke and Quincy Jones
But also, of course, one of the main ideologists jazz-funk trumpeter and composer Miles Davis.
The massive passion for funk led to the emergence of white and mixed ensembles playing in this style, in particular: "Everege White Band" or "Tower Of Power". Since funk was part of soul music, white funk also began to be called “blueside soul”.
The rhythmic basis of soul, especially the early period, is based mainly on rhythm and blues and the forms of pop music it generated. The harmonic structure of most songs in this style bears the imprint of the religious Protestant music of the United States with its simple relationship between the tonic, dominant and subdominant.
One of the main distinguishing features of soul music is singing style, both technical and emotional side. In traditional rural blues, permeated with bitterness and hopelessness, the expressive means of vocals were subordinated to the main idea - complaining and creating the appropriate mood.
The vocals in rhythm and blues became completely different in energy, reflecting all the harshness of black existence in the ghettos of big cities and taking on the function of relieving physical tension and discontent of the most unassuming part of the black population of the United States. Singing became typical of rhythm and blues "shout" (scream).
Soul, who took a lot from gospel, acquired a slightly different emotional connotation - ecstasy, characteristic of religious rituals, but filled with new content (starting with sex, ending with a call for national unity).
The style of singing has also changed. The use of falsetto, turning into a squeal, semi-recitative on a scream, a general increase in the tessitura of singing is defined by a special term "scream" (scream).
Soul music often uses a principle passed down from the gospel tradition. "question-answer", implemented in the form of sing-alongs, when the soloist is constantly echoed by a small vocal group. The hyper-emotional, even seemingly hysterical style of singing of soul artists originates from the pioneer of black rock and roll Little Richard, which had a clear impact on creativity James Brown, Otis Redding, Wilson Pickett, Aretha Franklin and many others.
However, soul singers have introduced subtle nuances and leveling of sound into modern vocals, a number of special techniques of ornate singing, specific "pull-ups" and melismas.
A striking example of this is the art of an outstanding singer and composer.
Talking about the differences between styles soul And funk, it should be noted that they lie more in the field of instrumentation and performance than in vocal culture.
If in rhythm and blues, blues rock and soul music the weak beats of the measure (2nd and 4th) are usually emphasized, then funk is characterized by a smooth drive and even a shift in emphasis to the strong beats. Thus, the rhythmic basis became more monotonous, but also more sophisticated - due to the emphasis on small and sharp syncopations.
It is important to note
and what funk, moving away from the triplet basis of rhythm and blues, became music not in 8/8, but in 16/16, that is, with syncopation in relation to eighth notes. It is characteristic that the development of funk was not associated with the complication of harmonic patterns, as was observed in some areas of jazz and rock music.
Funk instrumentalists have learned to create complex textures without going beyond one chord for many bars. This texture resembles a woven fabric made up of multi-colored threads.
Drums, bass guitar, keyboards and wind instruments occupy the musical space so as not to overlap each other as much as possible. This effect can be achieved only by using short, sharp phrases and ostinato patterns, thought out in advance by the arranger. It was among funk musicians that a special bass guitar technique - "slap" when (as opposed to the usual way of playing with the fingertips or a pick) the sound is produced by hitting the inside of the thumb, staccato.
Two independent styles
Already since the 70s soul And funk developed in the USA quite independently and separately, being opposed to white guitar rock music. Therefore, the guitar in these genres is used more often as an accompanying, rhythmic instrument, and the dominant role in creating rhythmic and harmonic texture gradually passed to various kinds of keyboard instruments.
Time gradually blurred the boundaries between white rock music and black funk. New generations of youth in the early 80s, especially in European countries where there are no racial problems, began to mistake white funk for modern rock.
A striking example of this is the English group.
Funk - the father of modern styles
Funk, in its most striking manifestations, has become music that requires both performers and listeners to have enormous nervous tension and a great return of energy.
When the first wave of passion for this style subsided somewhat, it turned out that very few could consider themselves true funkmen. In time, this coincided with a similar decline among a significant part of young people in interest in the true forms rock music: to art rock, hard rock, folk rock, blues rock, psychedelic and its other manifestations. The mass consumer wanted something simpler, and most importantly, quieter.
And then in the mid-70s music appeared "disco", which was not generated by rock, but specifically funk, and not as its continuation, but rather as its antipode, having only an external resemblance to the original source.
