Thursday, June 4, 2015

WellFleet Catches A Case of 'DaPhunk' on July 8th @ Prez Hall

WELLFLEET - July 8th, The GroovaLottos bring their soul-funk-blues party to Wellfleet Preservation Hall, 335 Main St, Wellfleet, MA 02667 (508) 349-1800. 

Tickets are $12.00 and can be purchased on-line through the Prez Hall website:

Tuesday, June 2, 2015

JULY 4th Alcohol - Free Concert & Dance in Cotuit

COTUIT - Song Keepers, Ltd., presents the first of their series of Alcohol - Free concerts and dances at Freedom Hall in Cotuit, on Saturday, July 4th at 8PM. The July 4th celebration will feature dance music by The GroovaLottos. Freedom Hall is located at 976 Main Street in Cotuit and the donation for the event is $10. The first 30 admissions will receive free CDs and there will be a 50/50 raffle as well as refreshments available.

The Concert & Dance will follow the Cotuit 4th of July parade as well as the 94th Annual Mashpee Wampanoag Powwow. There are many people on the cape currently in recovery and/or trying to lead clean and sober lives, with little opportunities for adult entertainment outside of bars and nightclubs. The Song Keepers' events provide a way to party and celebrate a healthy lifestyle.

Song Keepers, Ltd. is a newly formed non-profit arts and education organization, dedicated to preserving and continuing the musical traditions of soul, funk and the blues, while providing high quality social and educational experiences for the community at large.

Saturday, May 23, 2015

Ending May with a Boom in Plymouth & Mashpee

Friday, May 29th, the party is in Plymouth with The GroovaLottos making their monthly visit to the Cabby Shack!!!

Cabby Shack
30 Town Warf
Plymouth, MA
(508) 747-0653

Showtime 9:30 pm

The party continues Saturday evening at Dino's on Deck in Mashpee!!!

Dino's On Deck
401 Nathan Ellis Hwy (Rte 151)
Mashpee, MA
(774) 238-7062

Friday, May 15, 2015

R.I.P. to Mr Riley "B.B." King

Riley B. King, known to the world as B.B. (Blues Boy) King transitioned to the ancestors last night at the age of 89. Said to be of Choctaw and African heritage, Mr King was born to a share-cropper family in Berclair, Mississippi. Raised by his maternal grandmother, King took up the guitar at age 12 and went on to be the King of The Blues as well as one of the Three Kings of Blues Guitar (Albert King and Freddie King).

The GroovaLottos are saddened by Mr King's passing and thank him for his legacy. Wishing Mr Riley BB King a peaceful journey.

Thursday, April 30, 2015

The GroovaLottos PACK 'The Onset VFW

ONSET, MA - Last Saturday night, according to Wareham Week, The GroovaLottos packed the to capacity for their first appearance at the popular weekend spot. The evening started off light enough, with about 30 or 40 people in the room. By the second set, management had to turn hopeful patrons away, as every seat and the dance floor was filled with existing and new fans of the regional soul-funk band. Onset VFW dancers flocked to the floor to join the band's keyboardist as he introduced a new line dance to the crowd.

A short distance away, at Gilda's Stone Rooster, the band appears on the 2nd Saturday of every month. They also appear monthly at the Cabby Shack in Plymouth. The band also has upcoming shows in Mashpee, Hyannis, Boston, Hartford, and Falmouth.

Tuesday, March 10, 2015

Producer's Notes: Building The Groovalottos Album Pt 6

A little more flavor in the pot from Eddie
An element in the novel MUMBO JUMBO, by Ishmael Reed is a virus called Jes Grew that causes white people to become obsessed with Black culture. According to the text, it's the cause of the roaring 20's and the jazz age. America, being a segregated nation at it's roots, has a curious habit of categorizing music to the extent that they segregate music from itself. Also having a cultural addiction to exploitation, musical forms can be co-opted from their originators and the history re-written. Much of American music is rooted in the African and Native American musical traditions and culture. The differences between blues, funk, jazz, gospel and subsequent soul/ r&b are more about stylistic nuance then actual differences. A lot of what was called Hillbilly music (modern term, Country) was a composite of Scottish folk music mixed with blues and termed "blue-grass" to disguise the forms Black roots, the same way that Alan Freedman would call R&B "Rock & Roll" to disguise it from white parents who didn't want their kids listening to Black music.

A floor tom with a broken kick petal makes quite the boom
When you produce a soul-funk record and start to pay attention to each element and track, the American imposed lines of delineation quickly disappear, especially when the only industry standard that you adhere to is production quality. The percussion tracks are like the ancestral voices blessing your song, the patterns and grooves of various African styles, with Caribbean interpretations opens you up to new musical possibilities in the song. This you can experience when creating House music, but working on an album like this definitely takes you on that path.

As I listen to the playbacks on some of our cuts, like "The Storm" and "Make It Look Easy" I find the exploration here must be what Berry Gordy felt when he went to New York to hear Jackie Wilson record one of his songs, and the producer added some Afro-Caribbean back-beat percussion, and how it gave his song a whole new feel and groove. Likewise, when you have the basic trio rhythm section lay down one pocket, and the djembe and bongos come back with a counter groove; all tied together by 'the one', especially when we decided to lay in the western, big drum on the songs. Here, in the percussion tracks we have several examples of call and response between African (West and east) and 'Pan NDN' percussion.
My Djembe brought some ancestors into the mix

Building an album, to an extent, is like creating audio imagery, where the sound becomes a mood-based landscape if you will.  As music critic, Howard Dukes once observed of my work as a producer, I tend to be a fan of the classic 'concept album' approach to a project. With this project the concept is simple, a band of grown and funky musicians grooving through a set list at a concert. The final sound needs to be organic, ambient and exciting, while groovy, warm and funky... a dichotomy of sounds and textures... an audio rice and beans dish.

In building these tracks, what I've done is taken the recipe of funk albums produced in the 1960's and 70's, combined it with elements found in 1980s and '90's hip-hop and creating an album of the raw, funky, boom and bap free of samples, drum machines, time correction, and left as a pure work of musicianship.

bongos and cowbells... funky...
The nature of funk The 'jes grew' of Ishmael Reed's classic novel is a virus of primal, and ancestral spirits, taking possession of all who it encounters.

Missed any of the parts? Follow the Whole Producer Notes series here

A view from the control room...