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 Pee Wee Ellis Interview
interview 0273 added 17.01.05 words: Chris Byrne
technical:
QED
The words ‘funk’ and ‘England’ are rarely mentioned in the same
sentence. Unless you’re a clinically deluded Jamiroquai fan. Please – seek help now.
But amongst us, hiding in the countryside we have Alfred “Pee Wee”
Ellis.
Born in 1941 in Florida and raised in Texas and Rochester, NY, Ellis
developed an early interest in music and did his first professional gig
age 13! He continued to perform while at school, playing mainly tenor
saxophone (a Belgian invention incidentally!), the alto sax and the
keyboard. Among his fellow students were Ron Carter and Chuck Mangione.
Following graduation, Ellis went back to Florida where he formed his
band ‘Dynamics Incorporated’. In 1965 he was in New York City, playing in a trio led by Sonny Payne, and at this time a friend, Waymon Reed, drew him to the attention of James Brown. With Brown, he played the alto saxophone and organ and also wrote arrangements. In January 1967, Ellis took over leadership of the soul singer's backing band and co-wrote and arranged some classics like, 'Cold Sweat', 'Say It Loud, I'm Black and I'm Proud’ etc.
 After more than two years with Brown, he left the James Brown Revue. He
has since worked with many artists including George Benson and at the
end of the 80s reunited with former bandmates Fred Wesley and Maceo
Parker to form the JB Horns. They recorded several albums during the early 90s, some of which were released under Parker's name. He is now the musical director of Van Morrison’s band…
How did you end up in England?
I finished a tour with Bobby Byrd here, and had wanted to spend some
time in London for quite a while, so I took the opportunity to stick
around and check the scene. I think that was around '89. Also, that was
the start of building the ground work for the JB Horns. A couple of
years later, we (The JB Horns, Fred Wesley, Maceo Parker, and myself),
were working constantly in Europe and found ourselves at the Jazz Cafe in
London. I met a woman (Charlotte), sparks flew, a year or so went by, I
found myself spending all my free time at her place in Chelsea, London.
And when she could be, she was out on the road with me. We soon got
married in my home town, Bradenton, Florida.
Then, some time later, I started working with Van again. He had a
studio in the West of England. After travelling from London so often, back
and forth to the studio, (The Wool Hall), we thought we'd rent a small
place in the area. We feel in love with the West Country and finally
just bought a house. We never went back to London and I never went back to
the States. And that's how I ended up in England.
How does one get from (arguably) the funkiest band in the world to
working with Van Morrison?
Well, the funkiest band in the world wasn't always the most fun. I felt stuck in a rut. I wasn't able to move any further. Keeping in mind
that my original purpose for joining James Brown's band was to be able
to afford to play jazz. Or, at least stretch out a bit in some other
directions. I had studied with Sonny Rollins, met and played with some
great and inspiring players. I needed that in my life.
Don't get me wrong, playing with The James Brown Revue, and being the Musical Director, was invigorating. It was like going through "The
University of Funk" and being paid to do it. We were on the cutting edge
of what was to come. I grew a great deal, and learned a lot about how things worked in the industry.
"...the funkiest band in the world wasn't always the most fun. I
felt stuck in a rut. I wasn't able to move any further..."
I started working in NYC with jazz musicians, and arranging for CTI records and generally enjoying life again. After moving to San
Francisco to build a band with David Liebman - (The Ellis / Liebman
Band), I met Van Morrison. From the first arrangements and recording I did
for him, (Into The Music), he asked me to be his Musical Director,
and I was off again on another whirlwind. That was 1979.
I am trying to track down the seemingly untraceable drummer GC Coleman
who played with the DC group 'The Winstons' on their classic breakbeat
'Amen Brother'. Can you help at all?
 Sorry, I don't know him. I asked around for you, and if Fred Wesley or
Ernie Fields don't know him, I don't know what to tell you. But then,
you know what they say, "the memory is the first thing to go ". I don't
recall the second thing. Like Fred told me one day, he can remember
real good, but not real long.
Could it be argued that funk is a culture, like hip hop?
Yes, if you could've seen the kids in Europe getting down when we'd
that play that funky stuff, it was amazing. The way some of the old
track we did back in the sixties grab people and make them move their
bodies, you'd have to say ‘Yeah!’, it's a cultural thing.. It crosses races
and regions and ages.
What do you make of modern saxophonists like John Zorn?
Sorry, I'm afraid I don't know who he is. But if he does it well, I
would like it. I'm a fan of all music that's done honestly.
"...[Unlicensed
sampling] is mostly homage I think. The simple fact that they thought enough of the music to want to use it. That makes me proud, and if I can borrow a quote from Mr. Brown,
'I Feel Good!'..."
How many sample requests does James Brown get a month?
Of course, I'm not aware of Mr Brown's business, but I would think it
would be a lot. I hear him on adverts quite often.
Does people sampling your music provide you with an income?
Yes, now that it's more controlled. People seem to have gotten the
right idea now. It really is the ‘Music Business’.
Is unlicensed sampling theft or homage?
It's mostly homage I think. The simple fact that they thought enough of
the music to want to use it. That makes me proud, and if I can borrow a
quote from Mr. Brown, "I Feel Good!". But when they don't feel they
should pay for it, that makes me sad at first that they don't understand.
Then, it pisses me off that they probably do.
Thank you (for the music as well).
You're more than welcome .You're why we do it. Enjoy and pass it on...
-
Chris Byrne
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