Here's some greasy, authentically swinging groove music by a drummer with both feet planted firmly on the ground. Actual Proof, by virtue of its instrumental focus, and the blessed absence of ostentatious vocals and awful ... more »songs, is as good a jazz-funk amalgam as one is likely to encounter in this age of prefab, MIDI-ized, one-size-fits-all airplay prayers. This thanks to a series of witty, well-conceived arrangements that Clark and his band tackle with wit, good taste, and a real sense of the music's historical context and connections to modern jazz--going back all the way to T-Bone Walker and Louis Jordan, and as far forward as Herbie Hancock and Miles Davis (a truly dancing rethink on the seldom-covered Miles in the Sky masterpiece "Stuff"). The boppish, four-to-the-floor ferocity of "Cops and Robbers" underscores Clark's deep feeling for the blues, gut-bucket funk, and prebop swing ... not surprising, given that his résumé included Frogman Henry, Jimmy Reed, Albert King, and Freddy King by the time he graduated from high school (which gives his shuffles on "Stringers" and "The Famous Door" a real bacon-and-biscuits skank). Clark fronts a fine band (particularly enlivened by 8-string guitarist Charlie Hunter's Hammond organ-styled comp), which delineates that point where the rubber meets the road--where swing and funk intersect--as on the gloriously Mickey Spillane film noir of trumpeter Tim Ouirnette's "Attack of the Forty-Foot Woman" and the atmospheric, agonizingly slow groove to "59th Street Station," on which bass clarinetist Benny Maupin and bassist Ted Trimble illustrate the timelessness of the blues. And with his feverishly syncopated bass drum and dancing snare-cymbal combinations, drummer Clark gives these groove-oriented tunes a grit and authenticity seldom found in so-called fusion records. What it is. --Chip Stern« less
Here's some greasy, authentically swinging groove music by a drummer with both feet planted firmly on the ground. Actual Proof, by virtue of its instrumental focus, and the blessed absence of ostentatious vocals and awful songs, is as good a jazz-funk amalgam as one is likely to encounter in this age of prefab, MIDI-ized, one-size-fits-all airplay prayers. This thanks to a series of witty, well-conceived arrangements that Clark and his band tackle with wit, good taste, and a real sense of the music's historical context and connections to modern jazz--going back all the way to T-Bone Walker and Louis Jordan, and as far forward as Herbie Hancock and Miles Davis (a truly dancing rethink on the seldom-covered Miles in the Sky masterpiece "Stuff"). The boppish, four-to-the-floor ferocity of "Cops and Robbers" underscores Clark's deep feeling for the blues, gut-bucket funk, and prebop swing ... not surprising, given that his résumé included Frogman Henry, Jimmy Reed, Albert King, and Freddy King by the time he graduated from high school (which gives his shuffles on "Stringers" and "The Famous Door" a real bacon-and-biscuits skank). Clark fronts a fine band (particularly enlivened by 8-string guitarist Charlie Hunter's Hammond organ-styled comp), which delineates that point where the rubber meets the road--where swing and funk intersect--as on the gloriously Mickey Spillane film noir of trumpeter Tim Ouirnette's "Attack of the Forty-Foot Woman" and the atmospheric, agonizingly slow groove to "59th Street Station," on which bass clarinetist Benny Maupin and bassist Ted Trimble illustrate the timelessness of the blues. And with his feverishly syncopated bass drum and dancing snare-cymbal combinations, drummer Clark gives these groove-oriented tunes a grit and authenticity seldom found in so-called fusion records. What it is. --Chip Stern
CD Reviews
Still Showing Actual Proof - Giving the Drummer Some
theoe | New York, NY USA | 09/26/2000
(5 out of 5 stars)
"Mike Clark was the drummer with Herbie Hancock's Headhunters in the seventies and will always be remembered for his phenomenal work on a song called "Actual Proof" on the album THRUST. When I discovered this newest CD by Mike, also titled ACTUAL PROOF, I had to get it. A song called "Aristede" reminded me of some of the old Weather Report stuff, and is a brooding, intense future jazz classic. It features Bennie Maupin, one of the original Headhunters, who also played on Miles Davis BITCHES BREW recording and I hear traces of that influence here also. "Viper" had really interesting interplay, of the kind I haven't heard since Tony Williams and Wayne Shorter in Miles' sixties band. And on a song called "Bacon Phat," Mike and Charlie Hunter play one of the funkiest shuffles ever! There doesn't seem to be a bad cut on here and redeems the term fusion. Sophisticated, soulful, jazz, blues and what? It defines unique."
