Norman Connors’ album Mr. C, originally released in 1981, marks a pivotal moment in the career of the Philadelphia-born drummer and producer. Having made a name for himself through collaborations with Pharoah Sanders and Archie Shepp, Connors began opening jazz up to soul and R&B influences by the late 1970s – Mr. C might be the clearest manifestation of that shift.
The record moves confidently between a jazz-rooted sensibility and contemporary boogie-funk aesthetics. The opener She’s Gone pairs warm Rhodes chords with a driving bassline and Beau Williams’ powerful vocals. Party Town builds on sharp brass stabs and syncopated synth accents – a track that verges on a blueprint for early 1980s funk. On Keep Doin’ It, Connors shows his affinity for fluid grooves rooted less in virtuosic improvisation and more in atmosphere and drive.
The B-side adds further layers of depth: Anyway You Want plays with cheeky funk, while Sing a Love Song and Love’s in Your Corner lean more heavily into soul tradition – the latter carried by Jean Carn’s unmistakable voice. The instrumental title track, finally, ties Connors’ jazz background to a laid-back, almost elegant funk attitude.
Today, Mr. C reads like a bridge between worlds: an album that doesn’t abandon jazz, but translates it into new contexts. For collectors and listeners alike, it remains a powerful example of how musical heritage and contemporary spirit can productively meet.
Mr. C
