Archive for August 1st, 2012
Welcome to the August 2012 issue of Black Grooves, sponsored by the Archives of African American Music and Culture.
This month we’re featuring nine albums released over the past nine months by “Women of the World”—artists who draw upon a variety of world influences to create a unique sound: Maimouna Youssef, Goapele, Nabiha, Angélique Kidjo, Ayo, Sandra Nkaké, Emeli Sandé, Imani Uzuri, and Lira.
Also reviewed is the new DVD/CD soundtrack for Marley, the documentary of the life of Bob Marley directed by Kevin MacDonald, plus the latest album from Toro Y Moi (a.k.a. Chazwick Bundick), who will be performing at the 2012 Afropunk Fest (the line-up includes other performers recently featured in Black Grooves: Janelle Monae, Straight Line Stitch, Cerebal Ballzy, and Das Racist).
Reissues covered this month include the first CD releases of two albums from members of the P-Funk collective: Quazar by Quazar (with Glen Goins), and Bernie Worell’s All the Woo in the World; two new releases in Concord’s Stax Remasters series: Albert King’s I’ll Play the Blues For You and Booker T & the M.G.’s Green Onions; and the first CD release of the Fairfield Four’s 1989 album Revival.
Other gospel releases this month include albums by Vincent Tharpe and Kenosis, Tammy Edwards & The Edwards Sisters, and the gospel rap artist Flame.
Wrapping up this issue is the South Memphis String Band’s Old Times There . . ., Tank’s latest R&B album This is How I Feel, and Clarence Bekker’s comeback album Old Soul.
August 1st, 2012
Each year since 2002, the National Recording Preservation Board (NRPB) and members of the public have nominated recordings to the National Recording Registry. Recordings selected for the Registry are those that are culturally, historically or aesthetically important, and/or inform or reflect life in the United States. The Library of Congress then identifies and preserves the best existing versions of each selected recording in the Library’s Packard Campus for Audio Visual Conservation in Culpeper, Virginia.
Black Grooves readers are encouraged to make nominations for the 2012 Registry via the online submission form on the NRPB website. Recordings of all types—commercial releases, field recordings, radio broadcasts, spoken word, sound effects—are all eligible provided there is an extant copy and the recording is at least ten years old. Categories include Broadway, Cajun/Zydeco, classical, comedy, folk, ethnic, gospel, jazz, pop, R&B, blues, rap, speeches, news, and just about anything else that has been put to wax. Please remember to submit a brief justification of the recording’s significance along with your nominations.
In 2011 there were 25 new entries on the National Recording Registry including the American Folklife Center’s collection of oral histories “Voices from the Days of Slavery” (1932-1941), “Let’s Go Out to the Programs” (1953) by the legendary gospel quartet Dixie Hummingbirds, Bo Diddley’s rocking first singles “Bo Diddley” and “I’m a Man” (1955), Booker T. & the M.G.’s hit soul instrumental “Green Onions” (1962), the album Forever Changes (1967) by the integrated psychedelic L.A. rock band Love, the ultimate P-funk Afro-futurist concept album Mothership Connection (1975) by Parliament, Donna Summer’s electronic dance hit “I Feel Love” (1977), the Sugarhill Gang’s seminal “Rapper’s Delight” (1979), and Prince and the Revolution’s black rock musical soundtrack Purple Rain (1984).
The full registry includes 350 entries listed in chronological order edning in “Dear Mama” by Tupac Shakur (1995).
The U.S. Presidential election might be several months away, but you can “vote” for your favorite recordings today!
August 1st, 2012
Title: Marley
Format: DVD/Blu-Ray (145 min.)
Label: Magnolia Home Entertainment
Release date: August 7, 2012
===================================
Title: Marley: The Original Soundtrack
Artist: Bob Marley & the Wailers
Formats: 2-CD or 3-LP set, MP3
Label: Island Def Jam/Tuff Gong
Release date: April 17, 2012
There may be numerous books, articles, and documentaries detailing the life of Bob Marley, but Kevin MacDonald has directed something so unique that previous attempts at portraying the reggae superstar pale in comparison. For it is in Marley that one gains a much more personal understanding of Bob not only as a musician, but rather as a man.
With the beautiful panoramic images of the Jamaican countryside and more specifically of St. Ann, Marley’s birthplace, the stage is set for the story of Bob’s humble beginnings. With a white father and black mother, the mixed-race Marley was practically ostracized from the rest of society. Interviews with early friend Bunny Wailer, along with Marley’s mother and other family members, help to detail what he experienced, and how through music he was able to overcome this racial stigma.
