Trombonist Fred Wesley has played a pivotal role in shaping the sound of funk music. His distinctive, catchy brass riffs and solo performances have been integral to songs by some of funk’s most influential artists, including James Brown and George Clinton of Parliament-Funkadelic. Wesley’s trombone can be heard on classics like Brown’s “Say It Loud (I’m Black and I’m Proud)” and “Sex Machine,” and his work has been sampled by numerous hip-hop artists, including Kris Kross and Tupac Shakur.
At 81 years old, Wesley shows no signs of slowing down. Last year, he released “From the Blues and Back,” marking his first studio album in over a decade. This collection represents a return to his blues roots.
Wesley maintains a disciplined practice routine, dedicating 30 minutes each day to his instrument. “If you stop playing, your chops and the muscles in your face get weaker,” he noted.
Born in Columbus, Wesley grew up on a farm and moved to Mobile, Alabama, at the age of 7. He began playing the trombone at 12, which led him to briefly attend Alabama State University and play in an Army band.
His big break came in 1962 when he joined the Ike and Tina Turner Revue. He learned valuable lessons about stage presence and performance from the dynamic duo. “We learned how to dance and play our instruments at the same time and put a full show together. She had so much rhythm and drive; it made us all want to be great,” Wesley recalled.
In 1968, Wesley joined Brown’s band after being referred by another band member. His distinctive style can be heard on hits like “Cold Sweat” and “Mother Popcorn.” During performances, Wesley was often called upon to play solos, which required him to stay alert for Brown’s spontaneous cues. “We rehearsed for a long time, and he would point out solos as he wanted them while the groove was still there,” Wesley explained. “He called on me often.”
While Wesley frequently clashed with Brown, the band usually complied with Brown’s direction. “We went along not because we thought it would be a great hit, but because he demanded that we went along with whatever he said. He was unorthodox and did crazy stuff, but he was onto something,” Wesley said.
Wesley initially left Brown’s band in 1969, but he returned two years later to become Brown’s musical director and arranger. He described this second stint, during which he contributed to classic songs like “Pass the Peas” and “The Payback,” as a true education in entertainment. “I was in charge, so I was learning how to write, produce, record, and lead sessions,” he said. “If I did an arrangement and he didn’t like it, I’d do it again and get paid for it again.”
In 1975, Wesley joined Parliament-Funkadelic, a more relaxed environment where he still had to rehearse regularly. Producers Bootsy Collins and George Clinton encouraged Wesley to provide unique horn performances. He fondly referred to Bootsy’s Rubber Band, one of Collins’ side projects, as his favorite group. “They just told me to be myself and do it to death. Anything that I felt, I could do,” he said.
Wesley became a highly sought-after session player and arranger for numerous major Black music acts, including the Gap Band, Barry White, Curtis Mayfield, and the Count Basie Orchestra.
Initially resistant to rappers and producers sampling his work, Wesley changed his perspective after receiving royalty checks from Janet Jackson’s 1993 single “That’s the Way Love Goes,” which samples “Papa Don’t Take No Mess.” “I was upset at first and kept wondering why these guys didn’t use their own music. Then my son told me what all was being sampled, and I realized what they were doing was connecting the old with the new,” he explained. “I appreciate young people sampling my music because it makes it last forever.”
Wesley shares his success by teaching music courses at institutions like the University of North Carolina-Greensboro and the Louis Armstrong Jazz Camp in New Orleans, encouraging young musicians to pursue their passion for music and the arts. “Anything they have a problem with, I’ve had it before and can share with them how to overcome it,” he said. “God gave it to me, so it’s my duty to give it back.”
He intends to keep creating, recording, and performing music as long as he has a good band and remains in good health. “As long as I can stand up, I’m going to keep doing this,” Wesley affirmed.
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