Words by Justin Turford
Despite (or because of) a demanding, near Spartan existence that Captain Beefheart would have approved of, the musicians of Oakland tenor saxophonist Jeff Jones’ The People’s People laid down a spectacular one-take recording of spiritually-instilled soul jazz infused with that atmosphere of the febrile Californian post-psychedelic music scene - the floaty, pastoral hippie stuff as well as the more electrified mash up of jazz, rock, funk etc, the revolutionary spirit of the late 60s still sparking in ‘The Spirit Of David’.
Until now a suitably expensive private press record ($1000 and upwards), the singular Brooklyn-based label Frederiksberg Records has done the business and will be reissuing the remastered album in late September with insightful notes and observations from experimental composer and guitarist Karl Evangelista.
"(Jeff) Jones had musicians commit to three years of preparation, and he was a harsh taskmaster; music was drilled—“like the army,” as Jones describes it. Participants were more or less forbidden from taking paying gigs in the interim, and the bandleader, saving most of his capital for studio time, could not afford to feed or pay the band. The ensemble was so thoroughly rehearsed by the time of the session that the entire record was performed in one take, and the album’s myriad breaks and deft orchestration changes were accomplished without visual cues."
Like so much great music created during one of my favourite periods - 1968-74 - the music on this album is charged with the potent energy of this time of great change. California was, of course, central to the US version of the 60s’ dynamism - the Watts Riots and the birth of the Black Arts Movement, the San Fran hippie movement, the Black Panther Party emerging from Oakland in 1966 - an explosive period of cultural upheaval, youthful rage and love, and the authorities predictably brutal pushback. Musically, everything was up for grabs. The gatekeepers of jazz, soul, rock and funk were under attack from all directions. Sly Stone, Hendrix, Santana, Miles Davis had taken hold of some of the mainstream channels and were selling records in huge numbers without watering down their sound or who they represented. Even Motown felt the pressure to add dirt and hallucinogenic oil to their pristine masterpieces.
By 1974, when this album was recorded (although released two years later on Jones’ own The Voice of the People Publishing Company), much of the fire had gone out of the hopeful push for grand societal reinvention. Too many assassinations, too many arrests, too tired of the fight. Never mind the serious fighting in Vietnam which was reaching its losing conclusion for the Americans. Nevertheless, there was still a fire smouldering away in Oakland’s African-American communities as the grassroots self-help systems set up by the BPP and similar groups kept up the political discourse and inspired communal creativity. It was from this socially vibrant environment that ‘The Spirit Of David’ emerged.
Three years of practice and preparation for a four track record? One track ‘Fritz’ is nearly eighteen minutes long and ‘Q Street’ (above) is over fourteen so yeah, it was worth it. Dedicated to his daughter, ‘Monica’ begins with Steve Espanosa’s electric piano, gently paced and gently played, laying the foundation for Jones’ powerful yet contemplative tenor sax that enters alongside twinkling bells, bass and Leonard Franklin’s lightly strummed guitar. The drums finally come into play halfway through the song but this is a ruminative piece and any explosive tendencies are kept for the faster numbers. A loving melody with a tinge of melancholy, one wonders how Monica is keeping on this obviously personal song.
‘Q Street’ is something quite different in tone and intent. A long-breathed saxophone solo begins the song, heavily reverbed and expressively performed before the entire band hits the red button. A brilliant doubling up of Emmons Porter on bass and Espanosa’s Doors-esque keys pushes with unstoppable groove as Jack Spinovich swings and swerves on the drum kit, Ray Vega’s congas and rattles throwing in thrusts and parrys. Stretched out over fourteen plus minutes, there’s room for everyone to open up, Espanosa letting rip first, his electric piano hinting at Herbie, Gregg Rolie, Booker T. Jones, Manzarek, the desert spaciousness he seems to be reflecting is mirrored by Franklin’s Band of Gypsies guitar stylisations. Eastern and Iberian in tone, the energy is defiantly American. Relentless, evocative and as we have been informed, perfectly notated in advance, the band members knowing exactly what to play and when. This isn’t Free Jazz.
Pitiless and unremittingly rapid, ‘Fritz’ starts like a post-be bop monster built for jazz dancers before dropping into an extended section that mirrors the early ‘Electric Miles’ period, Jones’ tenor stretching out atmospheric horn lines over harmonic keys and tinkling bells. More a suite than a song, this second section sees Espanosa sounding similar to Brian Jackson on ‘Peace Go With You, Brother’ (which came out in 1974 so surely an influence) before his keys switch the groove and the entire band into a killer jazz-funk workout that could have originated in a Strata-East Records studio. Once again, the music transforms, dropping down into an ‘In A Silent Way’ reverie but with a ferocious guitar solo, distorted and bluesy chopping into a funky-as-hell soul jazz groove. Just when you think it’s all finished, a moment of silence descends before a brief return to the frenetic intro section. The word journey gets bandied about a lot in music circles but this really is one.
‘Where Is My Autumn Love’ ends the album in a surprisingly old-fashioned way. A lovely ballad swung with just the right amount of looseness, it’s the percussion that reveals the band’s more esoteric nature, more African than dinner club jazz, and a suitable sense of closure to the record.
Bravo to Andreas at Frederiksberg Records for reissuing this excellent album to the World. A moment in time, literally just the length of time of the record, captured live with all of its inspiration, dedication and energy intact. Jazz with soul, Soul with jazz. 9/10.
Released on Sept 26th 2025.
BUY HERE! https://frederiksbergrecords.bandcamp.com/album/the-peoples-people-present-the-spirit-of-david