The Best of Jewish Funk Music

Looking for the best of Jewish funk music? Look no further than this blog! Here you’ll find the latest and greatest in Jewish funk music, from the hottest up-and-coming artists to the classics that you know and love. Whether you’re a fan of Israeli funk, Yemenite funk, or anything in between, this is the place for you.

The Origins of Funk Music

Funk music is a genre of music that originated in the African-American community in the mid-1960s. The term “funk” refers to the unique, often groove-based, rhythms used in this genre of music. Funk music is often characterized by its use of electric bass and horn instruments. The best of Jewish funk music often incorporates traditional Jewish melodies and themes into the funky grooves.

The Funk Brothers

The Funk Brothers were a group of studio musicians who played on many of the biggest hits of the Motown era. The group was originally put together by Motown founder Berry Gordy in 1959 and remained the label’s go-to backing band until its dissolution in the early 1970s.

The Funk Brothers’ signature sound was a product of the unique talents of each member of the group. Bassist James Jamerson, for example, pioneered a style of playing called “slap bass” that would become one of the trademarks of funk music. Drummer Benny Benjamin was known for his distinctive fill patterns, while keyboardist Earl Van Dyke was a master of creating rhythm tracks on the piano.

These and other members of the Funk Brothers helped to define the sound of Motown during its most successful period. In later years, several members of the group went on to play with other well-known acts, including Stevie Wonder, Marvin Gaye, and Diana Ross.

James Brown

James Brown was an American musician who was a major figure in the development of funk music and a major influence on the pop music of the 1960s and 1970s. Brown began his career as a singer in the R&B group the Famous Flames in the early 1950s, and he subsequently became one of the most prominent figures in the development of soul music, which merged rhythm and blues with gospel music. He also played a major role in the development of funk music, which merged soul with African-American musical styles such as rhythm and blues and jazz.

Brown’s recordings sold millions of copies and had a major impact on both black and white popular culture. In addition to his commercial success, Brown was an influential figure in the civil rights movement. He was bitten by a police dog while participating in a peaceful protest in 1963, an event that helped to spark the so-called “Boston Massacre” riots. Brown also spoke out against racism and violence, and he donated money to support Martin Luther King Jr.’s Southern Christian Leadership Conference.

While Brown’s influence on pop music is undeniable, some critics have argued that his approach to Funk Music was overly commercialized, and that he did not always give credit where credit was due. Nonetheless, Brown remains one of the most iconic figures in popular music, and his contributions to Funk Music are still being felt today.

The Rise of Jewish Funk Music

In the early 1970s, a new style of music began to emerge from the Jewish ghettos of New York City. This new style, known as Jewish funk, combined the sounds of funk and soul with traditional Jewish klezmer music. Jewish funk bands like Kool and the Gang and The Fat Boys became popular in the mainstream funk world, and their music continues to influence Jewish musicians today.

The Bar-Kays

The Bar-Kays are one of the most influential and important Soul/Funk bands of all time. Originally formed in Memphis, Tennessee in 1966, the group was originally made up of Otis Redding’s backing band, which included guitarist James Alexander, bassist Ronnie Caldwell, trumpeter Ben Cauley, and tenor saxophonist Phalon Jones. After Redding’s death later that year, the group decided to continue on without him and started recording their own material.

The Bar-Kays had a string of hit singles in the late 1960s and early 1970s, including “Soul Finger” (1967), “Son of Shaft” (1972), and “Do You See What I See” (1974). They were also an important part of Isaac Hayes’ massive hit album Hot Buttered Soul (1969), appearing on several tracks. The group’s sound was a mix of soul, funk, and R&B that was perfect for dancing, and they were one of the first groups to really bring that sound to a mainstream audience.

In the 1980s, the group underwent some personnel changes and started incorporating more synth-based sounds into their music. They also found success with the single “Freakshow on the Dance Floor” (1981), which became a club hit. The Bar-Kays continued to tour and release new albums into the 21st century, and their music continues to be popular with funk and soul fans around the world.

The Meters

The Meters were a legendary funk band from New Orleans, Louisiana. The group was active from the late 1960s to late 1970s and was led by singer and keyboardist Art Neville. The Meters were one of the house bands at the Ivanhoe nightclub in New Orleans and were also the backing band for many of the city’s top R&B and soul artists, including Lee Dorsey, Betty Harris, Joe Tex, and Ernie K-Doe. The Meters’ sound was a unique blend of New Orleans R&B, funk, and zydeco that came to be known as “swamp funk.” The Meters are often cited as being one of the biggest influences on the disco sound of the 1970s.

Booker T. & the M.G.’s

Booker T. & the M.G.’s was an American instrumental R&B/funk band that was influential in shaping the sound of Southern soul and Memphis soul. The original members of the group were Booker T. Jones (organ, guitar), Al Jackson, Jr. (drums), Lewis Steinberg (bass), and Cropper (guitar). Along with William Bell, Eddie Floyd, and Otis Redding, they are considered one of the key architects of the Memphis Soul sound.

The Modern Era of Jewish Funk Music

The 1990s saw the rise of Jewish funk music, a combination of traditional Jewish klezmer tunes with funk and R&B. This new genre of music was pioneered by artists like Mike Stern and Bernie Worrell. Jewish funk music has since been embraced by the mainstream Jewish community and has become a popular way to celebrate Jewish culture.

The New Mastersounds

The New Mastersounds are a four-piece band from Leeds, England. The band formed in 1999 and has released fourteen studio albums to date. The band’s music is a mix of funk, soul, jazz, and hip-hop, with influences from genres such as Afrobeat and Latin music. The band has been praised for their tight musicianship and energetic live performances.

The New Mastersounds are considered to be at the forefront of the modern era of Jewish funk music. The band’s repertoire includes covers of classic songs from the likes of James Brown and Funkadelic, as well as original compositions. The New Mastersounds have toured extensively throughout Europe and the United States, performing at festivals such as Bonnaroo, Jazz Fest, and Lollapalooza.

Lettuce

Lettuce – Akeda
The Brooklyn-based band Lettuce was formed in 1992 by a group of friends who attended the Berklee College of Music. The band is known for their high-energy live shows and their use of improvisation. They have released six studio albums and have toured extensively throughout the United States, Europe, and Japan.

The Greyboy Allstars

The Greyboy Allstars are an American funk band founded in 1994 in San Diego, California. The band’s sound is a mix of acid jazz, soul, funk, and hip-hop. The band has released six studio albums and four live albums.

The Greyboy Allstars began as a side project of members of the San Diego-based funk band Greyboy. Saxophonist Karl Denson (who would later join Lenny Kravitz’s band) and keyboardist Robert Walter (who would go on to form the Superlative Conspiracy and play with groove-oriented rockers Gov’t Mule) were looking to expand their musical horizons and recruited bassist AaronRedman (son of saxophonist Dewey Redman), guitarist Elgin Park, and drummer Zak Najor (who would later join the Quantic Soul Orchestra) to jam on some extended improvisational workouts that drew from Miles Davis’ electric period as well as James Brown’s harder-edged jams.