Drummin' with roots
Harold Brown | NYC | 10/20/2000
(5 out of 5 stars)
"First of all this is the most interesting and fun cd I have heard in years, way beyond what Clark did on Herbie Hancock's Thrust. Not only is Clark the daddy of Gangsta funk grooves and jazz funk grooves but he is a consumate jazz drummer. This cd not only has futuristic funk grooves like I have never heard before, but Clark is playing real authentic jazz stuff up inside the funk. Not that high tech gymnasium heavy-handed fusion drumming, nor that boring straight time so-called groove stuff either. Clark is listening very closely and so are the other band members so it is total interplay. This reminds me of the kind of stuff Tony Williams played on Miles Smiles but funky. Charlie Hunter sounds real funky and Jed Levy is a great sax player, very modern and interesting. I love what Bennie Maupin did, very dark and moody. Ted Trimble on acoustic bass sounds nice and loose. Tim Ouimette's haunting trumpet is kind of like Miles but he has his own voice as well. Great compositions. No syrupy fusion with all the latest pre-fab licks here; this is a real jazz record on the funk side. Down and greasy but like a jazz rhythm section of the 60's. Thank you Mike Clark."
Funky as you wanna be.
sy waldon | Chicago | 03/19/2001
(5 out of 5 stars)
"I just got my new Mike Clark cd Actual Proof. I think it is the finest cd I have heard in a very long time. I am also a drummer and I was going to write about the cd but I read one of the reviews about the show in Toronto, I was there also. I have to refute that jive immediately. That was the best show I have ever heard, the band was totally on fire. Mike is the Elvin Jones of the Jam Band scene. The beats were so funky and original I don't know where he is getting them from. Organic but with tons of chops. He streches out totally on every level, the time, polyrhythms,and over the bar for days. There was much more interplay in this group than the Headhunters. Mike played much more straight in those days, now he is going for it. Mike and Skerik seemed to read each others minds like Elvin Jones and John Coltrane but in a funk mode. Skerik was killing. Charlie and Mike had the deepest groove I have ever heard. The solos with Robert Walter were very, very, very high and soulful. Logic added a whole other approach that was perfect for what the rhythm section was doing. The crowd went nuts and wouldn't let them off the stage. It blew their minds. This is the first time I have heard any playing on this level on the JamBand scene. It had so much fire and all the interplay of jazz but completely funky. Once again Mike's beats are backwards and forwards at the same time, totally creative but soooooo... down and funky!! I also heard Butterfly and Watermelon man that night, Whoa! much more streched out and creative than on Thrust. Not as straight. Ten stars I can't wait for the next gig. I say please don't go back to the Old Headhunter's style, keep going and streching and growing. Don't go back PLEASE!!!This is much more exciting and interesting to listen to. Yeah Mike Funky as you wanna be. Thanks!..."
Actual proof
sy waldon | 11/22/2000
(5 out of 5 stars)
"this is a terrific 'get down get dirty' cd! the music gets hold of you and won't let you go! it's multi-layered because it's intellectual thoughtful sneaky and touches every level of your conscienciousness. actual prof is a sit back head back toe tappin' and a stand up foot stompin' good time... this cd will fill you up! after listening all i could say was 'whew!' and put it on play again."
It's about time...
Steve Marshall | St. Louis, MO USA | 10/26/2000
(4 out of 5 stars)
"Mike Clark, best known for his work in the 70's with Herbie Hancock's Headhunters, just released his debut solo album, Actual Proof. The album covers a lot of musical ground, ranging from downbeat jazz to deep funk. Clark gets things into a serious groove right off the bat with "Stingers," thanks to guitarist Charlie Hunter. "The Grinder" slows things down a bit, but sax man Jed Levy keeps the groove going and Tim Ouimette lays down a great trumpet solo on the cut too. The first really outstanding moment comes on the brooding "Aristide." The song begins innocently enough with Ted Trimble's acoustic bass solo. As the keyboards float in slowly over the top, Bennie Maupin comes in with a progressive sounding tenor solo and Clark follows close behind with a sublime workout on the drum kit.Actual Proof wanders into the avant-garde realm a bit also, as heard on "The Viper" and the middle section of "Attack of the 40Ft. Woman." "59th Street Station" is an homage to the subterranean caverns of the New York subway system. This dark, slow groove features Maupin again (this time on bass clarinet) and an amazing solo from Trimble. Clark saved the best for last. "Bacon Phat" features the fretwork of Hunter and a groove that just dares you to ignore it. With his new (and long awaited) CD, Clark proves once again that he is truly a force to be reckoned with in the jazz/funk arena."
Track Listings (11) - Disc #1