Mandrill -

Mandrill is an American soul-funk band from Brooklyn that released five albums on Polydor between 1970 and 1974, followed by a pair of albums on UA and a trio of titles on Arista during the second half of the decade.

Members: Carlos Wilson (trombone, vocals), Lou Wilson (trumpet, vocals), Ric Wilson (saxophone, vocals), Claude “Coffee” Cave (keyboards), Omar Mesa (guitar), Bundie Cenas (bass), Charlie Padro (drums), Fudgie Kae Solomon (bass), Neftali Santiago (drums), Dougie Rodriguez (guitar), Wilfredo “Wolf” Wilson (bass), Joaquin Jessup (guitar)

Background

Mandrill was formed in 1968 Brooklyn by three Panamanian-American brothers: Carlos Wilson (trombone), Lou Wilson (trumpet), and Ric Wilson (saxophone). All three sang and played additional instruments. They named the band after the mandrill, a Central-West African primate species known for its colorful facial features. The original seven-piece lineup also included keyboardist Claude “Coffee” Cave, guitarist Omar Mesa, bassist Bundie Cenas, and drummer Charlie Padro.

Mandrill

Mandrill released their self-titled debut album in April 1971 on Polydor.

The album introduces the group’s hybrid of funk, jazz, blues, soul, and Latin-rock, arranged with shifting instrumentation and extended suites, balancing tightly arranged sections with open-ended improvisation.

All six members wrote the material collectively under the Wilson Bros. credit, apart from the opening track, credited to Mandrill as a unit.

The title track unfolds in shifting sections with organ swells, flute interjections, and clustered percussion. “Warning Blues” takes a strident, riff-driven pace, while “Symphonic Revolution” layers gravelly harmonies over orchestral funk textures. “Rollin’ On” opens with rock phrasing, pivots into Latin motion, and culminates in a gospel-inspired climax. The sidelong “Peace and Love (Amani Na Mapenzi)” develops as a six-part suite that spans cosmic passages, jazz interplay, and pastoral episodes before closing with the wordless coda “Chutney.”

A1. “Mandrill” (4:20)
A2. “Warning Blues” (4:33)
A3. “Symphonic Revolution” (5:22)
A4. “Rollin’ On” (7:41)

B. “Peace and Love (Amani na Mapenzi)”
— a. “Movement I (Birth)” (1:50)
— b. “Movement II (Now)” (1:45)
— c. “Movement III (Time)” (2:15)
— d. “Movement IV (Encounter)” (6:05)
— e. “Movement V (Beginning)” (2:05)
— f. “Chutney” (3:07)

Sessions took place at Electric Lady Studios in New York City during late 1970 with producers Beau Ray Fleming and Mandrill, assisted by associate producer Mitch Green. Kim King engineered and mixed the album with assistant Vin Leary.

Mandrill features cover design by Frank Gauna with a concept developed by Beau Ray Fleming, Mitch Green, and the band. The gatefold presents portrait shots of each member morphing frame-by-frame into the mandrill primate.

The album reached No. 27 on the Billboard R&B chart.

Mandrill Is

Mandrill released their second album, Mandrill Is, in April 1972 on Polydor.

The record deepens their fusion of funk, Latin, jazz, blues, and rock while opening the band’s songwriting to nearly every member. Compared to their debut, the material takes on a harder rhythmic edge and a more streamlined sense of pacing, while still retaining orchestral detail and progressive shifts.

The Wilson brothers wrote four songs, while keyboardist Claude “Coffee” Cave contributed “Cohelo” and “Kofijahm,” guitarist Omar Mesa wrote “Central Park” and “The Sun Must Go Down,” and drummer Charles Padro composed “Universal Rhythms.” Two tracks, “Git It All” and “Lord of the Golden Baboon,” carry full-group credits.

The album begins with “Ape Is High,” a vigorous funk-rock piece where group chants, brass flourishes, and quick organ figures lock against a sharp bass line. Cave’s “Cohelo” follows as a brief bossa nova sketch colored by flute and vibraphone. “Git It All” stretches into a hard-driving jam that layers searing guitar with tight horn passages, while “Children of the Sun” blends Caribbean inflections with psychedelic shadings and orchestral flourishes. “I Refuse to Smile” centers on Wilson vocal harmonies against string arrangements.

