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Christian Scott: So What, Ray Parker Jr.: Glass of Wine, Middle Aged Crisis, Billy Griffin: Like Water, Forgive Me If You Can, Jazzhole/Marlon Saunders: All The Ways, Lowdown, Charles Wright: Unseen Dirt, Follow Your Spirit, Frank McComb: Passionate Love, Crusaders: Stomp and Buck Dance

(Fathers Day Special simulcast on Soul-Patrol.Net &

Soul-Patrol Newsletter Headlines

* What Happened To The Black Male Voice?

* Chuck Barksdale, (Bass V/The Dells) B. 1935-0111, Chicago, IL

* What's a Brotha Gotta Do To Get Some Respect? - Jimi Hendrix/Victor Wooten

* The Temptations

* Legends: Vaughn Harper, Sonny Hill, Mickey McGill, Verne Allison, Billy Brown, Marvin Junior, Al Goodman, Kevin Owens, Johnny Carter, Bernard Purdie

Welcome To The Soul-Patrol Newsletter

Happy Fathers Day/2006

Pictured above is my brother Mike (left) and myself (right). Together you all know us as the owners of and But more importantly we are the sons of the same man and his name is Robert Davis. So we would like to with him a Happy Fathers Day. At our age we know that there are many of our peers who aren't able to pick up the phone and call their fathers. We would like to suggest that for those of you who can pick up the phone and call your father that you do so. Don't wait till next year, it may be too late... Mike and I are also fathers ourselves, so we will also be celebrating Fathers Day.

Recently I have been doing some thinking about fathers in general and Black men in particular. If you believe in the modern science says, Black men were probably the first human beings to walk the face of the earth in Africa.

Despite that accomplishment, it seems that the mass media has turned us into the most hated and despised creatures that have ever lived. We are Pimps, Slaves, Thugs, we are illiterate savages that must be contained and incarcerated at all costs. If we are driving in the wrong neighborhood we should expect to be stopped and asked to prove who we are by the police. If Black men go shopping, we are followed around the store by security personnel, etc.

It seems to me that we have gotten a bad reputation, worldwide. Therefore we thought that we would dedicate this entire issue of the Soul-Patrol Newsletter to talk about some positive Black men.

We also have a special internet radio broadcast, which features BRAND NEW MUSIC all done by the following Black male artists: Christian Scott, Ray Parker Jr., Billy Griffin, Jazzhole/Marlon Saunders, Charles Wright, Frank McComb & Crusaders. Take a listen to this music and let us know what you think. We think that the "Voice of the Black Male" has been missing from the music scene for too long and we think that its time for it to return. BTW....this broadcast is being simulcasted by our friends at Black Men In

All of the articles in this issue are also written by some positive Black men and I would like to with all of them a Happy Fathers Day as well. And if you have some positive Black men in your life, please wish them a Happy Fathers Day as well. With what they have to deal with every day, they need the encouragement....

--Bob Davis

What Happened To The Black Male Voice?

Soul-Patrol.Net Radio I had some thoughts about the "strong Black male presence" in music. My dad told me that in his youth Billy Eckstine was asked by booking agents, club owners, and promoters to wear oversized suits to hide his physique. Eckstine was told not to "work" the white girls who came to see him by stopping at their tables or making romantic eye contact. White males were so intimidated by Eckstine that he didn't get any regular television exposure until he was almost 50 years old.

Over the years I've divided Black males into 3 groups. I don't have names for the groups but I can tell you the type of Brothers who fit in these groups and how white males and females react to them.


Crossover records were sold and white women were attracted to them but if you
ever attended any of their concerts there were very few white women in attendance. The overwhelming majority of women swooning and in attendance were African Americans. Because of their masculinity and sexuality their careers were marginalized and they were kept at a distance from white women. Teddy, Marvin and Ike (buffed in chains no less) were especially unnerving to white men.

STEVIE WONDER, AL GREEN, JOHNNY MATHIS, PRINCE, MICHEAL JACKSON An eclectic grouping for sure but the thing that makes them similar is that their concerts

are filled with white women. Their sexuality is mostly dismissed by white men and so they have unlimited access to white women. Stevie Wonder is blind, creative and intelligent. His sexuality has never been used to sell him. Al, Johnny, Prince and Michael are less threatening because their look is not considered masculine and rumors exist about the sexual preferences of some of them. They can easily be the subject of jokes.

