Frank McComb
@ the Hideaway, Pizza On The Park,
PizzaExpress Jazz Club, Jazz Cafe, London
Photography 26 November 2011 - 22 August 2005
Click an image to enlarge.
Frank McComb has the potential to completely
re-arrange the telephone book, your shopping list and my wanted
record list, then sing them all – and somehow make it all
sound soulful! However, McComb’s stuttering musical journey
seems to be having an effect on his creative output (from a recording
perspective as well as the live touring circuit in the UK). McComb’s
determination to ‘do it all himself’ over the past few
years has probably contributed to his lapse in focus. However, I
am confident that faith, love and time (as well as a trusty producer)
will bring McCom’s focus back to where his die-hard fans want
it to be… ‘Releasing high quality recordings AND producing
memorable live performances!’
“Keep pushin’ on Frank…!”
(February 2012)
Biography
Frank McComb was introduced to Gerald Levert after
working as the keyboard player and musical director for the Rude
Boys in 1990. He was just 20 at the time. McComb moved to Philadelphia
and worked with none other than Kenny Gamble and Leon Huff (Gamble
& Huff, The Sound Of Philadelphia). His next move would be Los
Angeles, where his skills as keyboard player, singer and songwriter
where much sought-after. This move would prove fruitful, as he was
able to secure a position in Branford Marsalis’ experimental
‘Buckshot Lefonque’ set. The album “Music Evolution”
released 1997 on the Columbia record label was a brave eclectic
mix of hip-hop / jazz / rap. Thankfully McComb was able to put his
soulful stamp on the albums three ballads “Another Day”,
“Better Than I Am” and “Phoenix” (which
highlight McComb’s exceptional vocal abilities).
By now McComb’s fan base was starting to
gather pace and after signing to MoJazz, it seemed we would not
have to wait too long before we would be able to get our hands on
more material from this man. Alas this was not to be, as recorded
material, which was destined for McComb’s debut solo album
never saw an official release. The few die-hard fans that did manage
to get their hands on any material from these sessions say the canning
of this album was an absolute crime. Especially as McComb was able
to pay homage to Stevie Wonder by including the magical “Golden
Lady on this set!
Fast forward to the millennium (2000). With further
assistance from Branford Marsalis, Frank McComb now signs with Columbia
records. After much airplay of the delightfully Jazzy / soulful
“Future Love”, waiting and more waiting…promises
and further promises, the album” Love Stories” finally
gets a release. The wheels seemed finally set in motion for McComb’s
career to fast track. After all, “Future Love” was filled
from start to finish with sheer ‘quality music’. Unfortunately
Columbia records marketing cart seemed to be guided by a three-legged
donkey and custom fitted with ‘square wheels’. There
was much deliberation on just how to market this album. Was it Jazz,
was it soul… did we care?
“Future Love” highlighted
McComb’s many talents. Not only did this man’s voice
and keyboard wizardry conjure images of the late great Donny Hathaway
(I should know, I am Hathaway’s biggest fan), but also his
‘Stevie Wonderesque’ key changes and articulate ‘storytelling’
all assisted in bringing this album alive. This album also forms
part of the soundtrack to my life, and continues to be a major force
behind the birth and growth of this site (track 13, Keep pushin’
on).
2002 saw the release of “The Truth
vol1” on the Expansion record label, an album produced
by Steve ‘The Scotsman’ Harvey. It took me a little
while for this album to grow on me (though I knew it eventually
would). I recognised the tracks “Better off without you”
and “Actions speak louder than words”, which had been
previously released on an album by Brigette Mcwilliams, “Too
much woman”, 1997. This album also carries a similar feel
to McComb’s “The Truth”, not too surprising considering
both albums shared production input from Steve Harvey. Critical
judgements aside, “The Truth” is yet another fine recording
with outstanding moments which include the funky, “Watcha
Gonna Do”, co written and features Ledisi on vocals, the innocently
delivered “When You Call My Name” and “Cupid’s
Arrow” to name a few. This album also suffered from poor exposure
and distribution issues, to date only officially receiving a UK
release.
In 2004, “Straight From The Vault”
thankfully did reach our shores, but Frank McComb decided it was
time to take control of ‘ his album and his own destiny’.
Just as I have absorbed the contents of the “Future Love”
album and used the lyrics and messages McComb has cleverly interwoven
into positive energy The intro “White line in the sky”
may only be one minute fifty seconds long, but it is nearly two
minutes of sheer bliss (the glass is half full scenario). This track
exudes warmth in both McComb’s vocal delivery and his superb
keyboard and programming genius. . McComb has not only written,
produced, arranged, programmed and sung his heart out on “Straight
From The Vault”, he has also released and distributed the
album himself. His ‘do it yourself’ approach is one
that I truly admire and respect, however, production values occasionally
suffer here with other tracks just not reaching their full ‘sparkling’
potential.
“The thing I failed to do” is an open
and honest ballad, with lyrics, which could be sung by most men
at some stage in their relationship (if you are an honest man).
Again McComb’s vocals and swirling keyboard skills are key
to the success of this track.
McComb takes his keyboards to new heights throughout
this set, specifically on the instrumentals “King of the open
road” and “Morning glory”, which could be a 2004
version of “Friends and Strangers” (a composition made
famous by Dave Grusin & Ronnie Laws). It must have felt great
to just ‘let loose’ on his keyboards. It certainly sounds
as if McComb had fun.
McComb has an innate ability to deliver a ballad
from many unique angles. Obviously his experiences are key to his
success, but it is not easy to present your experiences to others
in such and profoundly clear and unique way. (Luther Vandross could
do this). Both men and women can grasp what McComb is trying to
say. The track “Left alone”, like many of McComb’s
ballads, communicate to all who are willing to listen.
Jazz café review
Tonight at the Jazz café Frank McComb’s
luscious soul / jazz offerings, the love he has for his work and
perfectionism, where on display for all to see. I need say no more.
This gig was the bomb! McComb could have easily sat behind either
his keyboard, or piano all-night and allowed his adoring fans to
sing each of his own songs back to him. Thankfully he didn’t!
I did notice a big difference in Frank McComb’s
spirit this time at the Jazz Café. I witnessed McComb perform
mainly “Future Love” tracks here on his first visit
a few years ago. Though his performance was second to none (as expected)
his spirit seemed a little jaded back then.
This time around he was not only on top form, but
his spirit shone like a star in the midnight sky. He was a man on
a mission. He is a musician who produces great music, he has a great
career ahead of him and he is in charge!
I was looking forward to having a chat with McComb
in detail about his life, his music, the past and the future after
this gig, but he was busy signing autographs and posing for photographs
with adoring young ladies who hung around. I left him to his adoring
fans this time, maybe next time I’ll get the chance. I’ll
keep you informed!
"Keep pushin' on Mr McComb!"
Robin Francis
© Michael Valentine Studio Ltd.
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