On Side B, Padro’s “Universal Rhythms” introduces a mystical spoken narrative, before the instrumental “Lord of the Golden Baboon” shifts into fusion with Eastern accents. Mesa’s “Central Park” conveys a nostalgic tone, while “Kofijahm” drives with African-inspired percussion. The closing pair, “Here Today Gone Tomorrow” and “The Sun Must Go Down,” highlight heavier guitar riffing and layered jazz-rock textures.

A1. “Ape Is High” (5:32)
A2. “Cohelo” (1:50)
A3. “Git It All” (4:30)
A4. “Children of the Sun” (5:00)
A5. “I Refuse to Smile” (4:05)

B1. “Universal Rhythms” (3:24)
B2. “Lord of the Golden Baboon” (3:33)
B3. “Central Park” (4:05)
B4. “Kofijahm” (3:25)
B5. “Here Today Gone Tomorrow” (4:30)
B6. “The Sun Must Go Down” (3:17)

Sessions took place at Electric Lady Studios and the Record Plant in New York during the winter of 1971–72, with producers Alfred V. Brown and Mandrill. Dave Palmer recorded and mixed the album, assisted by Shelly Yakus, Andy Edlin, and Steve Bruno.

Mandrill Is features artwork and design by Joseph Westerfield in collaboration with the band, with art direction by Ron Nackman. The cover presents a serene mandrill figure gazing toward the moon. The release included a four-page insert with lyrics and credits.

Polydor issued “Ape Is High” and “Git It All” as singles, the latter reaching No. 37 on the R&B chart. The album peaked at No. 24 on the Billboard Soul Albums chart.

Composite Truth

Mandrill released their third album, Composite Truth, in January 1973 on Polydor.

The record tightened the group’s wide-ranging approach into a more direct funk sound while still incorporating Latin rhythms, soul harmonies, and stretches of progressive arrangement. It became their most successful release, bringing them wider recognition through two charting singles.

The Wilson brothers wrote four of the eight tracks, while guitarist Omar Mesa contributed “Golden Stone,” bassist Fudgie Kae wrote “Out With the Boys,” and keyboardist Claude “Coffee” Cave penned the opener “Hang Loose.” The band is credited collectively for arrangements, with Cave handling a large share of the instrumentation on organ, vibraphone, clavinet, piano, Moog synthesizer, and Fender Rhodes.

“Hang Loose” opens the album with shifting pace, moving between brassy funk passages and jagged guitar figures. “Fencewalk,” the record’s best-known piece, layers a crooning chorus with horn-driven sections and an extended guitar break. “Hágalo” draws on salsa form, while “Don’t Mess With People” channels loose funk with slurred, half-spoken vocals. Mesa’s “Golden Stone” stretches into longer improvisation, contrasting with Kae’s vocal feature on “Out With the Boys.” “Polk Street Carnival” carries a relaxed Caribbean lilt, while “Moroccan Nights” closes the set in a slower, atmospheric mode.

A1. “Hang Loose” (4:45)
A2. “Fencewalk” (5:28)
A3. “Hágalo” (2:47)
A4. “Don’t Mess With People” (3:45)

B1. “Polk Street Carnival” (6:03)
B2. “Golden Stone” (7:17)
B3. “Out With the Boys” (5:09)
B4. “Moroccan Nights” (5:42)

Sessions occurred at Electric Lady Studios in New York during the winter of 1972, with additional work on “Hang Loose” and “Don’t Mess With People” at the Hit Factory. Alfred V. Brown co-produced with Mandrill, while Dave Palmer and Harry Maslin engineered different sessions.

Composite Truth features a cover design by David Krieger with photography by Joel Brodsky.

Polydor issued two singles: “Fencewalk,” which reached No. 19 on the US Soul chart, and “Hang Loose,” which peaked at No. 25. The album itself rose to No. 8 on Billboard’s Top Soul Albums chart.

