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A note from LeRoy
Burgess
Throughout my life, I have
been blessed to share with the world something of who I am through the gift of
music that God has given me. I don't consider myself special.. that is, no more
than any of us are. I'm a regular kid from Harlem, NYC with regular parents,
regular brothers and sisters, family and friends who have loved and nurtured me
since I was born. If there is anything that makes me special, it is the music
itself. I have always felt that music was God's most real way of communicating
with us and through us. It transcends borders and boundaries.. language and
personalities.. conflicts and difficulties. From the first moment I could hear,
music made it's presence known in my spirit. I have not been the same since. I
always wanted to be a part of it. I had to learn from it. Feel it.. be in and
of it above all else.. save for my love of the Lord. So, I started singing.
Then I started banging on the piano. Once I'd begun, I couldn't let it go. It
allowed me to speak without words.. and be better understood. To travel the
entire world without moving. To discover a depth within myself I was previously
oblivious to. To share in it's joy and to extend that joy to all who would
hear. Like I said… one helluva gift. This ANTHOLOGY contains some of the
best work that I have endeavored to be a part of, in my humble (though perhaps
slightly biased) opinion. The work that best defines me and what I'm about. I
really hope it brings you a little joy. It has brought me more than my feeble
mind can convey with these frail words. I have been honored to work with some
of the best creative spirits on the planet. I would be remiss not to
acknowledge their contributions and their kindness in sharing their gifts with
me. Largely, it is they who have motivated and guided me to express myself as I
have. Ma, Papa, Grandma Gussie, Mom, Dad, my siblings, Herbie Jones, Patrick,
Stuart, Russell, James, Sonny, Tunde Ra & Taharqa, Jocelyn, the amazing Mr.
Steveland… a total list far too numerous to name them all. Most of all, I
want to thank all of you, who have been so kind as to lend your ears to my
music. I enjoy most having it to share. And having such a receptive audience.
Thank you everybody. God bless you all.
LeRoy Burgess, September 18,
2001 LEROY BURGESS LINER
NOTES:
LOGG/SALSOUL
After the release and
success of "LET'S DO IT" by Conversion on SAM records, Greg
Carmichael and myself decided we wanted to do more songs on that project. The
principle members of Conversion were myself (lead and background vocals,
keyboards) my adopted brother James Calloway (bass) and my cousin Sonny T.
Davenport (drums). We added my sister Renee J. J . Burgess and Dorothy Terrell
on background vocals, Sonny DeGraffenreid (guitar), Fred McFarlane (keyboards),
my cousin Willis Long (percussion) and Trevor Gale (live drums). Sam Weiss
owned the copyright of the Conversion name, so when negotiations for continuing
the project broke down, Greg and I decided to take the group to another
label…Salsoul Records. The first song recorded was "I KNOW YOU
WILL", in a mind numbing nine hour midnight session at Soundworks
Studios. Salsoul was most impressed and decided to call in the great Larry
Levan to mix. But we needed a new name. As we were busy with other projects, we
asked Greg to make up something and get back to us. He decided on Logg (why I
doubt I'll ever understand). Two weeks later, the single burst onto the radio
stations and into the stores. Ken Cayre, President of Salsoul was so impressed,
he immediately commissioned six more songs to comprise an album. James, Sonny
and I sequestered ourselves between my apartment and Sonny's (on 11th and 21st
floors of 200 Drew/Hamilton respectively) to compose the songs. An exhaustive
week later the songs were completed. "YOU'VE GOT THAT
SOMETHING" is my favourite. Most noteworthy during the recording of
this was the percussion session. I called in everybody in the group (whether or
not they could play percussion) and gave them an instrument and a specific
part. Beer bottles, shakers, cabasa, a box of oatmeal, a box of salt…you
name it. We lined up in tow rows…set up seven mics and started playing.
The resultant breakdown section is perhaps the most percussive work I've ever
done on a song. "DANCING INTO THE STARS" actually began life
as an intro or interlude created by James for our live performance. During one
of our 'writer's block' periods composing the album, Sonny suggested "Why
don't we do something with that piece Jimmy wrote for the shows?" The
result was this song. Noticeably Conversion-esque, we used some elements of
"LET'S DO IT" to complete the vibe. See if you can figure out
which ones. Most noteworthy is James' bass work. I think he busted his thumb on
this one and we had to halt production while it healed. Check out the intensity
for yourselves.
LEROY BURGESS/SALSOUL
About two years after the release of the Logg album, Ken Cayre approached me
about doing some projects under my own name. Although I continued to work with
James and Sonny, the group itself had dis-banded. We went through the task of
composing the songs. "HEARTBREAKER" was actually my second
choice for the single but Salsoul thought otherwise. After test marketing the
songs the feedback suggested it to be the strongest tune. So I went with it. It
features Jocelyn Brown, Me'lisa Morgan, Connie Harvey and Angie Blake on
background vocals. I was always surprised and gratified with how well this song
was received. "HEAVENLY" was one of my pet projects and was
never released until now. For this, we brought Fred McFarlane back into the
fold for his miraculous keyboard work. Jocelyn and Me'lisa for background
vocals (with Sonny and myself). James was touring with Evelyn King and Najee so
the bass work was done on synthesizer by Fred and me. This song is close to my
heart.
