Just Give Me Some Mo' Boney Fields

• 1Just Give Me Some Mo'03:21
• 2Back In The Day04:00
• 3Crazy 'Bout You05:13
• 4The Change Has Yet To Come03:48
• 5What Is Wrong With You04:24
• 6Still Together03:30
• 7Something's Holding Me05:03
• 8Cross My Heart03:15
• 9Control Of You04:37
• 10Lisa (Bonus Track)04:40
• 11The Thrill Is Gone03:50
• 12I Know Yes I Know04:05
• Total Runtime49:46

Info for Just Give Me Some Mo'

As a true gang leader, Boney Fields has always known how to surround himself. But for his seventh album in almost a quarter of a century, he has outdone himself! Consider that, in addition to the usual spadassins who usually accompany him on tour and in the studio, this time he has enlisted the musical director Hervé Samb from Dakar (Marcus Miller, Salif Keita, Meshell Ndegeocello, Amadou & Mariam, Oumou Sangaré, Jimmy Cliff, Kelly Lee Evans and Lisa Simone), while enlisting the help of the inestimable Sébastian Danchin (producer of Jean-Jacques Milteau and Mighty Mo Rodgers, and author of the 'Encyclopédie Du Rhythm N' Blues Et De La Soul', as well as biographies of B. B. King and Elvis). B. King and Elvis Presley, also published by Fayard). Signed by Danchin himself, "The Change Has Yet To Come" evokes the gesture of the Mar-Keys and the Memphis Horns (its brassy bridge quoting Otis Redding and Steve Cropper's "Fa-Fa-Fa-Fa-Fa (Sad Song)"), while Boney's "What Is Wrong With You" is reminiscent of the Norman Whitfield-era Temptations. While the instrumental 'Still Together' is little more than a shuffle, a departure from the Freddie King shuffles and the Blues Brothers' version of 'Sweet Home, Chicago' (which, in addition to the four horns, features the electrified six strings of the excellent Joseph Compagnon), originals such as the hectic title track, the poignant 'Back In The Day' (on which Boney pays tribute to his mother), 'Something's Holding Me' (with Pity's Hammond) and 'The Night' (on which Boney pays tribute to his mother) are more than welcome.

Boney Fields

Boney Fields
“Real music by real musicians” as Prince used to say. Just like Prince, the trumpet player Boney Fields is part of this generation of African-American musicians born to tame the stage.

So it is no coincidence that his playing partners are named Lucky Peterson, Luther Allison, James Cotton, Buddy Guy, Liz Mc Comb, as well as George Clinton, Maceo Parker, Fred Wesley or Bootsy Collins.

Boney Fields faithfully merges Funk and Blues, the two sides of the same Great Black Music, and he does so with the skills acquired during a career spent playing on stages all over the world.

When this child of a Chicago-based large family started his career, he realized that he could have turned bad. But growing up both to ghetto songs and Gospel songs praised by his parents, Boney Fields chose a unique voice, his own, that he enhanced with the practice of an instrument, the trumpet. The two-fold talent of this singer/trumpet player propelled him from one session to the next alongside those legends. He accompanies them in studio sessions or on stage and additionally composes – during his “spare” time- complex arrangements for brass sections like those of Tower of Power or Earth Wind and Fire.

"Nothing beats the pleasure that you get from being in front of a crowd surrounded by your band, making music together." - Boney Fields

Far from Tinseltown glitz and glam, it is on stage that Boney Fields learned the profession and enriched his artistry. The tours are long, the roads not always paved with gold. No matter the lack of sleep or number of miles traveled, being on stage is the only thing Boney Fields lives for.

And the stage is where he finally carved his own style, a retro-futuristic mix of Blues and Brass Funk. A genuine aesthetics that he deploys on records as well as on stages with his own band, an explosive septet who mastered the magical formula of the groove of the origins long ago. Everywhere they go Boney Fields & his Band leave like a highly energetic and exhilarating streak of powder.

A relentless showman, Boney Fields makes his music travel in each and every corner of the planet when invited to prestigious festivals such as Jazz à Vienne, Jazz in Marciac, Madajazzcar, Tabarka Jazz Festival… It is during these shows that he perfected the vibrant repertoire of his 6th album, a record made with the help of a renewed collective of musicians.

And it is on those same stages that one will have to come and see him play his new collection of “real“ songs performed, as Prince used to say, “by real musicians”.

This album contains no booklet.