Just Outside of Town

Mandrill released their fourth album, Just Outside of Town, in October 1973 on Polydor.

The record balanced Mandrill’s established funk foundation with excursions into soul, Latin, hard rock, and progressive forms. Expansive arrangements and shifts in pacing marked the group’s approach, with Side Two holding some of their most ambitious work.

The Wilson brothers composed three tracks, while keyboardist Claude “Coffee” Cave wrote “Fat City Strut,” drummer Neftali Santiago contributed “Two Sisters of Mystery,” bassist Fudgie Kae penned “She Ain’t Lookin’ Too Tough,” and guitarist Omar Mesa authored the closing “Aspiration Flame.” Cave and Carlos Wilson also arranged and conducted the album’s string passages.

“Mango Meat” opens with sharp brass and layered group vocals, a Latin funk statement that later gained recognition through sampling. “Never Die” blends a soft-psychedelic atmosphere with soul harmonies, while “Love Song” stretches into orchestral balladry. Cave’s “Fat City Strut” pivots between heavy horn blasts, percussion breaks, and vibraphone flourishes. Santiago’s “Two Sisters of Mystery” pushes toward rock intensity, built around fuzz bass and grinding horns. “Africus Retrospectus” serves as the album’s centerpiece, an extended instrumental with flowing organ, shifting horn lines, and open piano, flute, and trumpet interplay. Mesa’s “Aspiration Flame” closes in a slow instrumental mode, carried by flute before building to a forceful finish.

A1. “Mango Meat” (4:32)
A2. “Never Die” (3:22)
A3. “Love Song” (5:45)
A4. “Interlude” (0:18)
A5. “Fat City Strut” (3:20)

B1. “Two Sisters of Mystery” (3:40)
B2. “Africus Retrospectus” (7:46)
B3. “She Ain’t Lookin’ Too Tough” (4:58)
B4. “Aspiration Flame” (5:05)

Sessions occurred at Electric Lady Studios, the Hit Factory, and Sound Ideas in New York, with additional work at Sound City in Van Nuys. Alfred V. Brown co-produced with Mandrill, while Dave Palmer, Harry Maslin, Monte Stark, and Rick Rowe engineered.

Just Outside of Town features cover photography by Don Anderson with design by Davis Fried Krieger under Ron Nackman’s art direction.

Polydor issued “Mango Meat” as the album’s single. Just Outside of Town reached No. 6 on Billboard’s Top Soul Albums chart.

Mandrilland

Mandrill released their fifth album, Mandrilland, in August 1974 on Polydor.

The double album marked their most expansive work, blending brassy funk, orchestrated soul, Latin rock, African rhythms, and jazz fusion. Across its four sides, the group moved between compact vocal numbers and lavish instrumental passages, often shifting mood and rhythm within a single track.

Songwriting was shared among the Wilson brothers and Claude “Coffee” Cave, who also arranged and conducted the strings. Drummer Neftali Santiago contributed “Cal-Ipso,” while guitarist Doug Rodrigues co-wrote “The Reason I Sing” with bassist Fudgie Kae and supplied the closing “After the Race.”

The opening side runs as a continuous suite, culminating in “The Road to Love,” which threads jazz-funk interplay with vocal refrains. “Positive Thing” appears twice, first in compact single form and then extended into a longer, shifting funk workout. Side two leans toward orchestrated soul and balladry, with moments of Beatlesque harmony and Latin-tinted rhythm, while “Armadillo” serves as a brief instrumental sketch. Rodrigues and Kae’s “The Reason I Sing” centers Side Two in a soul-pop frame, while “Bro’ Weevil & The Swallow” and “Khidja” highlight Cave’s keyboard textures and Carlos Wilson’s flute.

Side Three turns toward African-inspired rhythm, avant-funk detours, and playful jams, with “El Funko” offering a lean interlude and “Folks on a Hill” folding bayou blues into brass-driven arrangements. The final side carries Cave’s “Mini-Suite for Duke,” a swirling organ-led tribute that merges Ellington stylings with rock organ dramatics, before Santiago’s calypso turn and Rodrigues’ guitar-led closer.

