Verve/Universal releases a 180-gram vinyl of a jazz funk pioneer.
Roy Ayers Ubiquity – He’s Coming – Polydor Records PD 5022 (1972)/Verve/Universal Music Group 00199957337441 (2026) 180-gram stereo vinyl, 35:41 ****1/2:
(Roy Ayers – vibes, organ, vocals; complete credit listing below)
Vibraphonist, composer Roy Ayers began his career as a bebop sideman in the early 1960’s. His first widely recognized gig happened when he joined Herbie Mann in 1966. After he moved to Polydor Records in the 70’s, there was a shift in musical styles. Ayers (and his group Ubiquity) were pioneers of funk jazz, Neo-soul and acid-jazz. A significant part of Ayers’ legacy was his influence on contemporary r & b artists (Pharrell Williams, Rick James and Whitney Houston), and a regular source for future sampling. He recorded for nearly fifty years, and was a recipient of the Congress Of Racial Equality lifetime achievement award.
As part of its 70th anniversary, Verve/Universal Music Enterprises has released a 180-gram vinyl of Roy Ayers Ubiquity – He’s Coming. This represented Ayers’ transition from post-bop quartet to larger ensemble jazz funk. He is joined by an exceptional group of players, including Harry Whitaker, Billy Cobham, Sonny Fortune and Ron Carter. Side A opens with “He’s A Superstar”. Against funky keyboards, acid-tinged guitar and concise rhtyhm, Ayers delivers a spoken word and chant that has spiritual contexts and a relentless tempo. Ayers covers the Hollies’ pop classic, “He Ain’t Heavy He’s My Brother”. His vibraphone lead is intricate and soulful, capturing the gospel feel. The band creates a relaxed groove. After jazzy chord changes, Fortune contributes a lyrical flute solo that is bluesy and fits seamlessly into the mellow vibe. Ayers’ husky vocals infuse “Ain’t Got Time” with a quiet socio-political poetic commentary.. At the 1:30 mark there is a slight tempo uptick that adds some positivity and urgency. Flute, vibraphone, keyboards and strings create a gossamer resonance to the Broadway hit, “I Don’t Know How To Love Him”. Ubiquity re-invents this song as an ethereal instrumental. Ayers’ deft solo on vibraphone is articulate and glows with warmth.
In a nod to fusion/acid-jazz, the title track has a steady pulse and cautionary message with organ accents and a tight rhythm section. There is Sunday-morning religious testimony with a cool magnetic feel. A distorted electric guitar and electric piano build intensity to a slow fade. A certain highlight is the often-sampled “We Live In Brooklyn Baby”. With a vamp and slow groove, there is a street chant that could be a precursor to modern hip hop. Jazzy accents, punctuated strings (with some dissonance), sinewy bass (Ron Carter) and repeat motifs make this song compelling. In a stylistic change of pace, “Sweet Butterfly Of Love” is an atmospheric short piece (like an interlude) that showcases the alto voice of Sandy Hewitt. Vibraphone, keyboards, flute and guitar intermingle for a low-keyed but jaunty arrangement on “Sweet Tears”. Ayers’ eloquent soloing is delicate and is countered by strings.` The finale, “Fire Weaver” picks up the pace considerably with a thick bass, electric piano and vibraphone. This number has fusion and funk elements and Ayers is percolating against the keyboards and string section. The percussion is dynamic and propels the ensemble. It is the most explosive cut on the album and a rewarding conclusion to this groundbreaking musical journey.
This Verve/Universal re-mastered vinyl is excellent. The re-mastered sound has detailed precision and maintains the integrity of Rudy Van Gelder’s meticulous engineering on the original analog tapes. All the low-end has clarity and the overall separation is very good.
Highly recommended!
—Robbie Gerson
Roy Ayers Ubiquity – He’s Coming
TrackList:
Side A:
He’s A Superstar;
He Ain’t Heavy He’s My Brother;
Ain’t Got Time;
I Don’t Know How To Love Him
Side B:
He’s Coming;
We Live In Brooklyn Baby;
Sweet Butterfly Of Love;
Sweet Tears;
Fire Weaver
Performing Artists:
Roy Ayers – vibes, organ, vocals;
Sonny Fortune – soprano saxophone, flute;
Samuel Brown – guitar;
Harry Whitaker – electric piano, organ, vocal;
John Williams – bass;
David Lee Jr. – drums;
Billy Cobham – drums, percussion;
Juma Santos – conga;
Ron Carter – bass;
Sandy Hewitt – vocal;
Victoria Hospedale – background vocals;
Carol Smiley – background vocals;
Gloria Jones – background vocals;
Stewart Clark – strings
