By Jacob Katel
By Laurie Charles
By Nate "Igor" Smith
By Abel Folgar
By Kat Bein
By Jacob Katel
"I've always wanted to take the time to find the right producer," de la Guardia laments over a fruit salad at a South Miami deli, where he and a few other Khadir members are having lunch. "I've never had the chance to audition producers, to find someone who knows what I'm trying to do." De la Guardia rolls his eyes and lets out a sigh of exasperation. "I'd like to get someone who knows what I want and will sit down with me and figure out how to get it on tape. Maybe one day I'll get the chance to have somebody say, 'What is it that you hear?' and they'll just say, 'Okay, cool' instead of taking my thing and changing it around."
That's exactly what happened, de la Guardia says, during the myriad sessions that produced the two Khadir releases thus far: an eight-song promotional cassette culled from mid-'96 recordings overseen by P-Funk drum legend Jerome "Bigfoot" Brailey; and Step into the Rhythm, Khadir's debut CD released a couple of weeks ago on Bitter Crop, an indie label run by de la Guardia's half-brother Oscar de la Guardia. Both are terrific documents of Khadir's singular fusion of funk, R&B, and Afro-Cuban rhythms, yet de la Guardia says neither has successfully defined the band.
He had high hopes for the collaboration with Brailey, the man who captained some of Parliament-Funkadelic's greatest hits, including "Flashlight" and "Up for the Down Stroke." "I was thrilled," de la Guardia, a P-Funk fanatic, says of the opportunity to work with Brailey, who was introduced to the group by Peter Weatherbee. His Coconut Grove Recording Company was partially bankrolling the sessions. "But it just didn't work at all. I remember Jerome sitting me down and saying, 'What are you hearing in your head?' So I told him it was kind of an old-school funk vibe and he said, 'The old-school vibe is no good now, you've got to get into the new stuff.' You know, before I even finished telling him he basically said it was all wrong. And I guess I thought, 'This is Jerome Brailey. Maybe he knows more than I do.' But I felt like all he did was come into the studio, play through the songs, get his paycheck, and split. It was just a job for him."
As for Step into the Rhythm, de la Guardia says his vision never quite clicked with that of producer Richard Serotta, and he's less than enthusiastic about the finished product. "There's a lot of stuff on there that just isn't us," he complains. "It doesn't represent us much at all. Richard is a great producer, and I'm not knocking him. I just don't think he really knows where I'm coming from. On one song, 'Trouble,' he finished it while I wasn't there. When I came back into the studio he said, 'Wait till you hear what we did.' What he did was have this guy playing a merengue rhythm" -- de la Guardia derisively mouths the sound of a synthesized drum beat, then sneers -- "and it just wasn't for me. Even the percussionist knew it wasn't right for the song. And when I'd give my point of view, [Serotta] would basically say, 'Step aside and let me do what I want to do.'"
In Serotta's defense, Khadir manager Oscar de la Guardia says the producer was faced with what was a nearly impossible task. The CD, he explains, had to be finished and ready by the band's April appearance at this year's New Orleans Jazz and Heritage Festival, which left both Khadir and Serotta little time to fuss over details. "Serotta is a fine producer," says Oscar. "We didn't have much time or a whole lot of money, so everything had to be done very fast. There's a saying in Spanish that basically says: 'Good, cheap, and pretty -- you can have two of those things but you can't have all three.'" Adds Khadir drummer Joe Eshkenazi: "It's a good CD and we're mostly happy with it, but it's not 100 percent representative of what we do. But we went into the studio with Richard just two weeks after meeting him, so he didn't know us or what we were about. For the time and money he had, Richard did a good job."
Whether or not de la Guardia is happy with the work his band has done in the studio, both the promo cassette and Step into the Rhythm are masterful homages to the power of the groove. Big grooves, inspired by the lean riffs of James Brown; the dense, busy productions of George Clinton; and the joyous camaraderie of Sly and the Family Stone, with an added shot of propulsive Afro-Cuban percussion and guitar wizardry that recalls the early-Seventies experiments of Santana. "When we came out with our stuff," recalls Eshkenazi, "people said, 'What are they? Are they rock? Are they Latin? Are they R&B? Are they funk?' And we said, 'Yes. All of the above.'"