All had huge followings and white girls were strongly attracted to them. They were masculine and projected a sexual image. White men were not comfortable with them but they could NOT be dismissed. Mainstream white males dismissed the white women who followed them INSTEAD. Those women were considered morally bankrupt, weird and freaky. The kind you don't take home to mother or want your daughter growing up to be.

I agree that we have seen the demise of the traditional masculine soul singer but the image is still quite strong in rap and hip hop. Tupac Shakur and currently LL Cool J and Will Smith have images that have crossed over into the white suburbs and turned on a good share of young white women. All three have created different levels of white male discomfort.

--Ron McIntyre

Christian Scott: So What, Ray Parker Jr.: Glass of Wine, Middle Aged Crisis, Billy Griffin: Like Water, Forgive Me If You Can, Jazzhole/Marlon Saunders: All The Ways, Lowdown, Charles Wright: Unseen Dirt, Follow Your Spirit, Frank McComb: Passionate Love, Crusaders: Stomp and Buck Dance

Chuck Barksdale, (Bass V/The Dells) B. 1935-0111, Chicago, IL

Soul-Patrol.Net Radio
Chuck Barksdale is not only one of the greatest singers who has ever lived. He is also one hell of a nice guy!

Famous for his fabulously FUNKY spoken word intros on the some Dells biggest hit songs such as "Give Your Baby a Standing Ovation", "Oh What a Night", etc. that have been known to throw sistas into a total state of ecstasy (which I have been properly positioned to take advantage of during slow

Chuck Barksdale is also a man who understands his responsibility as a Black man, who just happens to be an entertainer. When I went to see the Dells perform Philadelphia this past fall, he spoke from the stage several times about the need for us to get together as a community and stop the DRUGS and VIOLENCE that is killing off our future.

Probably there are some people who don't think that Chuck should be speaking out on issues like this. Guess what?
Chuck doesn't care, he knows that these are things that need to be discussed!
...and so he does it

One other thing that Soul-Patrollers should know about Chuck Barksdale is that he doesn't just......"talk the talk" Chuck Barksdale......"WALKS THE WALK"

Chuck does a LOT of work behind the scenes in Chicago on various projects, raising money, developing and implementing plans to EMPOWER people in his local community to fight the SAME EVILS THAT HE TALKS ABOUT ON STAGE!

He is certainly one of my personal role models...and he is also one of the best friends that Soul-Patrol has.

Here is a little story....

Remember a few years ago after we had the Soul-Patrol Convention, we had collected the money for the Open Up Your Heart Foundation? Well collecting the money is one thing. Getting the money to the foundation is another thing. We had to figure out just how we would do that. Of course we could have just put a check in the mail.


Chuck said...
"Why don't you give the Dells the money when we come to Philly in a few weeks..."

I said...
"Cool, we can do that..."

Chuck said...
"Go ahead and arrange it and if any of those "so and so's" :) gives you any problems, you let me know..."

I called up the management of the venue in Philadelphia and made my request. I asked them if we could make a formal presentation of the check backstage either prior to or after the Dells performance that night. They told me that they would get back to me.


Chuck called me up and told me, "Bob, we want Soul-Patrol to be RIGHT UP ON THE STAGE WITH THE DELLS...." And THAT was EXACTLY what happened!

And when I walked out on to the stage of the Dell East Amphitheater, in August/2002, and began to speak to the crowd of TEN-THOUSAND CLASSIC SOUL FANS IN PHILADELPHIA...


I have hundreds of stories about the humanity of Chuck Barksdale. One day I'll get around to writing them down. But then again, maybe I won't. Sometimes I'm not sure if I want to share Chuck Barksdale with the rest of the world :)

This is a man that I admire and look up to in a way that is quite special for me on a personal level. Is Chuck Barksdale the greatest Bass singer of all time? He might just be. However, is that really important?

In my opinion, after you pass from this life, what is most important is the imprint that you leave on the people who are still here. Especially on the people that you may not have ever had any direct personal contact with. I a quite proud to know that Chuck is someone who has taken me under his wing. Anytime I have a conversation with Chuck Barksdale, I learn something new. And not just about music. I learn something about life.

Yes it's true no doubt that there have been many babies who were conceived with the sound of Chuck Barksdale's voice playing in the background. But what is far more important is the number of babies who have been able to actually grow up and lead productive lives as a result of the good works and deeds of Mr. Chuck Barksdale.