ALEEM FEATURING LEROY
BURGESS
Let's do this in
chronological order starting with: "HOOKED ON YOUR LOVE" which
our building mates Taharqa and Tunde-ra Aleem had composed to be the lead-off
single of their new NIA Record label. Originally I was contracted as
arranger/keyboardist and contractor to ready to the song for release. Taharqa
was scheduled to be the lead vocalist but was unsatisfied with his performance.
It was suggested I give the lead a try. The rest is history. The late, great
Irving Spice and his orchestra realized strings and brass. Background vocals
feature Luther Vandross and Ullanda McCollough. The song successfully dominated
the radio waves for eight months and prompted the twins to try for their second
single… "GET DOWN FRIDAY NIGHT". Recorded at restoration
studios in Brooklyn, New York, the Aleems wanted to drop the orchestra and try
a simpler, more synthetic spin. So, with Tunde-Ra and I on keyboards and
Taharqa on guitars (with James Calloway on bass), we banged out the track and
vocals in one night. This was one of the first tracks to feature me alone as
background vocalist, giving rise to the vocal sound Aleem fans are most
familiar with. About a year passed before the twins came back to me with the
next proposed single… "RELEASE YOURSELF" was something
brand new, utilising elements of the then current electro-funk made popular by
Herbie Hancock's "Rockit". When I sang in the first chorus, the twins
liked it so much they decided to sample the phrase, giving us the frenetic
opening of the record. This returned us to the forefront of people's minds and
before we could lose the groove, the Aleems commissioned Sonny and I to
compose… "GET LOOSE" an even funkier take on the same
vibe contained in "RELEASE YOURSELF". Many of the same
elements came into play with the exception of the syncopated stop-start main
rhythm Sonny suggested for this song. While in the States it was considered to
be a rip off of "RELEASE YOURSELF" internationally it was
considered to be the definitive statement between the two and sales went
through the roof…
TRIBUTES TO LEROY
'In these media driven times
accolades are heaped on certain 'manufactured' individuals in the music
business who in my humble opinion are mostly undeserved as history usually
reflects…here today etc…And there are also people whose talents are
criminally overlooked who often wait most of their lives for the recognition
they fully deserve (I can personally relate to that). The name Leroy Burgess
falls into the latter category. This brilliantly enigmatic New York
producer/singer/songwriter has been at the very epicentre of black music dance
culture since back in the day. With this collection of 'boogie classics' and
groundbreaking productions you'll begin to understand just why me and thousands
of others just like me were hugely influenced by this man's music from the
disco of the late 70's to the emerging hip-hop culture at the beginning of the
80's. So go ahead explore and enjoy THE VOICE of East Harlem! Respect most
certainly due!' NORMAN JAY (GOOD TIMES, LONDON)
' I first became aware of
Leroy Burgess in 1981 with the release of his intriguingly titled 'Logg' album.
It was the way he managed to encapsulate that feel good factor with seemingly
never ending layers of intricate synth riffs, bouncing chords, unorthodox
arrangements and of course those off-beat, gospel tinged funky vocal
harmonies…who was this guy?, where did he come from? I just had to find
out. There began the painstaking search for anything remotely associated with
Leroy. Unearthing tracks from previous affiliations and all his subsequent
varied productions, everyone inimitable pure magic. You definitely knew a
burgess tune when you heard it'. JULIAN JONAH
One of the most gifted sol's
and creative minds of our times, writer, producer, vocalist. His lyric's, voice
and sound both lifted and inspired generations around the globe. A living
legend who's creative inspiration has helped to shape the path of modern
R&B today. His legacy is here to stay and will continue to lift future
generations of disciples. I am honoured and privileged to have had Leroy appear
at the Tom Tom Club in one of his rare UK appearances in 1988, and to
experience his Sol in my lifetime. Leroy has been blessed and he has blessed us
all with his music'. CLEVELAND ANDERSON (BLACK MASSES/TOM TOM CLUB)
'His unique happy voice
captured imagination. I followed his career with great interest and excitement.
His brand of funky disco/boogie was a forerunner for the house and NY Garage
music of today. It would be great to hear his voice in house music now'.
JAZZY M (MINISTRY OF SOUND)
'One of the most innovative
and soulful producer/artists to emerge from the disco era of dance music. His
style and productions are extremely unique. It goes without saying that he
forged the way for house music from out of the ashes of disco. He really is a
force to be reckoned with.' DR BOB JONES (BBBC LONDON LIVE 94.9FM/CHILLI
FUNK)
'If James Brown is the
godfather of funk then surely Leroy Burgess deserves the same title for his
badass disco boogie. I rest my case.' ASHLEY BEADLE
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