He told her to write her own material, She did, and a few days later (in 1965), he recorded Patty Waters Sings with pianist Burton Greene's Trio. Waters, whose own influences were Billie Holiday, Ella Fitzgerald, and Sarah Vaughan, wanted to record standards for Bernard Stollman's label (the pair had been introduced by no less than Albert Ayler). Waters' influence has been noted by Yoko Ono, Diamanda Galas, Diana Rogerson, and Patti Smith - check her adaptation of the traditional ballad "Black Is the Color of My True Love's Hair," for a notable reason why. Since Waters' output until the late 20th and early 21st centuries was limited to these two recordings and some work she did with Marzette Watts (a vocal reading of Ornette Coleman's "Lonely Woman" recorded in 1968), this pair of records presented properly in a digital format is necessary. The historical significance of these recordings cannot be overstated. But the songs are way too idiosyncratic to fit any modern R&B/funk formulas -Īs the ESP-Disk recordings are digitally remastered (finally, thank God), it's a true blessing to have the two albums vocalist Patty Waters recorded for the label in 1965 (Patty Waters Sings) and 1966 (College Tour) on a single CD. The lineup of guitar, bass, and drums hints at a power trio with solos, but he plays rhythm almost exclusively and the extremely tight, kinetic rhythm section makes the music sound a bit like Tower of Power without horns. Jones is originally from Nigeria, but he's a young singer/songwriter who plays guitar and there are no obvious traces of African music in the material. 1 The Wisdom Behind The Smile (Cash) (4:06)Ģ Walkin Naked Thru A Bluebell Field (3:30)īlufunk Is a Fact! might qualify as a best of genre purely because Keziah Jones is pretty much a one-person genre who demolishes any preconceptions of what kind of music he might play.
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