* This is a man who has a keen view of the past present, and future.
* This is a man who walked with BOTH Malcolm X and Dr. Martin Luther King.
* He does a LOT of work in Chicago and elsewhere to help "just plain folks".

And when all is said and done, isn't that what truly counts?

This is a brotha that I have come to call my friend. He is also a friend to ALL of you (even if you don't realize it).

"Give Your Baby a Standing Ovation"
So right now ladies and gentelman it's STAR TIME
and we would like to bring you the stars of our show
ALLLLLLL the way from the windy city .....

....the fabulous
........the insurmountable
..............the incomparable
.................the MIGHTY MIGHTY DELLS
....................lets give them a great big round of applause

"Thank you very much ladies and gentlemen you know we are mighty glad to be here today and although we are the stars of the show we know that ain't all there is to it because behind every star out as, behind every man out there IS a woman and that if you are a man, you've got a woman and I think YOU should take a little time out to salute that woman and GIVE THAT WOMAN A GREAT BIG ROUND OF APPLAUSE...."
--Chuck Barksdale

Bob Davis:

Christian Scott: So What, Ray Parker Jr.: Glass of Wine, Middle Aged Crisis, Billy Griffin: Like Water, Forgive Me If You Can, Jazzhole/Marlon Saunders: All The Ways, Lowdown, Charles Wright: Unseen Dirt, Follow Your Spirit, Frank McComb: Passionate Love, Crusaders: Stomp and Buck Dance

What's a Brotha Gotta Do To Get Some Respect? - Jimi Hendrix/Victor Wooten

Soul-Patrol.Net Radio

On Easter Sunday, 1967, my friend Greg Simms and I, both of us from Lincoln Place between Rochester and Buffalo Avenues, in the Crown Heights section of Brooklyn, with our parent's permission decided to go out on the town. I was 14yrs old. Greg was 13.

Dressed in our Easter best, we decided to explore New York's Greenwich Village, a wild, crazy and eccentric place, where all the hipsters hang out, even more so in those days. Greg and I were looking for the unusual. We were looking for excitement. I had always wanted to go to "The Village." I knew it was the home of "The Beatniks." I felt a kinship with them. I thought they were cool. So we went to Greenwich Village.

Of course we didn't find any beatniks. We found "Hippies" instead.

Cruising down Bleecker Street, we came to ground zero, the central crossroads of the village, MacDougal Street. Making a right on MacDougal we came upon Cafe Wha? on the corner of MacDougal and Minetta Lane. The place looked appropriately wild and crazy so we went in. Going down a long narrow staircase we found he main room, which consisted of crude wooden tables and benches. An attractive waitress came over and, big spenders that we were that day ordered two ice cream sundaes.

This rock group came on to the floor. A trio of three. The name of the group was "James Hendricks (and the Something or Others.") The guitarist was this wild man. He was extraordinary. He slid on the floor, played the guitar between his legs, behind his back, behind his head and with his teeth. He played a blisteringly fast version of "Hey Joe." He also played a version of "Strawberry Fields Forever." Both the fast version of "Hey Joe" and his version of "Strawberry Fields" I have not heard since on any recording. They also played "Wild Thing," Purple haze" and "Manic Depression." This was simply the greatest guitarist I had ever seen.

1 year later, I was attending Lafayette High School in Bensonhurst, a prominently Jewish and Italian neighborhood in Brooklyn, and extremely racist. I became lead singer in an inter-racial rock band called "Magic People." We rehearsed at the home of the Palaia Bros. Ernie Palaia showed me this album, "Are You Experienced" by the "Jimi Hendrix Experience." There on the cover was the same wild man I had seen a year ago at "Cafe Wha?".

I would see Jimi a couple more times.

I started hanging out at Tompkins Square Park, in the East Village. The action had shifted to there. I would come across various people in that park. Dylan, The Chambers Bros., Abbie Hoffman, Jerry Rubin, and from time to time, Jimi Hendrix.

Jimi Hendrix, of course, changed the course of Rock music and set the standard for guitar players in all musical idioms.

