13 Songs

EDITORS’ NOTES

The response to the first volume of unreleased Roy Ayers recordings was so overwhelmingly positive that BBE decided to put out a sequel, Virgin Ubiquity II. “Kwajilori” has the playful innocence of a children’s song, and features a tightly woven track that is reminiscent of Chic, almost skeletal compared to Ayers’ typically lush productions. “Release Yourself” is a peek into Ayers’ electro-funk years and would fit easily alongside early-‘80s jams by Cameo and the Gap Band. The song is sung by Terri Wells, one of the lesser-know female singers to front Ayers’ group. She also appears on “Holiday,” an eerily spiritual song that anticipates the rich balladry of Anita Baker. Even when Ayers is making a very simple groove — as with “Liquid Love” or “Third Time” — it becomes an irresistible artwork. He had a way of making disco feel very intimate. The collection offers a glimpse into the maestro’s process with a demo of “Everybody Loves the Sunshine,” Ayers’ signature song. Though a band appears on the recording, it feels like a solo reading, as Ayers and his vibraphone incant the melody like whispered secret.

EDITORS’ NOTES

The response to the first volume of unreleased Roy Ayers recordings was so overwhelmingly positive that BBE decided to put out a sequel, Virgin Ubiquity II. “Kwajilori” has the playful innocence of a children’s song, and features a tightly woven track that is reminiscent of Chic, almost skeletal compared to Ayers’ typically lush productions. “Release Yourself” is a peek into Ayers’ electro-funk years and would fit easily alongside early-‘80s jams by Cameo and the Gap Band. The song is sung by Terri Wells, one of the lesser-know female singers to front Ayers’ group. She also appears on “Holiday,” an eerily spiritual song that anticipates the rich balladry of Anita Baker. Even when Ayers is making a very simple groove — as with “Liquid Love” or “Third Time” — it becomes an irresistible artwork. He had a way of making disco feel very intimate. The collection offers a glimpse into the maestro’s process with a demo of “Everybody Loves the Sunshine,” Ayers’ signature song. Though a band appears on the recording, it feels like a solo reading, as Ayers and his vibraphone incant the melody like whispered secret.

TITLE TIME
7:07
8:35
5:36
4:46
7:12
4:12
4:57
5:45
5:30
6:16
5:23
5:00

About Roy Ayers

Once one of the most visible and winning jazz vibraphonists of the 1960s, then an R&B bandleader in the 1970s and '80s, Roy Ayers' reputation s now that of one of the prophets of acid jazz, a man decades ahead of his time. A tune like 1972's "Move to Groove" by the Roy Ayers Ubiquity has a crackling backbeat that serves as the prototype for the shuffling hip-hop groove that became, shall we say, ubiquitous on acid jazz records; and his relaxed 1976 song "Everybody Loves the Sunshine" has been frequently sampled. Yet Ayers' own playing has always been rooted in hard bop: crisp, lyrical, rhythmically resilient. His own reaction to being canonized by the hip-hop crowd as the "Icon Man" is tempered with the detachment of a survivor in a rough business. "I'm having fun laughing with it," he has said. "I don't mind what they call me, that's what people do in this industry."

Growing up in a musical family -- his father played trombone, his mother taught him the piano -- the five-year-old Ayers was given a set of vibe mallets by Lionel Hampton, but didn't start on the instrument until he was 17. He got involved in the West Coast jazz scene in his early 20s, recording with Curtis Amy (1962), Jack Wilson (1963-1967), and the Gerald Wilson Orchestra (1965-1966); and playing with Teddy Edwards, Chico Hamilton, Hampton Hawes and Phineas Newborn. A session with Herbie Mann at the Lighthouse in Hermosa Beach led to a four-year gig with the versatile flutist (1966-1970), an experience that gave Ayers tremendous exposure and opened his ears to styles of music other than the bebop that he had grown up with.

After being featured prominently on Mann's hit Memphis Underground album and recording three solo albums for Atlantic under Mann's supervision, Ayers left the group in 1970 to form the Roy Ayers Ubiquity, which recorded several albums for Polydor and featured such players as Sonny Fortune, Billy Cobham, Omar Hakim, and Alphonse Mouzon. An R&B-jazz-rock band influenced by electric Miles Davis and the Herbie Hancock Sextet at first, the Ubiquity gradually shed its jazz component in favor of R&B/funk and disco. Though Ayers' pop records were commercially successful, with several charted singles on the R&B charts for Polydor and Columbia, they became increasingly, perhaps correspondingly, devoid of musical interest.

In the 1980s, besides leading his bands and recording, Ayers collaborated with Nigerian musician Fela Anikulapo-Kuti, formed Uno Melodic Records, and produced and/or co-wrote several recordings for various artists. As the merger of hip-hop and jazz took hold in the early '90s, Ayers made a guest appearance on Guru's seminal Jazzmatazz album in 1993 and played at New York clubs with Guru and Donald Byrd. Though most of his solo records had been out of print for years, Verve issued a two-CD anthology of his work with Ubiquity and the first U.S. release of a live gig at the 1972 Montreux Jazz Festival; the latter finds the group playing excellent straight-ahead jazz, as well as jazz-rock and R&B. ~ Richard S. Ginell

  • ORIGIN
    Los Angeles, CA
  • GENRE
    Jazz
  • BORN
    Sep 10, 1940

Top Songs by Roy Ayers

Top Albums by Roy Ayers

Listeners Also Played