Funkadelic’s celebrated debut on the American music scene in 1970 signaled a continuation of the “Electric Blackness” rock movement that forged its own identity, starting with the Hendrix Band Of Gypsys live album released in the same year. However, the first 3 Funkadelic albums, along with the first album by Parliament, Osmium, all have one thing in common: no horn sections (shout out to McKinley Jackson of the Funk unit the Politicians for exquisite trombone work on the track “Back In Our Minds”).
George Clinton worked with horn sections numerous times during his period with Revilot Records in the second half of the 1960’s. But like Funkadelic, the Parliaments never traveled with a full complement of horns. This situation changed in 1972 when Funkadelic became the recipient of a “package deal.” Bootsy Collins, his older brother, guitarist Phelps “Catfish” Collins, drummer Frankie ”Kash” Waddy, and a horn section that included Clayton “Chicken” Gunnels on trumpet, Robert “Chopper” McCollough on saxophone, and Ronnie Greenway on trumpet. The addition of a horn section would represent a profound change in the sound of Funkadelic. The first studio project that would feature horns prominently in the mix was the double album set America Its Eats Young. Even though Bootsy and his crew would take some time off from the Funk Mob the next year, they returned in 1974 and would become a crucial component in the development of Parliament (now signed with Casablanca Records) and Bootsy’s Rubber Band two years later.
THE ARRIVAL OF FRED WESLEY AND THE HORNY HORNS
Upon leaving the JB’s in early 1971, Bootsy Collins had pledged to bandmates Fred Wesley (musical director/trombone) and Maceo Parker (alto/tenor/baritone saxophone) that someday, he would collaborate with them on any future projects. Though the first Parliament albums for Casablanca (Up For The Down Stroke and Chocolate City) feature Fred or Maceo, this state of affairs would change the release of the groundbreaking Mothership Connection album in 1975.
Sharing horn arrangement responsibilities with keyboardist and musical director Bernie Worrell, Fred Wesley’s leadership of the horn section would take already superior Funk tracks into the upper realm. The next step was to insert the horn section into the next big P-Funk sensation: Bootsy’s Rubber Band. Their 1976 debut album, Stretchin’ Out In Bootsy’s Rubber Band, was released roughly a month after Mothership Connection. The continuing expansion of the P-Funk empire would see a separate project where the horn section would take center stage. Enter Fred Wesley and the Horny Horns featuring Maceo Parker, whose first album A Blow For Me, A Toot For You would appear in record stores at the start of Spring 1977. That album featured the much-sampled track “Four Play” and a remake of the Parliament hit ”Up For The Down Stroke.”
A second album, Say Blow By Blow Backwards, was released in August 1979, and an album consisting of vault tracks, The Final Blow in 1994. The Horny Horns would lend their talents to a diverse array of artists including Marvin Gaye, Blues legend Albert King, Deee Lite, and the Red Hot Chili Peppers.
WHEN IN DOUBT: SWITCH
When the Horny Horns became the exclusive property of Bootsy’s Rubber Band in 1977, George Clinton embarked on a search for a horn section that could serve temporarily until another permanent replacement could be found. After the summer of 1977, P-Funk would utilize the services of a horn section consisting of Clay Lawrey on trombone, Darryl Dixon on saxophone, Valerie Drayton on trumpet, and Danny Cortez on trumpet. They would put their own spin on the horn arrangements used in the Parliament-Funkadelic live shows. By the end of the year, this particular horn section would find themselves on the celebrated Parliament release, Funkentelechy Vs. The Placebo Syndrome. It’s saxophonist Darryl Dixon who is featured on the 1978 hit “Flash Light.” Darryl Dixon would eventually serve as the saxophonist in the Funk band Quazar, led by former Parliament guitarist/vocalist Glenn Goins.
A GIFT FROM BALTIMORE: THE P-FUNK HORNS
P-Funk has always had a deep affection for the DMV (DC, Maryland, and Virginia for you out-of-towners). It comes as no surprise that P-Funk’s next horn section would emerge from the city of Baltimore. Trombonist Greg Boyer, saxophonist Greg Thomas, and trumpeter Bennie Cowan would assume the title of the P-Funk Horns in March of 1978. Their first studio performance would emerge on the second album by Parlet, Invasion Of The Booty Snatchers, in 1979.
The P-Funk Horns would serve as the horn section for P-Funk from 1978 to the present. Greg Boyer would depart from the band in 1997 and be replaced by saxophonist Scott Taylor who would pass away in 2013. Trumpetist Randy Skinner would perform with the P-Funk Horns from 1997-1999. John S. Williams of Fishbone would also lend his talents on trumpet. Greg would return to P-Funk after stints with Prince and Maceo Parker in 2021. The P-Funk Horns would also make guest appearances on recordings by Reggae singer Patra, as well as live performances by Chuck Brown and the Soul Searchers.
As with any of the Parliament-Funkadelic instrumentalists, a generous number of horn players have enhanced the grooves of various George Clinton-led projects including the Brecker Brothers, Sam Peakes, Joe Farrell, Larry Hatcher, David Sanborn, and Norma Jean Bell.
Special thanks to William Collins, Darryl Dixon, and Greg Thomas for their invaluable assistance.
-Tim Kinley
Photo: (l-r) Richard Griffith, Rick Gardner, Fred Wesley, Maceo Parker (Atlantic Records press photo)
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