However, it's true that most Black folks couldn't get into him at the time. If you were Black, you liked R&B. If you were White, you liked Rock. Didn't seem to be much crossover, until Sly and the Family Stone came out. Like I have said in other posts, Black people didn't start getting into Jimi's style of guitar playing until after he died. Then you started seeing Funk bands using Sly and Jimi's influences.

Bands like Funkadelic, The Ohio Players, The Buddy Miles Express, The Barkays. The Isley Brother's re-grouped with a younger brother who sounded remarkably like Jimi. Jazz guitar cats such as John Mclaughlin, Larry Coryell, Al DiMeola, Bill Conners, Sonny Sharrock, James "Blood" Ulmer were all definitely influenced by Hendrix.

As were bass players such as Stanley Clarke and Jaco Pastorius who took Jimi's approach to electric guitar and along with Larry Graham's slap bass technique, applied it to electric bass.

Which brings us to Victor Wooten.

In the summer of 1989, I was sitting in Brooklyn's Prospect Park at one of the "Celebrate Brooklyn" concerts with my friend Valerie Diggings. One of the groups billed that night was "Bela Fleck and the Flecktones."

Never heard of this group before. Since the program said it featured "electric banjo" I figured it might be some bluegrass or country group. At best it might be a Reggae group.

Nothing could have prepared me for what I seen that night.

What I saw was nothing more than the evolution of jazz fusion. Bela Fleck and the Flecktones had taken the fusion of Miles, Weather Report, Return to Forever, The Mahahvishnu Orchestra, Oregon; post fusion groups like Yellowjackets, Hiroshima, The Rippertons; and put a whole new slant on the genre. This was a group of virtuosos playing strange instruments in unfamiliar genres and weird time changes. Bela Flecks aforementioned banjo. A person only known as "Future Man," who played a guitar looking contraption called a "Syndrum" and sounded like Tony Williams; Howard Levy keyboard player who also played a mean harmonica; and last but not least, the Bass player.

The bass player was not a wild man. He seemed to be quite pleasant and mild mannered. Yet he played heavy grooves. He had four or five basses with him onstage ranging from 4 string to 6 string, and he executed each one like a master. His slap technique was impeccable. His fingers moved u and down the fretboard like greased lightening.

Then saw something incredible.

On one blisteringly fast number he was given a solo. During this solo, the bass player MADE THE BASS REVOLVE AROUND HIS WAIST WITHOUT MISSING A BEAT!!! He played the bass between his legs, around the back of his head, and then with his teeth. Again, without missing a beat.

Bela Fleck announced the bass player's name as Victor Lamont Wooten.

I turned to my friend and said, "We have just witnessed the greatest electric bass guitar player in the world."

Which brings us to why most Black youth don't know who Victor Wooten or Jimi Hendrix is:

1.) IMHO, Black people in general have extremely conservative musical tastes. Black youth in particular. If it does not have a video on BET (the more slightly enlightened ones might look at MTV or VH1), or you don't hear it on radio stations that they tune into, it either does not exist or is beneath recognition.

2.) Most Black youth don't venture out of their neighborhoods or if they do, are unwilling to try new experiences. Trips to museums, plays, concerts (other than Hip hop) are verboten unless they are taken by their school.

3.) Unfortunately most Black youth (in my experience) could give a damn about history of world events.

In order to appreciate different things YOU NEED EXPOSURE.
Why do White kids know who Jimi and Victor are?

1.) The Jimi Hendrix Experience and Bela Fleck and the Flecktones are geared to the so-called "White" market. What you call "The Mainstream." Music geared to the "Black" market has always been given short shrift. Black audiences (especially youth) are notoriously prejudiced in their musical tastes until some visionary EXPOSES them.

2.) Jimi Hendrix married himself to the White Rock establishment. This strategy has helped every Black artist from BB King to Ike & Tina turner. Bela Fleck and the Flecktones have toured with White acts such as The Dave Matthews Band (3 Bros and 2 Whites and we call it a "White" act) and The Grateful Dead. They also record with all-star guest artists such as vocalists Shawn Colvin and Jon Anderson (of the group Yes), guitarist Adrian Belew, oboe player Paul McCandless, and keyboardist John Medeski (of the jazz jam-band Medeski, Martin & Wood).

3.) White people listen to our music. We don't think they do, but they do.

In short, Black people are trapped in a ghetto of the mind. Trapped by our own self limitation. White people think of the world as theirs. We don't. The world belongs to us as well. Until we claim it as our birthright, we will remain where we are.