A1. “Positive Thing” (3:25)
A2. “Positive Thing” (5:15)
A3. “Skying Upward” (3:45)
A4. “The Road to Love” (5:15)
A5. “Armadillo” (1:48)

B1. “The Reason I Sing” (3:22)
B2. “Bro’ Weevil & The Swallow” (4:48)
B3. “Khidja” (4:55)
B4. “House of Wood” (7:59)

C1. “‘Drill in the Bush” (3:55)
C2. “El Funko” (2:54)
C3. “Love Is Sunshine” (4:22)
C4. “Folks on a Hill” (6:22)

D1. “Mini-Suite for Duke” (6:26)
D2. “Cal-Ipso” (5:00)
D3. “After the Race” (7:02)
D4. “Lady Jane” (4:08)

Sessions occurred at Studio in the Country in Bogalusa, Louisiana, with Lee Peterzell and Bill Evans as engineers. The group recorded additional string parts at the Record Plant in New York with Dennis Ferrante and Corky Stasiak. Mandrill produced the album themselves.

Mandrilland features artwork by Goodman Gries with design by Ted Pettus under a concept devised by the band.

Polydor issued “Positive Thing” as a single, which reached No. 29 on the US Soul chart. The album itself peaked at No. 28 on Billboard’s Top Soul Albums.

Solid

Mandrill released their sixth album, Solid, in March 1975 on United Artists.

The record deepened the group’s move into darker funk textures, balancing cinematic strings with brassy funk and dense rhythm layers. Across seven tracks, the band shifted from ominous orchestrations to hard funk workouts, while experimenting with proto-rap phrasing and Afro-Cuban undercurrents.

The Wilson brothers handled the songwriting with Claude “Coffee” Cave, who also arranged the string passages on “Silk.” Carlos Wilson arranged and conducted the orchestration on “Wind on Horseback.” Guitarist Al Cajun Carlo appears on “Stop & Go,” while Tommy Trujille played additional guitar parts.

Solid opens with “Yucca Jump” and “Peck Ya Neck,” two compact, driving funk pieces. “Wind on Horseback” stretches into a more cinematic setting, building on strings and atmosphere. “Tee Vee” injects rapid, almost spoken delivery over a rhythmic foundation that anticipates later hip-hop phrasing. The title track extends into nearly eight minutes of dark, brooding funk, while “Stop & Go” plays as a sharp-paced workout with additional guitar emphasis. The closing “Silk” functions as a largely instrumental showcase, folding in elements of Isaac Hayes–styled orchestrated soul alongside Afro-Cuban rhythmic turns.

A1. “Yucca Jump” (3:33)
A2. “Peck Ya Neck” (3:41)
A3. “Wind on Horseback” (6:16)
A4. “Tee Vee” (4:58)

B1. “Solid” (7:49)
B2. “Stop & Go” (3:24)
B3. “Silk” (6:32)

Sessions occurred at Studio in the Country in Bogalusa, Louisiana, with Lee Peterzell as engineer. The group re-mixed the album at Sigma Sound Studios in Philadelphia with Don Murray and Jay Mark. Strings were recorded at the Record Plant in New York by Dennis Ferrante and Corky Stasiak.

Solid features artwork by Papio Sphinx, with design concept by Bob Cato and Mandrill. Doug Metzler handled the photography.

The album reached No. 18 on Billboard’s Top Soul Albums chart.

Beast From the East

Mandrill released their seventh album, Beast From the East, in December 1975 on United Artists.

The record marked a turn toward a smoother, more polished R&B-funk approach, with layered group vocals, bold horn lines, and an increased emphasis on rhythm section interplay. While less rock-oriented than their earlier output, the album retained Mandrill’s Latin-tinged percussion and multi-instrumental versatility, balancing uptempo funk workouts with softer ballad material.

Songwriting and arrangements came from the Wilson brothers and Claude “Coffee” Cave. Carlos Wilson contributed flute, trombone, harmonica, and guitar alongside synthesizers and percussion, while Ric Wilson supplied reeds, Lou Wilson handled trumpet and congas, and Cave performed across organ, acoustic piano, Fender Rhodes electric piano, clavinet, vibraphone, and string ensemble/T.O.N.T.O. synthesizers. Guitarist Tommy Trujillo, bassist Brian Allsop, drummer Andre Locke, and percussionist Wilfredo “Wolf” Wilson rounded out the lineup.

“Disco Lypso” and “Honey-Butt” open the set with bright funk rhythms and choral-style vocals. “Livin’ It Up” leans into celebratory ensemble singing, while “Love Is Happiness” draws from ballad traditions. “Ratchet (Como Se Va La Cosa)” stands out for its sharp guitar leads, and “Panama” centers on Latin rhythmic patterns. “Aqua-Magic” layers fluid instrumentation and group harmonies, while “Synthia Song” serves as a short dedication to the Wilson and Cave families. The album closes with the brief atmospheric piece “Peaceful Atmosphere.”

A1. “Disco Lypso” (4:01)
A2. “Honey-Butt” (4:57)
A3. “Livin’ It Up” (4:22)
A4. “Love Is Happiness” (4:50)

B1. “Ratchet (Como Se Va La Cosa)” (3:09)
B2. “Dirty Ole Man” (3:21)
B3. “Panama” (3:48)
B4. “Aqua-Magic” (4:12)
B5. “Synthia Song” (3:09)
B6. “Peaceful Atmosphere” (0:42)

Sessions occurred at Kendun Recorders in Burbank, California, and Sigma Sound Studios in Philadelphia. Malcolm Cecil co-produced the record with Mandrill, engineered at Kendun, and re-mixed the album with additional engineers including Jay Mark at Sigma.

Beast From the East features a cover concept by Bob Cato and Mandrill, with design by Cato and photography by Doug Metzler. The sleeve depicts a live mandrill, reflecting the title literally.

We Are One

Mandrill released their eighth album, We Are One, in October 1977 on Arista.

The record carried forward the band’s communal funk spirit with newfound heaviness in the bass and drum tracks. Strings, organ, and flute widened the palette, while the vocal approach alternates between full-band chants and individual leads.

Writing and arrangements came collectively from the Wilson brothers, Claude “Coffee” Cave, and Joaquin Jessup. Wilfredo “Wolf” Wilson added bass, percussion, and vocals. String arrangements were conducted by Carlos Wilson and Cave, while the ensemble remained entirely self-played apart from orchestral additions.

“Can You Get It (Suzy Caesar)” opens the set with bold ensemble rhythm and horns. “Funky Monkey” stretches out with extended instrumental interplay, while “Happy Beat” incorporates banjo textures against funk backdrops. The memorial ballad “Gilly Hines (In Memory of Natalie Cerame)” contrasts with the instrumental “Holiday,” which leans on layered keyboards. “Closer to You” works in a straightforward ballad style, while “Love One Another” closes the album with a compact funk piece that emphasizes unity in its refrain.

A1. “Can You Get It (Suzy Caesar)” (6:30)
A2. “Funky Monkey” (7:10)
A3. “Happy Beat” (4:25)

B1. “Gilly Hines (In Memory of Natalie Cerame)” (6:35)
B2. “Holiday” (5:07)
B3. “Closer to You” (4:22)
B4. “Love One Another” (3:59)

Sessions occurred at Kendun Recorders and Studio 55 in Los Angeles with producer Jeff Lane. Baker Bigsby engineered the album with assistance from Gabriel Veltri, Jeff Sykes, Stephen Marcussen, and Tim Dennen, while John Bradley handled mixing and mastering.

We Are One features cover art by Bob Cato, who also provided design and photography.

In the same year, Mandrill recorded Michael Masser’s two-part “Ali Bombaye (Zaire Chant)” for The Greatest, the Muhammad Ali biographical film.

New Worlds

Mandrill released their ninth album, New Worlds, in November 1978 on Arista.

The record delivers a streamlined funk approach with smooth, R&B-inflected textures and dance-oriented pacing, reflecting Mandrill’s embrace of sleek arrangements with layered instrumentation and vocal harmonies.

Carlos D. Wilson and Claude “Coffee” Cave co-wrote all eight tracks with Louis Wilson, Ric Wilson, M.D., and Wilfredo Wilson joining as co-writers on most songs. Guitarist Joaquin Jessup and Mark Wilkins contributed to “Having a Love Attack,” while Ralph Graham appears as co-writer on “Too Late.”

“Too Late” and “Mean Streets” open the album with precise rhythms and brass accents. “Having a Love Attack” and “Don’t Stop” became club staples, the latter featuring string textures and tight vocal arrangements. Side B offers the contoured, syncopated pulse of “Third World Girl,” the sustained pace of “Stay Tonite,” and melodic phrasing on “When You Smile” and “It’s So Easy Lovin’ You.”

A1. “Too Late” (3:38)
A2. “Mean Streets” (3:53)
A3. “Having A Love Attack” (4:56)
A4. “Don’t Stop” (5:06)

B1. “Third World Girl” (3:49)
B2. “Stay Tonite” (5:32)
B3. “When You Smile” (4:58)
B4. “It’s So Easy Lovin’ You” (5:00)

Sessions occurred at Fidelity Studios in Los Angeles with Mandrill producing and Artie Ripp serving as associate producer. Engineers Karen Siegel and Ed Barton handled recording and mixing, with Barton also credited for mixing.

New Worlds features a cover concept by Mandrill and Ria Lewerke, with cover design by Ria Images/Ria Lewerke and a painting by Aaron Douglas. Photography was by Gary Register.

Getting in the Mood

Mandrill released their tenth album, Getting in the Mood, in January 1980 on Arista.

The album presents polished dance-oriented arrangements with layered strings, horns, and keyboards, while retaining percussion-driven textures and ensemble vocals. Guitar and bass lines provide rhythmic propulsion, punctuated by occasional saxophone and flugelhorn accents.

Claude “Coffee” Cave plays clavinet, organ, Fender Rhodes electric piano, Solina string ensemble, and vibraphone. He co-wrote the material with drummer/pianist Eddie Summers and the Wilson brothers.

A1. “When You Shake” (4:12)
A2. “My Kind of Girl (My Girl)” (3:48)
A3. “Getting in the Mood” (5:14)
A4. “Dance of Love” (5:04)

B1. “Feeling Good” (3:03)
B2. “Love Made Me Over” (4:53)
B3. “Lo Siento Mucho (I’m Very Sorry)” (4:27)
B4. “Coming Home” (5:50)

Sessions occurred at Fidelity Recording Studio in Studio City, CA, with producers Carlos D. Wilson, Claude Cave II, Louis Wilson, Ric Wilson, M.D., and Wilfredo Wilson, associate producer Eddie Summers, and recording/mixing engineer Larry Elliott. Mastering took place at A&M Studio in Los Angeles, CA with Bernie Grundman.

Getting in the Mood features art direction and design by George Chacon and RIA Images/Ria Lewerke-Shapiro, with photography by Eric Cato.

Energize

Mandrill released their eleventh album, Energize, in October 1982 on Montage Records.

Energize contains five Wilson brothers compositions and two songs (“Put Your Money Where the Funk Is” and “Soar Like an Eagle”) by Carlos D. Wilson.

Mandrill self-produced and arranged Energize for Mandrill Productions. This remained their final studio album for eighteen years.

A1. “Put Your Money Where The Funk Is” (5:24)
A2. “Bust Loose” (6:22)
A3. “Wired For Love” (5:45)
A4. “Starry-Eyed” (4:17)

B1. “Soar Like An Eagle” (5:47)
B2. “Get It While It’s Hot” (5:12)
B3. “Believe In You” (5:54)

Sessions occurred at Capitol Recording Studios, Hollywood, and Jennifudy Recording Studios, North Hollywood, June through August 1982, with “Believe In You” recorded at Studio America, Pasadena. Engineers Karen Siegel and Ed Barton handled recording, with Barton also mixing the set.

Discography: