Maceo Parker 98% Funky Stuff!
Maceo Parker embodies the legacy of soul and funk music like no other musician can. Always at the forefront, Maceo has been a common thread in the history of funk — helping to pioneer the sound of the genre in collaborations alongside seminal icons like James Brown, George Clinton, and Prince, all the while honing his own signature brand of showmanship.
Leading his flawlessly tight band with a cool confidence, Maceo transports audiences to the slickest of eras in performances that are positively timeless. Maceo will soon re-release Roots Revisited — The Bremen Concert, a live recording from the first incarnation of Maceo’s own band in 1990 (which, at the time, included Fred Wesley on trombone, Pee Wee Ellis on tenor saxophone, Larry Goldings on B-3 organ, Rodney Jones on guitar, and Bill Stewart on drums).
Maceo's current band hits the road this season in celebration of repertoire spanning the prolific career of this funk legend: 50 Years of Funk.Download full biography
Maceo Parker - "Make It Funky" live @ North Sea Jazz Festival
Maceo Parker - "Shake Everything You've Got"
Maceo Parker - "Pass The Peas" live @ Jazzfest Gronau
High-resolution press pictures. Click on an image to download the high-resolution version.
«…Given Parker's sense of groove invention and the evergreen emotional power of Charles' chestnuts like «Busted» and «Hit the Road Jack,» anyone might have expected this to be a dream match. But it's more than that because Parker also sings with a gravelly, Charles-like perfection on these two songs, and even more poignantly on «You Don't Know Me,» «Margie,» and a magically moody «Georgia on My Mind.» Charles may have been declared deceased in body in 2004, but he lives again through Parker in haunting yet wonderful ways…» ~ All Music Guide
«…Maceo put a complex funk spin to the famous Parker name playing his horn more like a drum than a melodic instrument. The result is an insanely percussive style, which forces everyone within ear shot to dance like a giddy geek. For sure no one plays the alto saxophone like Maceo Parker, and most likely no one ever will again. Never ignoring melody Parker woos us sweetly on one tune, only to make us jump out of our skin the next with Funkalicious ferocity. The bottom line...if you want to dance with members of the opposite sex without asking them too, go to a Maceo Parker show. Once there, you suddenly realize this is one of the reasons why you're alive on this planet...to be taken to a place where your mind stops thinking as you listen, move, and experience pure joy. …» ~ Dave Todoroff
«…He’s no bebopper, reborn or otherwise. His roots are the church and the blues... his sound is joyful, cutting ribbon of light and heat burnished by grit and soul. His riff-based attack is melodic, unraveling and re-weaving themes rather than running chords, and primarily rhythmic, relying on finely-shaped nuances of timing and displacement to communicate - kinda like his longtime boss' vocals, amazingly enough.» There's no doubt about it, «There's only one Maceo.» …» ~ Gene Santoro Downbeat Magazine
«…When people talk about legends they mean 'they're done, but boy did they do good' when I think of Maceo Parker I think of legendary funk master and horn player, but not 'legend' in the term that he's done. He's still doing it. And that to me makes a really legendary person. …» ~ Ani DiFranco
«…Maceo Parker is a funk titan. His body of work is as important to the genre as those belonging to James Brown, George Clinton and Bootsy Collins, all of whom have collaborated with Parker. On a broader level, Parker must be regarded as simply one of the all-time great saxophonists. He stretched the boundaries of music, fashioned a new style of playing and, most importantly, made some truly great music. …» ~ Mercury San Francisco
«…The audience singing and swaying like trees in a hurricane: Maceo is in the House – blowing a tempest. …» ~ Seattle Times
«…Hurricane Maceo blew through, delivering a multihour non-stop barrage for an audience that danced itself into a frenzy before the second song was over. …» ~ Austin American Statesman