--Selah Eric Spruiell

Christian Scott: So What, Ray Parker Jr.: Glass of Wine, Middle Aged Crisis, Billy Griffin: Like Water, Forgive Me If You Can, Jazzhole/Marlon Saunders: All The Ways, Lowdown, Charles Wright: Unseen Dirt, Follow Your Spirit, Frank McComb: Passionate Love, Crusaders: Stomp and Buck Dance

The Temptations

Soul-Patrol.Net Radio I haven't commented on the Temps yet because I just haven't been able to put what I feel about them into words. Growing up I identified so strongly with the group. They were BLACK MEN. Brothers from the hood who seemed to maintain all the things we respected in "real" brothers and at the time.

They dressed, they could dance, they could sing, they were cool, they had the women, they had money, they traveled and most importantly they were enjoying all this with each other; their "boys". We rehearsed their songs and moves. They elminated their processed hair and replaced them with Afros at exactly the right time. They inspired us to form our own singing group even though we really couldn't sing. While we had the very highest respect for the Miracles, the Four Tops The Pips, the Dells and the Impressions, the Temps moved us in a way that only a Black youth in search of his own manhood at the time would understand. In many ways they mirrored what my friends and I were going thru. As drugs, alcohol and a general lack of discipline began to consume so many brothers I knew, those same demons began to destroy the temps. Like Otis Williams there are just a few of us still standing and standing for the same reasons. Purposed lives, a vision and God's mercy. We were such regulars at the Apollo Theatre that some of the ushers and security would let us back stage where we would meet some of the acts we looked up to. After much convincing and a little barter we got passed our favorite Apollo security man. Between shows we met the Tempts.

We had met a number of acts and were disappointed by a few. The Temps were everything we thought they would be. I remember each word they said to us like it was yesterday. Melvin mild and very peaceful, Otis polite and a little aloof, Eddie and Paul were unbelievably "down" maybe a little too "down" looking back. Dennis was cool but "busy" with some female fans who had also got backstage. I've seen them perform many times and seem almost every lineup. They truly were/are The Emperors Of Soul and I love their music and respect them as men.

--Ron McIntyre

Christian Scott: So What, Ray Parker Jr.: Glass of Wine, Middle Aged Crisis, Billy Griffin: Like Water, Forgive Me If You Can, Jazzhole/Marlon Saunders: All The Ways, Lowdown, Charles Wright: Unseen Dirt, Follow Your Spirit, Frank McComb: Passionate Love, Crusaders: Stomp and Buck Dance

Legends: Vaughn Harper, Sonny Hill, Mickey McGill, Verne Allison, Billy Brown, Marvin Junior, Al Goodman, Kevin Owens, Johnny Carter, Bernard Purdie

Soul-Patrol.Net Radio This year...a very poignant year for me as I have passed through to another level of this existence. You see, I turned the big 5-0. In and of itself the significance may be lost on some of you but it is with renewed vigor and deeper perspective that I am able to share with you all some of the experiences that I have been privileged to take part.

Around Easter there was a concert @ the Liacouras center here in Philadelphia. There was nothing particularly special about the concert. You've all seen the artists many, many times before. However I had the opportunity to finally meet and engage in conversation both casual and introspective with some elders who are truly legends. If I threw names at you randomly....Vaughn Harper, Sonny Hill, Mickey McGill, Verne Allison, Billy Brown, Marvin Junior, Al Goodman, Kevin Owens, Johnny Carter, Bernard Purdie, would you recognize them? Would you know whom they all are. How about the legacy that goes with each and every one of their names. It is rare that in the space of two months we get the opportunity to share space and time with people who have personally had a hand in shaping certain aspects of our experience here on this plane.

Sonny Hill is singularly one of the greatest basketball minds to ever have come out of the city of Philadelphia. Wilt Chamberlain notwithstanding. The Sonny Hill league has not only saved the lives of countless young black men but it has also nurtured and hosted a huge segment of the NBA that you have watched and enjoyed for years. Rasheed Wallace, Julius (Dr. J) Erving, Lloyd (All World) Free, Kobe Bryant, Aaron McKie, Eddie Jones, Gene Banks, George McGinnis, Lewis Lloyd, Darryl Dawkins, Lionel Hollins, Maurice Cheeks and Maurice Lucas are but a few of the luminaries to pass through our fair town doing the summer league thang. They in turn sponsored (as is the tradition) numerous teams made up of kids trying to pursue their own version of 'Hoop Dreams'. You NewYorkers all know about the Rucker Leagues...well Sonny Hill is that and more to the city of Philadelphia.

Because of the diligence and hard work of Bob Davis and Soul Patrol we all know The Mighty Mighty Dells not only as a singing group but as individuals of the highest order. Like family we listen and learn from the likes of MMDELLS as he regales us with stories past and present of this business we call show. What I never knew is that this cat had time for somebody like me. Another hustling long-suffering musician/drummer. But upon reaching out to him (and every time I reach out to him) he ALWAYS responds. That night at the Liacouras he introduced me to the WHOLE group one by one and made sure that anything I needed was provided. Marvin Junior ALONE had me equally laughing and damned near crying from his tales of American Idol to any and everything else that's good and bad in the music business. For cats who've been around the globe probably as many times as I am old they were thoroughly accessible and loving to any and all.
As I chilled at the soundcheck for this show this brother (whom I immediately recognized as Al Goodman) walks past me, smiles and waves. Shortly thereafter another cat shows up (this one I also recognized as Billy Brown) and much like Mr. Goodman he also shows a brother some love except for one thing: he actually comes up to me and extends his hand and hugs me like we were long lost homeboys. I couldn't believe it! Hell, I could meet a stranger right here on the streets of Philly and not get so much love. To say that these brothers were (as my kids would put it) a little 'extra' would miss the point. To say that these men even gave a shit about anything or anybody but themselves would be a gross understatement. What would be a more correct assessment of it all would be to say that they care a lot more than they are cared for. We all know that as long as Paul McCartney, Elton John, Billy Joel, Fleetwood Mac, Linda Ronstadt, Bruce Springsteen or even Elvis (were he still alive) would sell out wherever or whatever venue they were appearing is old news. The fact that my brothers regularly play to half/three quarter-filled houses is a fact. There are reasons of course but none are really cool. None of those acts I listed have been around as long as the Dells and RGB easily lap half of that list But these guys keep on keepin, loving, laughing (probably to keep from crying) and living. If you have the opportunity to rub up on these cats take all know it won't be long before you won't be able.

As a drummer the first (and last) thing I look for and at whenever I attend any live performance is the drummer. Easily one of the most huge influences of all time for anybody playing funk n' roll would be Bernard Purdie. There is a song on Steely Dan's album called Home At Last. Listen to the drums for just a minute. The beat is a roiling little groove with snare drum accents on the third beat of every measure. There is this sh-sh-sh-sh- thing that goes throughout. Meanwhile the bass drum punches between all of that. This groove sort of just shuffles along. This beat can be found on countless records. It is called the Purdie Shuffle. So named for it's feel and the author of same. He can play it very fast and he can break it down slow if need be. Also there is the Purdie bark. Y'all have heard Aretha Frankin's Rock Steady numerous times. When we were kids what did we all wait for in a song? If you all said 'drum break' you would be correct! Like 'give the drummer some' in Cold Sweat ' to the breakdown in Cymande's Bra or how about this accompanying lyric to that stank-ass break with Dyke and the Blazers where Dyke sez: some people don't like the way Sal-lay walks! While the drummer rat-a-tat-tats that funky ass groove that is the father and staple of funk drumming. And what did the girls do when this break came along? Y'all know y'all did some of the hottest hip-shaking-fascinating-moves ever! These videos and Beyonce aint got nothing on my sisters from back in the day! Well, Bernard Purdie is responsible for that frenzied explosion of bass/snare drum and hi-hat in the break from Rock Steady. If you play drums you HAVE to know how to do that bark...just like when we were kids you HAD to know how to play Cold Sweat. I bring this up because I met and rapped with Mr. Purdie...who told me he actually had some playing on ColdSweat and countless other JB tunes. He told me that there are many more drummers who held the chair with Mr. Brown. They all modestly accept the fact that they helped contribute to the legend...the sound...the power and fury that is James Brown (often without credit...but what else is new?). That's another story for another day.
I bring all of this up because one of the things we all (musicians) struggle with is the creation and maintenance of our own signature sound. You know how when you hear a sax player some of us might know the difference between Sonny Rollins and Sonny Stitt. If I don't do anything else I can only hope that when I play I have something unique about what I do. Bernard Purdie has it all in spades. His style is identical to none. His grooves are copied and modified ad infinitum. You've heard him even when you didn't think it could possibly be him. He has applied his style to almost every musical genre. From Gene Ammons to Steely Dan to King Curtis to Aretha Franklin to even a possibility of him recording on some Beatles records. This man has been lauded as the world's most recorded drummer. No joke. He is now a friend of mine. I hope to continue communication with him. He is a Master of his craft. He is both innovator and creator of sounds that weren't around previous. Like every one else written about here he is a legend. Not a hero or role model but a legend. This is the definition of legend: An unverified story handed down from earlier times, especially one popularly believed to be historical.

