New Music from Cam Gallagher & The Tasty Soul
A few new tracks have been released from the Nashville based funk collective and they bring a vibe
The holiday season has begun to engulf us and wrap its hands around our existence. Some people welcome the warm embrace, but others feel the strain of obligation and that tightening grip gets uncomfortable. Or maybe that’s just my take. I look for outlets to ease that strain, and generally I land in the world of music. I’ll be honest, I always find solace in music to help with mental wear. Music is the great unifier that heals.
My newest medicine has arrived in the form of Cam Gallagher. Music journalists often scribe about young artists having “old souls”, and if I had a better descriptor, I would write it differently, but I do not, so I’ll leave Cam’s elucidation there. Glenn Miller comes to mind when I think of Cam and what he brings to Nashville’s music scene and what he brings to the industry as a whole. He is not only an exquisite saxophone player, but he is a producer, songwriter, arranger, and band leader.
I was invited to see Parker Barrow play 3rd & Lindsey earlier this year by the band and their management, and this southern rock/blues band was stunningly electric. The group played with an untamed emotion that pumped the room full of toe-tapping rock and roll. At one point they introduced a young man to stand in and showcase his woodwind, and that was the incomparable Cam Gallagher. We struck up a conversation after the show, and his sound is matched by his personality and likeability.
I saw him again at Jukebox Jam II at the Basement East with an assortment of acts flaunting an array of sensational sounds that encapsulated the tones of the late 50’s, 60’s and early 70’s funk and soul. That’s when I was fully privy of Cam’s big band style and his group The Tasty Soul. It was a baptism of sonically staggering uniqueness, yet there was a welcomed familiarity that mirrored a combination of the showmanship of The Blues Brothers Band, the grooves of Parliament, and the overall brilliance of Sly & The Family Stone. His command and control of this large ensemble is truly something to behold, and his ability to blow his horn will floor even the most seasoned musicians. It was at this show that I realized that the sky is the limit, and this dude can do whatever he wants.
Currently, Cam Gallagher & the Tasty Soul are introducing new music to the world. Cam recently sent me some of the new projects and granted me some time to ask him a few questions on the making of these works.
“All of this really started at Belmont in the Jazz Small Group class, which a bunch of us jokingly called Neo Soul Group 1”, Gallagher voiced. “We were supposed to be a traditional jazz combo, but most of what we played leaned toward neo soul and jazz fusion. It felt like the perfect musical laboratory. I could bring in tunes, test out ideas, get feedback from my teachers and friends, and actually hear these songs come to life in the room. It was also the place where I met many of the musicians who would eventually become part of The Tasty Soul family. A lot of my music was born in that class. ‘Turn It Up’, ‘Boogieman’, ‘Sweet Tea’, ‘The Stroll’, and a bunch of songs I plan to release in the next couple of years all started there. It was the safest environment to try new things. Everyone pushed each other, everyone encouraged each other, and the rehearsal space always felt like home”.
‘The Stroll’ is an instrumental piece that isn’t out in the ethos just yet, however Cam granted me a listen, and I was not only astounded by his generosity and trust of my ear but also delighted by its composition and tonality. When I inquired about the birthplace of this song Cam said the following:
“‘The Stroll’ started with a terrible title. I originally named it ‘The Limp’ because I thought it sounded cool. My friends quickly let me know that it did not. Caleb Rodgers, who was in Neo Soul Group 1 with me, told me the song was way too good to be called that. He said it felt more like a glide, like taking a stroll, and that is how the title was born. The track features celebrated trumpeter, arranger, and educator Kris Johnson, who was one of my professors at the University of Utah. Kris has had a huge impact on me, and it was a dream to have him be part of one of my projects”.
“The Stroll” is indeed the perfect title to the tune. The horns persuade the listener to move towards that brisk walk of enlightened melody. At a sauntering pace this uplifting track begins with a brush-tickling of the drums and a wash of brass-driven panache. At around 1:35 the tempo changes, and a stylish bassline plucks deep tones and then an eruption from a bold trumpet pipe into the fray. The listener is overcome by delight and empowerment from the jazz infused message. It’s wildly engaging and easy to get happily lost. The band’s ability to modify the movement within the song is a luxury of these masters and their conductor.
If Belmont University does not have a record label, they should. Or rather, I should swoop onto the campus now and start one. It seems that every time I talk to a Nashville based band that leans into the classically trained, they started at Belmont or have some tie to the college. This is a credit to those who teach there and give these folks the capabilities and the feedback to be better than just good. I applaud the passing of comprehension.