As Marley continues, interviews with an exhaustive list of individuals ranging from family to fellow musicians and producers provide an all-encompassing look at the man behind the music. This is where the documentary strays from previous attempts—Bob’s life is not told simply through narration, but is instead explained by those who were closest to him, offering many new insights. Various musicians make appearances, including the reclusive Lee “Scratch” Perry, who surprisingly stays on topic for much of the time spent onscreen. Also included are fellow band members Aston Barrett, the back-up vocals of the I-Threes, and Junior Marvin, among others. Interesting facts about Bob are unearthed—his love of soccer and cricket, his attention to physical fitness—all of which added to his personality. In recollections about his attitude as a father, his children from wife Rita humorously recall him racing as fast as he could against his own kids, refusing to let up even the tiniest bit. It is these insights into the life of Bob Marley that the documentary achieves so well, allowing viewers to form a very close understanding of him, beyond just the music.
Following is the official trailer for Marley:
Plenty of footage is devoted to Marley as a serious musician, and to the message of peace, love and equality that he spread throughout the world with his music. The accompanying soundtrack aptly mixes the Wailers’ music and philosophy as the documentary progresses through Marley’s life. (The soundtrack album, available on CD and vinyl, includes a mix of studio and live performances spanning Bob’s entire career, from an aspiring solo artist in the early 1960s to his reformation of the Wailers in the mid-1970s to his final performances in the late 1970s). There is a very interesting point in the documentary in which Bob’s half-brother and half-sister give a listen to “Corner Stone,” a song that describes the feelings of rejection by Marley’s white father. Needless to say, it’s truly something special. From his attempt at ending political violence between the JLP and PNP to celebrating African independence in places like Zimbabwe, peace, love and equality was always his focal point. Black unity across the entire diaspora is emphasized just as much in the documentary. For example, through interviews we learn of the sadness that Marley felt when playing concerts to a mostly white crowd. The time that Bob dedicated and sacrificed to this cause unfortunately ends too soon. In 1981 Marley passes—he was only 36.
As the film ends with clips of Jamaicans mourning Marley’s death and the credits roll, there is a very touching series of vignettes showing that Marley’s message of peace, love and equality continues to be a driving force throughout the world, thus achieving his greatest wish. From Zimbabwe to Jamaica to India to Ethiopia to the UK to the USA to India to Brazil to Japan and everywhere in-between, murals and images of Bob Marley are still extremely important to people, over 30 years after his death. This is the greatest message of the documentary—Marley’s music has indeed created an interconnectedness that will carry well into the future.
Reviewed by Ian Hallagan
August 1st, 2012
Title: The Blooming
Artist: Maimouna Youssef
Label: (dist. via Bandcamp)
Formats: CD, MP3
Release date: September 20, 2011
Baltimore native Maimouna Youssef grew up singing the traditional Native American songs passed down by her grandmother, who was born in 1922 to a Mississippi Choctaw sharecropping family. Youssef went on to form a jazz/hip-hop/funk band with her cousin while also staying true to her roots through her Afro-Native American group Three Generationz. More recently she has performed with a wide range of international artists including Erykah Badu, Zap Mama, and Talib Kweli. She also garnered significant acclaim for her lead vocals on The Roots’ “Don’t Feel Right,” which received a Grammy nomination and cemented a spot for her on The Roots world tour.
The Blooming represents Youssef’s first full length album, which is largely comprised of original songs showcasing her varied musical and cultural influences. She demonstrates her emcee chops on the title track “The Blooming” (with contributions from Zap Mama), while hip hop also permeates “You Ain’t Hard” (featuring Raheem Devaughan) and the Latin-influenced “O Encontro No Brasil.” The remaining tracks segue between genres, from the bluesy rock of “Black Magic Woman” to the reggae rhythms of “When Music Breathes” to the soulful “Gypsy Woman,” and to the Native American influenced “The Knowing,” which features her mother, Walks on Water (a member of Three Generationz).
Following is the official music video for one of the more mainstream R&B tracks on the album,“I Got a Man” :
Clearly Maimouna Youssef is comfortable singing in any style, be it jazz, hip hop, R&B, neo-soul or world music, and The Blooming aptly demonstrates her superb vocals, songwriting talents, and versatility. In order to fully appreciate the album, however, listeners must be prepared for frequent transitions between genres.
Reviewed by Brenda Nelson-Strauss
August 1st, 2012
Title: Break of Dawn
Artist: Goapele
Label: Skyblaze/Decon
Formats: CD, MP3
Release date: October 24, 2011
Bay-area neo-soul artist and activist Goapele Mohlabane grew up listening to classic soul as well as the Miriam Makeba records owned by her father, a South African political exile. Her Oakland upbringing also immersed her in the cutting edge urban hip hop scene, leading to collaborations with Aceyalone, E-40, Hieroglyphics (on “Soweto”) and other West Coast MCs. Break of Dawn is her third studio album, released on Skyblaze Recordings, a label she owns with her DJ brother, Namane Mohlabane.