Forget all of that except the part that says 'handed down from earlier times'. Sankofa. Somehow we must share and hand down all of the truths that we know to be evident. If we don't nobody will know what it is or where it all comes from.

Share a legend, Hire A Band

Christian Scott: So What, Ray Parker Jr.: Glass of Wine, Middle Aged Crisis, Billy Griffin: Like Water, Forgive Me If You Can, Jazzhole/Marlon Saunders: All The Ways, Lowdown, Charles Wright: Unseen Dirt, Follow Your Spirit, Frank McComb: Passionate Love, Crusaders: Stomp and Buck Dance

(Fathers Day Special simulcast on Soul-Patrol.Net &

If you have a news item, update, review, commentary, etc that you would like to submit to the Soul-Patrol Newsletter, please send them via email for consideration to:

Hopefully you enjoyed this edition of the Soul-Patrol Newsletter.
We will be back soon with the next edition, with email alerts for local events, Soul-Patrol website updates/chat sessions or breaking news in between, as required.

If you have any comments, questions, etc feel free to drop me an email and let me know what's on your mind.

Bob Davis

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The intent of Soul Patrol , is to be a celebration of Great Black Music From The Ancient
To The Future. It's all about
Soul , Jazz , Blues, Rock ,Funk , and about the culture they
have evolved from.

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Smokey Robinson and the Miracles Live Collection
* Chariman of the Board: "All in the Family"  
Chariman of the Board: All in the Family
* Angel Risloff: "Where Have You Been" (Great Blue Eyed Soul)  
Angel Risloff
* Jimmy Castor: The E-Man is Back with a NEW EP" 
Jimmy Castor
* New From The Temptations: "Reflections"  
* DC ALL STARS DVD - Orioles, Unifics, William Devaughn, Jewels, Sir Joe Quarterman and Joe Phillips/Winstons, Velons  
* Susaye Greene (The Extreme Supreme)- Brave New Shoes (Diverse & Fonky)  
Susaye Greene
* Soul Project Reconnection  
Soul Project
* The Best of James Brown, Vol. 3 James Brown & Friends  
James Brown
* Nadir - Distorted Soul 2.0 (2005 FUNK CD of the Year)  
* Leon Ware - Kiss in the Sand  
Leon Ware
* MOTOWN REMIXED - Your Favorite Motown Hits Remixed  
* Mandrill: 'Live At Montreax DVD"  
* THE OFFICIAL: SlysLilSis & Sly Stone Online Store!  
THE OFFICIAL: SlysLilSis & Sly Stone Online Store!
* DESI - "GOLDEN LADY" Brand New R&B  
* Sound Spectrum Entertainment  
Sound Spectrum Entertainment
* Dells - Open Up My Heart 
Dells - Open Up My Heart
Billy Paul
* New Pittsburgh Courier:one of the oldest and most prestigious Black newspapers in the United States 
New Pittsburgh Courier
* Black Rock Coalition (BRC)  
Black Rock Coalition (BRC)
* Soul of America Travel  
Soul of America Travel
(10 sites generating the
the most traffic on the
Soul-Patrol Network since
the last SP Newsletter)
1. 'A Memoir: David Ruffin My Temptation 
2. New Pittsburgh Courier 
3. Its Here! Ethnic Embroidery  
4. Legendary Escorts  
5. Chancellor Of Soul  
6. Truly Amazing Fashions  
7. Forever Temptin': Paul Williams
8. Urban Biz Ads  
9. Big Walker Blues
10. Billy Jones Bluz || Soul-Patrol.Net Radio || Soul-Patrol Times ||
Soul-Patrol Event Calendar
 1999 - 2004
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