The newest release from the band is one of ultimate syncopation, and I liken it to something that could have appeared on Parliament’s Mothership Connection album. Hopefully, George Clinton is aware that his legacy is alive and well and in Nashville, Tennessee, nonetheless. True to Clinton’s concept of Afrofuturism, Gallagher delves into a space-aged funkadelia that sets your phasers to “dance party”. The jam is called ‘Groovational-pull’ and it sucks you in with a tractor beam of boogielicious beats.
“’Groovational-pull’ came from me spit-balling names in the shower. I knew I wanted something space themed. Space and funk go together like a long running inside joke in music history. I thought the name was dumb at first, but during a conversation with my friend and fellow saxophonist Owen Fader, he told me it was actually a great title. That was all the confirmation I needed to keep it. The track features Sheldon Smith and Belmont guitar professor and all-around musical hero Mike Valares, who has been nothing but supportive of me and my bandmates.”
Sheldon Smith’s smooth delivery narrates this exploration into the cosmos with sense of safety. His vocals capture an essence that match the heartbeat of the musicianship laid underneath but certainly not distant. From Canvas Rebel, “Originally hailing from one of the quintessential cultural-creative hubs of the south, Houston, TX, Sheldon Smith grew up with the roots of Black music entrenched in his creative intelligence. From singing gospel in church on Sundays to belting R&B ballads from his parents’ various records, Smith knew he wanted to perform from an early age”.
Pulsating laser sound effects fire off throughout the song as Valeras’ riffs accent the sci-fi scenario. You are transported to that galaxy that has been generated by this proficient crew. I just love the heart, and the constructive nature of how this track was laid down. Deep into the song Sheldon belts a note that may actually be out of this world. Cam told me, “Everything was recorded at Broken Door Studios and engineered, mixed, and mastered by Cooper Galyon and John Lawrie. They were the perfect pair for this. They understood the vision from the very first note.”
“’Turn It Up’ has its own funny origin story. I knew I wanted a chant style tune rooted in classic call and response funk. I had no idea what the lyrics should be. Before the recording date I realized I needed a party song. “Get down” was too cliché. “Tear it up” was too aggressive. “Turn up” felt silly and perfect. We tracked the tune, bought a bunch of beer, and decided to fully lean into the party vibe. Everyone indulged a little and laid down some ridiculous vocal parts that still make me smile.”
You’ll wanna imbibe too when you tune into ‘Turn It Up’. Whether that is a few drinks or the sheer sustenance that this leaked out of the speakers, you’ll be able to stand in the room with the creators chiming in throughout. You are there at the house party and you cannot help but get involved in the celebration. There is an excitement that is lent to the listeners with the intentional push of the keys followed by the beads of a shaker that lets you know it’s time to turn it up.
‘Hot Coffee’ was the inception of another Belmont assignment as it were. “Our professor Alex Graham challenged each member of the group to bring in an original tune”,said Gallagher. “He gave us great feedback and the freedom to try anything. My idea was to write a funk song about trying to charm a barista. I pulled influence from Cory Wong, Maceo Parker, James Brown, Vulfpeck, and Lettuce. The track features Owen Fader, Esther Okai-Tetteh, and Sheldon Smith”. It’s an immaculate testament to storytelling. The bassline is fat and warming with decadent highs from that infectious horn section that is truly the heart and yes, the tasty soul of this symphonic soundscape. I’d be remiss if I didn’t think I was in the coolest coffee joint in the neighborhood.
Cam has a knack for making music that past generations can be proud of and his ability to keep it in the conscience minds of today’s youth deserves applause. The audiences at the shows are mixed with people of all ages simply enjoying what is nostalgia to some, but new takes to others. The bottomline is that these illustrious creations by these masterful musicians are phenomenal and should be celebrated as such.
“The musicians who brought all this to life are the same core crew and extended family that show up for everything. Vinny Bonelli on guitar. Cam Petros on drums. Tieraney Sage on drums and auxiliary percussion. David Williams on auxiliary percussion. Sam Spheres on bass. John Lawrie on keys, synth, and more. Hayden Thomas on keys. Owen Fader on alto sax. Johney Green on trombone. Jacob Yim on alto sax. Joseph Trahan on bari sax. Sheldon Smith, Esther on vocals. Kris Johnson on trumpet. Mike Valares on guitar. And me on tenor. These projects came from a place of friendship, curiosity, and a lot of joy.” – Cam
FOLLOW CAM GALLAGHER & THE TASTY SOUL: