James Mack came to Brunswick as an arranger at the suggestion of Willie Henderson. Mack was born in Tuscaloosa, Alabama, and brought up, along with his elder brother, by his mother, who worked as a maid. They moved to Chicago when he was five. A key moment in his life came at the age of seven, when he heard classical music for the first time. That radio broadcast made him determined to be a classical musician, an ambition that he duly achieved. At school, he learned to play the flute, which then took him to Roosevelt University, where he gained a bachelor’s degree in music followed by a master’s degree in composition and music theory. He went on to study musicology at the University of Chicago.
James Mack 1977
Photo: Library of Congress, Metcalfe, Ralph H., 1948- (Collector): Dovydenas, Jonas (Photographer)
Mack’s next ambition was to become a teacher. His first job was at Crane Junior College, where he taught Willie Henderson, Tom Washington and Leo Graham, and later at Loop College (which became Harold Washington College). Crane Junior College was amazingly successful at developing musicians and singers, who went on to establish themselves in the music industry. The list of its alumni is impressive: in addition to Henderson, Graham and Washington, it includes Nancy Wilson, Jerry Butler, Della Reese, Tyrone Davis, Little Milton, Walter Jackson, Verdine White, Maurice White, Don Myrick and Louis Satterfield.
In addition to his teaching duties, Mack found time to arrange other people’s songs, adding strings and horns to the vocal and rhythm tracks. His first credit was surprisingly as a bass singer on a Jazz album “The Knack” that featured some of his students (who called themselves the Interpreters), issued on the Cadet label in 1965. Mack’s first arranging credit came in 1968 on Shelley Fisher’s Aries single “Big City Lights”, to which Mack added some big, bold horns.
Three years later, Mack was approached by producers Gerald Sims and Jerry Butler to arrange several tracks for Butler’s Mercury album “The Sagittarius Movement”. Sims arranged five of the album’s nine tracks, Donny Hathaway arranged one and Mack had three, one of which is an excellent example of Mack’s ability to make a beautiful song even better! The song in question is “Ain’t Understanding Mellow”, a duet that Butler sings with Brenda Lee Eager, which earned them a gold disc from the RIAA in 1972. The session band that recorded the album included a talented horn section (John Richardson on tenor sax, Burgess Garner and Murray Warson on trumpets, John Avant, Morris Ellis, Steve Galloway on trombones, Cliff Davis on alto and tenor sax, and Mack’s former student Willie Henderson on baritone sax). The real joy for Mack was the addition of a small string section, led by Sol Bobrov, whose name features on so many of the Chicago Soul classics. Bobrov organised two cellos, two violas, four violins and a harp, and Mack set about making the song special.
The intro of “Ain’t Understanding Mellow” begins with a delicate piano melody, played with a soft touch and an extremely gentle balance. This sets a serene and inviting tone for the track. The piano is soon joined by the drummer, who plays soft, understated beats that enhance the song’s mellow vibe. The bass provides a steady, groovy foundation that complements the soft beats of the drums and the gentle piano melody. As the instrumentation builds, Jerry Butler’s cool, smooth voice enters, perfectly complementing the gentle arrangement. The combination of the piano, subtle drumming, and Butler’s vocals creates a rich, soulful atmosphere that draws the listener in and sets the stage for the rest of the song. James Mack’s string arrangements are the icing on the cake, adding a layer of richness and sophistication to the track. Mack’s use of strings is masterful, providing a smooth, flowing backdrop that enhances the overall mood of the song. The strings weave in and out of the melody, creating a sense of depth and complexity. The strings complement Jerry Butler’s and Brenda Lee Eager’s vocals without overpowering them. The subtle interplay between the strings and the other instruments, such as the piano and drums, creates a harmonious and balanced sound. This careful orchestration highlights Mack’s ability to blend different musical elements seamlessly. The backing vocals, provided by the singers, also add a rich texture to the track, making the song both engaging and memorable. In my opinion, this is the best Soul duet to emerge from Chicago during the 1970s, due in no small measure to James Mack’s sensitive arrangements.
Willie Henderson was appointed musical director of Brunswick Records in Chicago in 1968. In the early seventies, he contacted his former teacher and asked him if was interested in arranging songs for Tyrone Davis. Mack duly obliged. For Mack, it was the completion of the circle. He had taught and inspired three of the most important musicians involved in Chicago’s R&B output. Now he had the chance to work alongside them and enjoy the fruits of his labours as a teacher. Five years later Leo Graham took over as Tyrone Davis’ producer and Mack became principal arranger for Davis’ songs, a role that he maintained when Tyrone Davis moved to Columbia Records in 1976.
When Tyrone Davis’ album “In The Mood With Tyrone Davis” appeared in 1979 on the Columbia label, James Mack was still playing a strong hand. He is credited as co-producer (associate, with Leo Graham in charge), as arranger, as a member of the studio band playing alto flute and and keyboards, and as one of the backing vocalists! He also had a six-piece horn section and much larger string section, consisting of two cellos, four violas, and twelve violins, with which to weave his magic.
The opening track is “In the Mood”. The arrangement has elements that draw from Classical music and Jazz, a rich tapestry of sound with James Mack’s flute adding an unusual touch. Track two “You Know What To Do” is an up-tempo, funky dance track. “I Can’t Wait”, track three, is a slow, romantic ballad, with punchy horns that provide some colour against the lush strings. “Keep On Dancing” and “I Don’t Think You Heard Me” are back to the dance floor with hints of Disco, “Ain’t Nothing I Can Do” is another romantic ballad. After one more dance track “All The Love I Need” with more punchy horns, the album closes with the soft strings of “We Were In Love Then”. It is the arrangement of the opening track that stands out, with a deft use of flute and synthesizer to create the Jazzy rhythms that are set against the slow bassline and the gentle drum beats. It oozes class and certainly deserved single release. It reached number six on the Billboard Hot Soul Singles Chart.
James Mack must have been intensely proud , as he worked alongside his former students Willie Henderson, Leo Graham and Tom Washington, producing recordings for other former students Jerry Butler, Tyrone Davis, Little Milton and Nancy Wilson.
For many years, James Mack was also musical director of First Presbyterian Church of Chicago in Hyde Park, starting in 1974.
Ramsey Lewis, who made several albums with input from Mack, summed up his unique talent well: “Mack was one of the few musicians in the world who was at home in front of a symphony orchestra, a jazz big band, an R&B group”. Given that James Mack was responsible for teaching and inspiring Henderson, Washington and Graham and then came to Brunswick himself to work with them, he is clearly a true icon of Chicago Soul.