Goapele describes her new effort as “a little more aggressive,” evidenced by an increasing reliance upon drum sequencing, the occasional use of Autotune, and beats supplied by local producer Bedrock, among others. While this may increase her appeal to a younger generation of fans, neo-soul purists may well find the electronic elements a bit jarring. The more successful of these tracks is the sensual “Play,” while “Milk and Honey” is overpowered by rather annoying synths. Still, there are many soulful tracks that stand out, especially the more retro “Tears on My Pillow”:
Overall, the vocally gifted, mesmerizing songstress holds great promise. Though the new direction explored on Break of Dawn does not always succeed, her neo-soul songs are right on target.
Reviewed by Brenda Nelson-Strauss
August 1st, 2012
Title: More Cracks
Artist: Nabiha
Label: Discowax/Sony
Formats: CD, MP3
Release date: Feb. 20, 2012 (U.S.)
Danish-born songstress Nabiha Bensouda offers non-stop ultra high energy dance music throughout the majority of her sophomore album More Cracks. Though most of the synth-heavy tracks border on the generic, it is without a doubt perfect music to kickstart a summer party. “Deep Sleep,” her break-out hit in Europe, is indicative of the songs on the album, with infectious hooks, an exuberant delivery, and a driving beat that dares anyone to remain still. If you’re in the mood for a less frenetic pace, “Boomerang” and “Midnight Blues” are stand-out tracks, featuring Nabiha’s soulful side.
Following is the official video for “Trouble,” a track from the album with broader appeal that should please fans of both rock and Euro-pop music:
Nabiha’s following is still largely based in Denmark, though she performed a few concerts in the U.S. earlier this year and is being heavily promoted by Elle magazine, among others. It will be interesting to see what she has planned for her next album, allegedly due out at the end of 2012.
Reviewed by Brenda Nelson-Strauss
August 1st, 2012
Title: Spirit Rising
Artist: Angélique Kidjo
Label: Razor & Tie
Formats: CD, MP3, DVD (PBS)
Release date: February 21, 2012
Designated “Africa’s premier diva” by Time magazine, Beninoise singer-songwriter Angélique Kidjo has released a string of internationally acclaimed albums that draw upon traditional African music as well as jazz and other genres representing the African diaspora―in her words, “music without boundaries.” At the same time, she has lent her talent and energy to a host of organizations promoting peace, conservation, and the empowerment of women.
In 2011, twenty years after she embarked on her solo career, Boston’s WGBH celebrated the occasion with the live concert “Spirit Rising: Angéélique Kidjo and Friends” featuring long time collaborator Branford Marsalis, Josh Groban, Dianne Reeves, and Ezra Koenig (of Vampire Weekend). The rhythm section includes Thierry Vaton on piano, Christian McBride on bass, Dominic James and Marvin Sewell on guitars, Daniel Freedman on drums, and Magatte Sow on percussion, accompanied variously by a trio of horn players from Berklee College, the Kuumba Singers of Harvard, the Borremeo String Quartet and, in the DVD edition, dancers from the Broadway show Fela!.
The concept behind the concert was to feature songs culled from different stages of Kidjo’s career, while also paying homage to her African roots. Tracks include “Batonga” from her 1991 breakthrough album Logozo, “Tumba” and “Afirika” from the Brazilian influenced Black Ivory Soul (2002), and “N’Yin Wan Nou We” from her Latin album Oyaya! (2004). Much of the remainder of the set is drawn from her most recent album, Õÿö (2010), including the highlife tune “Kelele,” a cover of the Rolling Stones’ “Gimme Shelter” featuring Diane Reeves, and a rendition of Curtis Mayfield’s “Move On Up” featuring Marsalis. Additional tracks include Bob Marley’s “Redemption Song,” Gershwin’s “Summertime,” a Kidjo arrangement of Ravel’s “Bolero,” Vampire Weekend’s “I Think UR a Contra,” and “Pearls” sung in a duet with Groban.
Following is the official trailer for the DVD:
Spirit Rising is Kidjo’s first live album, and fans will enjoy these new renditions of her best loved songs. The concert first aired over PBS in March 2012 and is now available on DVD, which features five songs not included on the CD version, as well as a back-stage interview with Kidjo.
Reviewed by Brenda Nelson-Strauss
August 1st, 2012
Title: Nothing for Granted
Artist: Sandra Nkaké
Label: Jazz Village/Harmonia Mundi
Formats: CD, MP3
Release date: March 20, 2012
Sandra Nkaké is a singer-songwriter-composer with roots in Cameroon as well as Paris, where she studied English at the Sorbonne before embarking on a duo-career as an actress and singer. Though she cites Leonard Cohen and Tom Waits as influences, her debut album Mansaadi, released in 2008, has a unique jazz funk vibe evoking the smoky cafes of Paris with a dash of Edith Piaf, Cameroonian pop, and Ennio Morricone. Over the last three years she has performed throughout France, Central Africa, Mexico and Brazil, but is largely unknown in the U.S.
Nkaké’s new album, Nothing for Granted, draws much less upon jazz, striving instead for a moody, experimental, cinematic quality―a soundtrack woven from worldly pop and old school soul. The highly original compositions by Nkaké and her collaborator, flutist Jî Drû, make a unique personal statement, with lyrics that are often hard hitting calls for political action, no doubt influenced by the strife in her homeland. For example, on “Rock It Better” she sings “we stand tall for the right of our land, we fight hard, money and suits won’t control our minds for too long,” while the futuristic ballad “Mankind” has a darker message: “the wind is blowing hard today, dust everywhere / kingdom is going astray, the sun is hot / off the truth we are the nights, gather your troops / white and black horses are coming, to wipe away a world . . .” followed by a refrain urging people to “riot in the name of freedom, riot against oppression, riot in the name of democracy, riot against brutality.” On “Skeletone” she sings about being a black woman in Paris, while the meditative “No More Trouble” speaks to overcoming adversity and “reaching for stars.”
Following are selections compiled from her live album tour:
Nothing for Granted is a completely engrossing album that defies genre boundaries and it will definitely be added to my summer playlist. At present the tracks can be streamed for free from Nkaké’s website.
Reviewed by Brenda Nelson-Strauss
August 1st, 2012
Title: Billie-Eve
Artist: Ayo
Label: Polydor
Formats: CD, MP3
Release date: March 20, 2012
Ayo (a.k.a. Joy O. Ogunmakin), a German-born singer-songwriter-guitarist with Nigerian-Romanian roots, achieved wide acclaim in Europe with her 2006 debut Joyful and sophomore album Gravity At Last (2008). Now based in New York, she is well-positioned to make a bigger splash in the U.S. market with her most recent effort Billie-Eve, named after her young daughter (a play on the word “believe”). The album is comprised almost entirely of Ayo’s original compositions, which she puts forth in a rotating mix of folk, rock and neo-soul that’s occasionally tinged with reggae. The standout tracks on the album are the rock-oriented songs that unleash the talents of Craig Ross (guitarist for Lenny Kravitz) and bassist Gail-Ann Dorsey, including the infectious “I Wanna Dance”:
Of the slower ballads, “Who Are They,” featuring the virtuoso cello of Dave Eggar, and “It Hurts,” accompanied by guitarist Mattieu Chedid, are both exceptional. The final track, “Believe,” is a too-short collaboration between Ayo and poet-singer extraordinaire Saul Williams. On a lighter note, the bonus track “I Want You Back” finds Ayo playfully channeling Michael Jackson.
This album is highly recommended, with excellent production and a wide range of compelling songs backed by A-list musicians.
Reviewed by Brenda Nelson-Strauss
August 1st, 2012
Title: Our Version of Events
Artist: Emeli Sandé
Label: Capitol
Formats: CD, MP3
Release date: June 5, 2012
One of the latest soul singers to break out of the UK is Scotland’s Emeli Sandé, who is currently topping the UK charts with her debut album Our Version of Events. The former neuroscience student initially came to the attention of top producers for her songwriting ability―she’s penned songs for Tinie Tempah and Leona Lewis, and more recently has been working with Alicia Keys. Citing Nina Simone and Lauryn Hill as major influences, Sandé strives to write music that has meaning and is not “throw-away pop.” Her tendency toward socially conscious lyrics also reflects her outsider status, growing up as the only mixed race student at the rural Scottish school where her Zambian father was hired as a teacher.
Though it breaks no new ground, Our Version of Events is a finely crafted neo-soul/pop album and a solid debut for Sandé. Her vocals and songwriting abilities are allowed to shine on several tracks that are refreshingly simple such as “Breaking the Law,” a stripped down ballad accompanied by acoustic guitar, “Hope” (co-written and produced by Alicia Keys), and “Follow Me,” backed by piano with strings. No surprise, however, that her biggest singles off the album are the uptempo, dance-oriented songs “Heaven,” “Daddy” (featuring British producer Naughty Boy), and her break-out hit “Next To Me:”
Sandé has been touring the U.S. this summer, opening for Coldplay in selected cities. No doubt we’ll be hearing more from her in the future.
Reviewed by Brenda Nelson-Strauss
August 1st, 2012
Newer Posts - Older Posts
