Archive for August, 2017

Welcome to the August 2017 Issue

August 2017 Black Grooves small
Welcome to the August 2017 issue of Black Grooves, sponsored by the Indiana University Archives of African American Music and Culture.

As a tie-in to the annual AfroPunk Festival, we’re featuring rock-oriented releases including emerging Seattle artist Ayron Jones’s Audio Paint Job, Benjamin Booker’s socially conscious Witness, The Isley Brothers and Santana collaboration Power of Peace, the EP Over the Covers from Austin Latin funk band Brownout, and Bloodlust from Ice T’s heavy metal band Bodycount.

New jazz and R&B projects include Ronald Bruner Jr.’s Triumph (featuring his brothers Thundercat and Jameel Bruner), Splendid Things Gone Awry from the experimental jazz/hip hop/soul duo  Summer of ’96 (Antman and Lonnee Stevens), Phil Perry’s Breathless, and Billy Ocean’s Here You Are, The Music of My Life.

This month’s blues feature is the Sherman Holmes Project’s The Richmond Sessions, the gospel feature is Sure. Focused. Centered from NextGeneration Choir (St. Louis Shalom Church City of Peace), and the rap feature is Chris Rivers’ DeLorean.

World music releases include Transmisión en la Eritá Metathe story of Afro-Cuban religious drums from ethnomusicologist Amanda Villepastour and Cuban producer Luis Bran, and the compilation Sly & Robbie present Taxi Gang in Disco Mix Style 1978-87.

Wrapping up this issue is our list of July 2017 Releases of Note.

View review August 1st, 2017

Ayron Jones – Audio Paint Job

Avron Jones
Title: Audio Paint Job

Artist: Ayron Jones

Label: Sunyata

Formats: CD, MP3

Release date: June 2, 2017

 

 

When Seattle power rock trio Ayron Jones and The Way burst onto the scene in 2013 with their Sir Mix-a-Lot produced debut album The Dream, the band was suddenly propelled from playing Northwest dive bars to opening for B.B. King, Robert Cray, Run-DMC and Living Colour. Now, four years later, Jones has new personnel in his band as well as a new producer— ethnomusicologist and drummer Barrett Martin (Screaming Trees, Mad Season, Walking Papers).  His sophomore album, Audio Paint Job, is more of a solo project, with Jones credited as singer/songwriter across the 14 tracks mixed by Jack Endino (Nirvana, Soundgarden). As for The Way, current band members Ehssan Karimi (drums) and Bob Lovelace (bass) are featured prominently but not exclusively, while former members—bassist DeAndre Enrico and metal drummer Kai Van De Pitte—also make an appearance. Barrett Martin adds percussion to the majority of the tracks, with occasional forays on the Wurlitzer, vibraphone, piano and backing vocals.

On Jones’s latest project, the Hendrix-inspired guitarist draws upon other iconic elements of the Seattle music scene past and present, including grunge and punk, seasoned with a heavy dose of soul and a pinch of hip hop.  As for the album title, Jones explains: “Audio Paint Job . . . has multiple meanings for me. It’s a story about my mental and spiritual transformation through music.” Overcoming obstacles is a constant theme throughout, as Jones’s songs chronicle his personal struggles: life in the spotlight, a divorce, and the loss of a family member from drug and alcohol addiction.

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The album kicks off with the powerful rock ballad “Take Me Away,” which successfully incorporates a surprisingly diverse sonic palette. Opening with the percussive sound of a typewriter “performed” by Barrett Martin like a modern day Ernie Pyle, the song progresses through a guitar duel between Jones and Lovelace, scratching by DJ Indica Jones, and a lush string arrangement courtesy of Andrew Joslyn. On the edgy ballad “It’s Over When It’s Over,” Jones switches to a 12-string acoustic guitar accompanied by vibes and strings, reinforcing the melancholy mood.

An obvious favorite, the band’s theme song “Boys From the Pudget Sound” features original members Van De Pitte and Enrico. This ode to Jones’s hometown perfectly encapsulates the Seattle vibe, as he disses transplants to the city: “you say you love stormy weather, but child you can’t stand the rain.” The hard rocking track showcases Jones’s guitar chops, while soaring “opera vocals” by Johnathan Wright and percussion by Barrett Martin add to the texture.

B Anthony Nelson (People Zoo Art Works) offered to produce the video for the album’s first single, “Love is the Answer,” which Jones wrote as a message song for turbulent times: “A reminder that while we all experience and perceive different things in our daily lives, we are made of the earth, that’s made of the sun, that’s made of our galaxy, that’s made of the universe. We are the universes. If we want to see a change in our lives, or in the lives of others we must become and project what we wish to see in our world. Love is The Answer” (Paste, 2017).

Additional highlights include the powerful protest song “Stand Up (Take Your Power Back)” and “Lay Your Body Down,” the latter featuring extended guitar solos with psychedelic effects. The album concludes with the slow burner “Yesterday,” which harkens back to ‘60s soul with Joe Doria taking us to church on the B3.

Though already well-known on the West Coast, Ayron Jones will no doubt increase his fan base with his latest album. Audio Paint Job explores a wide range of styles, delivering a sound that’s steeped in the past yet acutely attuned to the present, both musically and thematically. Black rock returns to Seattle!

Reviewed by Brenda Nelson-Strauss

View review August 1st, 2017

Ronald Bruner, Jr. – Triumph

Ronald Bruner Jr Triumph
Title: Triumph

Artist: Ronald Bruner, Jr.

Label: World Galaxy / Alpha Pup Records

Formats: LP, MP3

Release date: March 3, 2017

 

 

Drummer Ronald Bruner, Jr. is a musician who readers may have heard, but haven’t necessarily “heard of.”  A member of L.A.’s groundbreaking cohort of jazz fusion musicians, the West Coast Get Down, he is the brother of bassist Thundercat (Stephen Bruner) and former keyboardist for The Internet, Jameel Bruner, both of whom worked with Ronald on his new release. While his brothers may be more well-known, Ronald’s playing is a staple of Thundercat’s groundbreaking recordings, and his debut album, Triumph, indicates that his solo output will be strong in its own right.

As one would expect from the commercial success of members of the West Coast Get Down, the music on Ronald Bruner, Jr.’s new album is simultaneously pop-oriented and musically virtuosic.  This is perhaps jazz-fusion in its truest sense, drawing elements from R&B, hip hop and contemporary jazz into a musically interesting setting that is still heavy on radio-friendly grooves.

Recorded during the sessions that spawned fellow West Coast Get Down member Kamasi Washington’s The Epic, Triumph is an album that showcases two kinds of musicianship, often on  the same track. One of these kinds of musicianship finds its expression in pop-oriented R&B and the second allows the stellar musicians in Bruner’s band to showcase their chops.  Songs like “True Story” and “She’ll Never Change” are straight-ahead neo-soul tracks, and aside from the drum break that opens the former and the more active than usual playing on the latter, they could easily be mistaken for new cuts from mainstream R&B artists. Other numbers, like “Geome Deome” and “Open the Gate,” continue in the jazz fusion idiom outlined by virtuosic jazzers. These cuts (the former features the late, great George Duke on keys) hearken to the Al Di Meola Return to Forever days, with distorted guitar wailing over a bed of electric piano and start-and-stop drum grooves that are half Questlove, half Lenny White (who gets a shoutout on the album’s final song).

A stylistic chameleon, Bruner moves between styles within songs, morphing from locking in on the club jam “To You” to putting the trap set in the trap beat “For You” on the same track.  This is followed by the album closer “Chick’s Web,” a virtuosic jazz fusion track with a title that alludes to the great big band leader while blazing new trails for fusion drumming. This cut ends with a collection of shoutouts to everyone from family members to West Coast Get Down musicians (in some cases these are one in the same) to heavy-hitter jazz musicians that Bruner has been influenced by and worked with, including Stanley Clarke and Kenny Garrett.

Drummers need to hear this record because Bruner excels at pretty much any idiom a jazz fusion, funk, or R&B drummer might want to play. Bruner’s strength is in his diversity—Triumph is a jazz album that a pop fan can enjoy and an R&B record that has enough musical interest to keep a jazz head coming back for more. However, Triumph doesn’t fall into the “too diverse to be cohesive” trap that many similarly chameleonic albums do. This is a testament to how much Ronald Bruner, Jr. has to say as a musician and how well-refined his style is. This aptly titled LP is indeed a victory for Bruner and his band.

Reviewed by Matthew Alley

 

View review August 1st, 2017

Benjamin Booker – Witness

Benjamin Booker Witness
Title: Witness

Artist: Benjamin Booker

Label: ATO Records

Formats: CD, MP3

Release date: June 2, 2017

 

 

Benjamin Booker’s appreciation for the historical social movements that helped shape the rock, gospel, and blues genres manifests in Witness, his second full album release following his self-titled debut in 2014. He calls attention to the modern day Black Lives Matter movement in his songwriting, connecting its relevance to the Civil Rights Movement.

Booker contemplates the possibility of death in his opening track “Right On,” an energetic soul rock song that feels like it could be played at an old-fashioned dance hall but with a heavier modern sound. Dramatically dropping in energy without losing its steady groove, “Motivation” juxtaposes the previous song, allowing listeners to focus their attention on reflections of a young Black man reasoning with his quotidian anxieties. From the sensuous aesthetic of “The Slow Drag Under” to the vintage blues pop of “Overtime,” Booker’s unmistakable vocal rasp takes center stage in a screaming whisper.

Perhaps the most meaningful feature that takes place on this album is Booker’s collaboration with the Civil Rights Movement’s musical icon Mavis Staples, who leads the gospel chorus on “Witness.” Booker wrote an artist statement about his attempt to escape the perpetual racism and violence he experienced at home and his process of writing this song during his retreat to Mexico:

I spent days in silence and eventually began to write again. I was almost entirely cut off from my home. Free from the news. Free from politics. Free from friends. What I felt was the temporary peace that can comes from looking away… It wasn’t until Trayvon Martin, a murder that took place about a hundred miles from where I went to college, and the subsequent increase in attention to black hate crimes over the next few years that I began to feel something else. Fear. Real fear. It was like every time I turned on the TV, there I was. DEAD ON THE NEWS… I knew then that there was no escape and I would have to confront the problem. This song, “Witness,” came out of this experience and the desire to do more than just watch.

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Opening with an intertwining of orchestral strings reminiscent of Sam Cooke’s “A Change Is Gonna Come,” Booker’s performance of “Believe” may be one of the more memorable tracks on this album. It plays as a gentle and hopeful rise out of his darker experiences and fears. His lyrics promote optimism in the face of opposition: “I’ve got dreams I can touch, I’d give them everything to keep from going under.”

Witness represents a continuation of the fight for racial equality in the United States and will surely be an important contribution to the music history of the Black Lives Matter movement.

Reviewed by Jennie Williams

View review August 1st, 2017

The Isley Brothers and Santana – The Power of Peace

Isley Brothers Sanatana The Power of Peace
Title: The Power of Peace

Artist: The Isley Brothers and Santana

Label: Sony Legacy

Formats: CD, LP, MP3

Release date: July 28, 2017

 

The Power of Peace blends the signature styles of powerhouse performers Carlos Santana and brothers Ron and Ernie Isley into a beautiful tribute to several influential artists whose musical styles range from funk to soul and jazz. Centered on the themes of peace and love, this project is sure to excite listeners as iconic songs are infused with new flavor.

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The album opens with a bang featuring a cover of the Chamber Brothers’ song “Are You Ready.” Layered percussion and drums performed by Santana and his wife Cindy Blackman Santana alongside an intoxicating electric guitar (also by Santana) create a funky and fun soundscape and prepares the listener for a stimulating musical experience. The band maintains this momentum throughout the next two tracks, Swamp Dogg’s “Total Destruction of the Mind” and Stevie Wonder’s “Higher Ground,” on which Santana performs riveting electric guitar accompaniment and solos.

The middle of the album changes pace with a group of softer, slower pieces extolling the beauty of romantic love. Cindy Santana sings her sensual new song “I Remember” with playful background support by Ron Isley. Similarly, Isley and his expert use of falsetto is utterly captivating on the ensemble’s cover of Curtis Mayfield’s “Gypsy Woman.” The male R&B “quartet” sound that shaped the original version is largely absent as the band employs a classic smooth groove, slower tempo and mixed background voices to transform this song into a mesmerizing, seductive ode to unrequited love. Santana and Isley also shine while performing Muddy Waters and Willie Dixon’s frequently covered hit “I Just Want to Make Love to You.” Santana’s energizing guitar riffs and Isley’s vocal dexterity (including growls, moans, etc.) make this a standout track on the album.

The Power of Peace concludes with songs about social justice and harmony such as Marvin Gaye’s “Mercy Mercy Me (the Ecology)” and Dionne Warwick and Jackie DeShannon’s “What the World Need Now is Love Sweet Love.” Isley sensitively delivers these musical messages while supported by Santana’s earnest and beautifully crafted instrumental accompaniment.

While the musical pairing of The Isley Brothers and Carlos Santana would seem unexpected, this project is the realization of a dream. Santana, who has numerous accolades as an artist, now desires to chart new waters and create music with his longtime favorite musicians including the “incomparable” voice of Ron Isley. Listeners will certainly be glad that some dreams do come true as they are inspired, surprised, and entertained by the fresh music of The Power of Peace.

Reviewed by Raynetta Wiggins

 

View review August 1st, 2017

Body Count – Bloodlust

Blodlust
Album: Bloodlust

Artist:  Body Count

Label: Century Media

Release date: March 31, 2017

Formats: CD, Vinyl, MP3

 

 

Anytime Ice-T is involved with an album, you can bet it’s going to make musical headlines. Bloodlust, the newest offering from the metal band Body Count, definitely does that and then some. The first single, “No Lives Matter,” generated attention for the title alone after its pre-album release on February 17th, but combined with front man Ice-T’s reputation for political music, the song literally explodes in all directions at once. Will Putney, the producer for the band’s 2014 release Manslaughter, returns to assist with this project. Commenting on the album title, Ice T explains, “Bloodlust is part of the human makeup…but we know there are consequences.” Never ones to shy away from presenting what they feel are facts, Ice-T and Body Count have been offering their commentary on modern society via the platform of heavy metal since the early 1990s.

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Much like their previous works, Body Count provides its fan base with a solid dose of the rock sound, complete with driving beats comprised of thick bass, percussion cadences and vigorous vocals. Each track offers unique juxtaposing surprises—from the abrupt silences within “Black Hoodie” to Ice-T’s explanation for the album at the front of “Raining In Blood/Postmortem 2017.” If you recognize sounds reminiscent of the ‘80s band Slayer, then you know your metal. The single “All Love is Lost” features Max Cavalera, a Brazilian singer and songwriter who has worked with Tom Araya of Slasher on past Soulfly collections. Dave Mustaine, thrash metalist currently leading Megadeath in addition to claiming status as original lead guitarist for Metallica, lends his seriously sick talents to the first song, “Civil War.” Rounding out the featured spots is Lamb of God’s D. Randall Blythe, adding a hardcore punk backdrop to Bloodlust’s “Walk With Me.”

Is Bloodlust an album that should be part of everyone’s collection? It depends on one’s musical taste, but it should be on everyone’s radar due to its social commentary. Pushing past the hype, the dark sounds and the seemingly endless abyss of emotion reveals a gritty, unflinching stare into the world we all know exists; one few of us are brave enough to address in such a public manner. Offering no real solutions but a few explanations of why it is what it is, Ice T and his band accomplish what they do best—forcing us to confront the monster from under the bed, in the hope we can all better understand exactly how to defeat it.

Reviewed by Amy Aiyegbusi

 

View review August 1st, 2017

Brownout – Over the Covers

Brownout Over the Covers
Title: Over the Covers

Artist: Brownout

Label: Fat Beats

Formats: CD, MP3

Release date: June 2, 2017

 

 

Over five years have passed since Brownout’s last official release of original music, Oozy (2012). Those familiar with the band likely remember the widespread acclaim during this period for the Brown Sabbath project, featuring Brownout’s own Latin funk twist on Black Sabbath covers. Collaborations with fellow Austin, TX musical comrades such as Black Angels vocalist Alex Maas and Ghostland Observatory vocalist Aaron Behrens resulted in two Brown Sabbath albums and multiple tours over the last four years.

While touring behind the Brown Sabbath project and moonlighting as alter ego Grammy Award-winning Latin funk orchestra Grupo Fantasma, Brownout recorded their new four-song EP Over the Covers everywhere from the Bay Area to central Texas. The songs on Over the Covers—inspired by African funk (“You Don’t Have to Fall”), ‘60s and ‘70s rock, and New Jack Swing (“Things You Say”)—are at once psychedelic and funky, embracing the experience of Brown Sabbath but melding it with the band’s hallmark sounds.

Brownout’s body of work preceding Brown Sabbath contained some of the best funk and rock to come out of Austin over the last decade, so it’s great to see them back in writing mode and focused on their own material. Over the Covers represents a shift in the band’s approach, pairing their instrumental arrangement acumen with a new lyrical direction.

Alex Marrero joins the band as lead singer and lyricist for this release.  Says Marrero, “For me it was all about the process of collaboration and starting to fit into Brownout as an actual new member vs. being the front man for Brown Sabbath. Part of that was tackling the songwriting. If there is an underlying theme in all of these songs it would be symptoms of the human condition, which anyone can relate to.”

Reviewed by William Vanden Dries

View review August 1st, 2017

The Sherman Holmes Project – The Richmond Sessions

Sherman Holmes
Title: The Richmond Sessions

Artist: The Sherman Holmes Project

Label: M.C. Records

Formats: CD, MP3

Release date: July 21, 2017

 

 

This remarkable release is the first for Sherman Holmes since the passing in 2015 of both his brother and bandmate, Wendell Holmes and Popsy Dixon of the Holmes Brothers. Despite these somber circumstances, this uplifting project is a dedication to both the Holmes Brothers and the Americana music that brought the band together and sustained their career for over 50 years. Produced by Jon Lohman of the Virginia Folklife Program at the Virginia Foundation for the Humanities and recorded at Montrose Studios in Richmond, The Richmond Sessions is a collection of bluegrass, gospel, blues, and traditional songs that represent the roots of Holmes’ extensive musical career.

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Originally from Christchurch, Virginia, the Holmes Brothers formed as a trio after years of performing the Chitlin’ Circuit. They are known for their eclectic blend of southern American genres supported by Wendell Holmes’ effortless electric guitar playing, Popsy Dixon’s drum work and falsetto voice, and Sherman Holmes’s deep resounding bass. In 2014, they were honored with a National Endowment for the Arts National Heritage Fellowship after working with the Maryland Traditions Apprenticeship Program, and from 2014-2015, they participated in the Virginia Folklife Apprenticeship Program where they mentored a new generation of musicians, passing on cultural knowledge and musical techniques. The Sherman Holmes Project took shape shortly after Holmes performed “I Want Jesus” at the Virginia Apprenticeship showcase in memory of the Holmes Brothers, a beautiful blues traditional song featured on this album.

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Several accomplished artists are featured on the Richmond Sessions including the Ingramettes singing backup vocals, Dobro player Rob Ickes, banjoist Sammy Shelor, and multi-instrumentalist DJ Harrison. Special guest Joan Osborne sings alongside Holmes on “Dark End of the Street” while “Breaking Up Somebody’s Home” brings the studio band together for a three-minute instrumental jam. Many of the recorded songs are favorites of Holmes, such as Creedence Clearwater Revival’s “Green River” and Vince Gill’s “Little Liza Jane.” Other tracks feature songs the Holmes Brothers once performed together, such as “Homeless Child” and “Rock of Ages.”

Produced by the Virginia Foundation of the Humanities, The Richmond Sessions genuinely represents a public appreciation for the music and memory of the Holmes Brothers as Sherman continues to perform and record music. Sherman Holmes will be performing at various festivals this summer and fall; check his website for tour dates/locations.

Reviewed by Jennie Williams

View review August 1st, 2017

Delorean – Chris Rivers

Delorean Chris Rivers
Album: Delorean

Artist:  Chris Rivers

Label: That’s Hip Hop Music

Release Date: July 14, 2017

Format: CD, MP3

 

 

For fans of a certain 80s/90s movie series, the mere mention of a DeLorean speeds up the pulse. But for all its album cover throw-back and the artist’s well-known connection to Big Pun, Delorean proves that Chris River’s music is anything but a backward glance. Well-known in hip hop’s inner circle, Rivers has toured the country with world-renowned Def Jam artist Jadakiss, headlined a European tour, and opened up for Cypress Hill, Immortal Technique, Kool G Rap, and Big Daddy Kane. From the beginning of his career in 2012, Rivers made it obvious he was out to slay all mikes with a take-no-prisoners mentality that earned him the title of Cypher King. His career accolades and successes include performing in the 2015 NBA All Star Sprite Cypher, winning the Best Freestyle of 2016 by Team Backpack, and participating in the 2016 BET Hip Hop Awards Cypher, which was later featured as a Jam of the Week on BET JAMS.

The album features a 21-track set of River’s lyrical spinnings that challenge the listener through detailed alliteration, assonance and allegory. The title track, “Delorean,” features Bronx artist Whispers, up-and-coming in the hip hop world himself. This song sets the tone for the album, as listeners are in for a ride as they experience life through the lens of deep musings and futuristic measuring. Infused between Rivers’ offerings are three unique “Time Zones”—quick bursts of thought from Rivers, Whispers and Oswin Benjamin that smell of impromptu slams and smoky stages. “Fear of my Crown” speaks to the past and hopes for the future in ways relatable to everyone, and the last track, “Brightness”, serves as a conscious reminder to value the self, not the trappings of Self. A lyrical dragon who breathes fire with his vocal artillery and technically efficient vernacular, Chris Rivers demonstrates that in the world of hip hop, he is truly on track to be King.

Reviewed by Amy Aiyegbusi

View review August 1st, 2017

Summer of ’96 – Splendid Things Gone Awry

Splendid Things
Title: Splendid Things Gone Awry

Artist: Summer of ’96

Label: Unsociable Music/RED

Format: MP3

Release date: July 21, 2017

 

 

In case you’re still searching for the perfect summer soundtrack, look no further than this new project from Atlanta based singer/songwriter Lonnee Stevens (aka Alonzo Stevenson) and Philadelphia-based composer/producer Antman Wonder, collectively performing as the Summer of ’96. Their group name references the watershed year for hip hop that produced landmark albums by Nas, The Fugees, OutKast, The Roots, 2Pac, and A Tribe Called Quest, among others.

Hearkening back to the golden era of hip hop, the duo use live instrumentation to weave a seductive blend of jazz, soul and rap to create a contemporary soundscape. Stressing that no samples were used in the making of this album, Antman created the original compositions which were then revised and expanded upon by Stevens. Standout tracks include the provocative “Not a Rich Man” featuring Royce 5’9, the harmonically complex “Mahogony Blue” featuring vocals by Lonnee and Teedra Moses, the multi-layered “All That Jazz,” and the cinematic “Wondersong” that’s awash with flute and strings.

Bowing out with the title track featuring Bill Kahler on sax, Antman and Stevens provide a satisfying conclusion to Splendid Things Gone Awry by showcasing their multitude of musical influences.

Reviewed by Brenda Nelson-Strauss

 

 

View review August 1st, 2017

Various – Sly and Robbie Present Taxi Gang in Disco Mix Style 1978-1987

Sly and Robbie
Title: Sly & Robbie Present Taxi Gang In Disco Mix Style 1978-1987

Artist: Various

Label: Cree/Bear Family

Formats: CD, LP

Release date: March 10, 2017

 

Sly & Robbie Present Taxi Gang In Disco Mix Style 1978-1987 is a relatively short compilation chronicling the late ‘70s and ‘80s work of the most famous “riddim” section in reggae music.  Sly Dunbar and Robbie Shakespeare’s work as producers was very influential in helping to create the sounds that Jamaican music would be known for during this period.  Both Sly & Robbie got their start as sessions musicians (as a drummer and bass player, respectively) before moving over to the production side of things.

The rhythm Sly and Robbie became known for featured electronic drums and vocal effects and would become commonplace in reggae under their influence.  This also went on to influence the practice of “toasting” (chanting and shouting out folks over a beat), which in turn would be one of the building blocks on which rap music is based.

With this disappointingly brief eight track compilation (but still a full 58:16), Cree Records highlights cover versions of American soul and disco hits covered by Jamaican artists, produced by Sly & Robbie. Included are covers of songs made famous by Marvin Gaye, The Spinners, The Impressions and others. Both the CD and LP offer great liner notes by reggae expert Noel Hawks that set the scene for Sly & Robbie coming together and creating their unique production style.

The compilation begins with Tinga Stewart’s cover of Tony Joe White’s “Rainy Night In Georgia” (more famously covered by Brook Benton). With Sly & Robbie’s help, Stewart’s version takes what in Benton’s hands was a melancholy song of lament and turns it into a fun, danceable romp. Despite the bit of cognitive dissonance in the song, it is quite enjoyable nonetheless.

The lone female vocalist (really wish there were more) on the compilation is Marcia Griffiths of the I-Threes (backing vocalists for Bob Marley along with Rita Marley and Judy Mowatt), who covers Little Willie John’s “Fever.” Sly and Robbie’s sonic accompaniment is as sparse as the original, highlighting Griffiths’ vocals (if you enjoy this, definitely check out Griffith’s Play Me Sweet and Nice).

Two Marvin Gaye covers appear here with great results. Let’s be real for a second—nobody’s going to touch Gaye’s vocals on the original version. However, accepting this fact allows you to enjoy these covers for what they are, and both truly highlight Sly and Robbie’s production work.  “Sexual Healing” adds additional rhythm to the original’s yearning groove, creating a vibe that is uniquely Jamaican. “Inner City Blues” crackles with the same urgency as Gaye’s original and sports a great reggae-fying of the bassline.

Overall, the sound quality on the compilation is fantastic as it sounds like all of the selections have been digitally remastered.  Each one is presented in its full length form, including extended jams perfect for dancing and/or “toasting,” creating the vibe of a warm night in a dancehall.  If you are a Sly & Robbie aficionado or you want an introduction to the influential production duo, this compilation communicates why Sly & Robbie have been so influential around the world.

Reviewed by Levon Williams

 

View review August 1st, 2017

Ilú Keké – Transmisión en la Eritá Meta

Bata drums image

Album: Transmisión en la Eritá Meta

Artist:  Ilú Keké

Label: Music Works NYC

Release date: August 10, 2017

Formats: CD, MP3

 

 

Ethnomusicologist Amanda Villepastour and Cuban producer Luis Bran have teamed up to bring the story of multi-generational religious drums, Ilú Keké, to a global audience. The 21-track album, titled Transmisión en la Eritá Meta, is a rich introduction to Yorùbá deity traditions conducted in the diasporic setting of Cidra. Resulting from the witnessed reminisces of the late Justiliano Pelladito, this musical project took both Villepastour and Bran on an iconic journey to uncover the history of Ilú Keké, one of the oldest remaining bàtá sets in the Matanzas region of Cuba.

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The musicality of the album is captivating, even to the novice. Detailed liner notes guide listeners through each selection, providing the history and purpose in addition to key visual images. Locations in and around Cidra feature as prominent backdrops for each track, adding to the presentation’s depth of cultural offering. Drifting between gritty field recordings and pristine studio production, Ilú Keké’s deep-rooted spiritual meaning is captured through powerful drumming that transmits sacred knowledge from the elders to following generations. Transmisión en la Eritá Meta ensures that Ilú Keké takes its rightful place in Cuba’s history of bàtá drumming.

Reviewed by Amy Aiyegbusi

 

 

 

View review August 1st, 2017

Dr. F. James Clark Presents NextGeneration Choir – Sure. Focused. Centered.

Sure Focused Centered
Title: Sure. Focused. Centered.

Artist: Dr. F. James Clark Presents NextGeneration Choir

Label: City Of Peace

Formats: CD, MP3

Release date: June 23, 2017

 

Sure. Focused. Centered is the debut album of the St. Louis Shalom Church City of Peace’s young adult ensemble NextGeneration Choir. It is a contemporary answer to the church’s first project, Simply Amazing (2015), which featured powerful, gospel songs performed by their mass choir.

The album opens with the bold and dynamic anthem “Psalm 23” which features unpredictable rhythmic and dynamic shifts with soprano, alto, and tenor (SAT) voices interweaving as they sing the scriptural passage. The debut single “You Are” is a fun and memorable up-tempo song that describes attributes of God. While the chorus is a simple repeated phrase, “You are,” it does not lack energy or momentum due to surprising and powerful vocal interjections by the sopranos (who are quite a force on this album).

Another noteworthy piece is the traditional gospel styled “Blessing Me,” featuring the St. Louis based vocalist Meaghan Williams-McNeal. Alongside the choir and soloist’s robust performance, ragtime tinged piano plus funky horns, a healthy backbeat established by the rhythm section, and an energizing tambourine set the stage for a rocking musical worship session. Similarly, NextGeneration and acclaimed soloist Chrystal Rucker channel Sunday morning worship with the piece “I Have a Testimony,” which features a wonderful call and response interplay between the soloist and choir.

Overall, this album offers a sampling of contemporary (and even traditional) gospel stylings that is sure to encourage listeners to be Sure, Focused, and Centered in their faith.

Reviewed by Raynetta Wiggins

View review August 1st, 2017

Billy Ocean – Here You Are: The Music of My Life

Billy Ocean

Album: Here You Are: The Music of My Life

Artist:  Billy Ocean

Label: Legacy Recordings

Formats: CD, MP3

Release date: July 21, 2017

 

 

Riding on the success of the 2016 European 2-disc compilation, Here You Are: The Best of Billy Ocean, Legacy Recordings has just issued a stateside version of Billy Ocean’s self-reflective collection, Here You Are: The Music of My Life. Featuring 10 new performances and 5 long-standing favorites, Ocean provides an audio window through which listeners can view his musical inspirations during his 45+ years as a Grammy award winning R&B artist. Ocean’s current 15-track release coincides with his first set of US tour dates in over 20 years—as one of the featured headliners on the 2017 Replay America Festival.

The title track of the album, “Here You Are,” written by Billy Ocean and Barry Eastmond, is a testament to the various musical influences that have stirred Ocean’s creativity over the decades. The song is captivating—a steady, rhythmical rocking ballad back-dropped against the classic sound of Ocean’s signature croon—and is sure to become a strong staple for his fans. True to the album’s subtitle, Ocean provides covers of the music that has most affected his development as an artist followed by five of his biggest chart-toppers. The iconic “A Change is Gonna Come” by Sam Cooke and Mike Pinder’s “A Simple Game” resonate with, as Ocean states, “everyone waiting for a change…every generation transcending the barriers of colour,” such as himself, who have “lost the concept of life as a spiritual thing, like who we are, what we are, and what we were meant to be.” Bob Marley’s influence is noted as well, through covers of his single “Judge Not” and the well-known “No Woman, No Cry” recorded by Bob Marley and the Wailers.

Ocean’s rendition of “It Was a Very Good Year,” written by Ervin Drake, is easily the most resonant song on the album. As he lulls, “But now the days are short, I’m in the autumn of my years, and I think of my life like vintage wine,” one can’t help but toast Ocean’s own impact upon the music industry through his mega-hits that conclude the disc: “Caribbean Queen 9 (No More Love on the Run),” “Get Outta My Dreams, Get Into My Car,” “When the Going Gets Tough, the Tough Get Going,” “ Suddenly,” and “There Will be Sad Songs (to Make You Cry).”

It was—and is—a very good career for Billy Ocean. Here You Are: The Music of my Life bestows proof of just that.

Reviewed by Amy Aiyegbusi

 

 

 

 

 

 

View review August 1st, 2017

Phil Perry – Breathless

Phil Perry Breathless
Album: Breathless

Artist:  Phil Perry

Label: Shanachie

Formats: CD, MP3

Release date: February 24, 2017

 

 

Phil Perry is back with his latest album Breathless, a ten-track CD of R&B and smooth jazz. Joined on the album by his producer and pianist Chris Davis, Perry has this to say about the musical partnership: “Chris and I respect the music the same way we respect each other. It’s a unique and rare thing and it’s easy because we speak the same language.”  It’s obvious that Davis and Perry trust one another and have something special going, and the album reflects their successful combination. Phil Perry, you see, is a voice one must listen to—a dynamic singer with the uncanny ability to make you a believer with a single note. I would put Perry in the Will Downing category, flying under the radar to where the solid R&B fans are, but Perry’s true music listeners know the real deal when they hear it.

Perry includes his own covers of three songs previously performed by other artists, which are “Love In Need Of Love” by Stevie Wonder, “Is It You” by Lee Rittenour and “One Less Bell To Answer” by the Fifth Dimension. He takes a different approach on the Stevie Wonder classic by slowing the pace down—way down. On “Is It You,” Perry stays with Rittenhour’s original sound, and on the Fifth Dimension classic he adds a fresh perspective by singing it from a male point of view. “Do Whatcha Gotta Do,” written by Chris Davis, is a cute piece. It showcases the combined talents of both artists, giving fans a true dose of the magic that is Perry’s rich smooth tenor.

Providing the soundtracks for over four generations of fans, Phil Perry has done it once again. In a class by itself, Breathless is smooth, and Phil Perry’s vocals will leave you feeling just that.

Reviewed by Eddie Bowman

View review August 1st, 2017

July 2017 Releases of Note

Following are additional albums released during July 2017—some will be reviewed in future issues of Black Grooves.

 Blues, Folk, Country
Jimmy Reed: Mr. Luck Complete Vee-Jay Singles (Craft)
King James & The Special Men: Act Like You Know (Special Man)
Mighty Joe Young: Live From North Side of Chicago (RockBeat)
Various: Worried Blues series (Fat Possum)

Funk, Rock, Pop, Electronic
Arthur “Big Boy” Crudup: Rocks (Bear Family)
Kevin Saunderson: Heavenly Revisited (KMS)
Lafa Taylor & Aabo: Feel (Mixto)
Polyseeds: Sounds of Crenshaw Vol. 1 (Ropeadope)
Taveeta: Resurrection (Gladiator)
Toro Y Moi: Boo Boo (Carpark )

Gospel, Gospel Rap, CCM
Anita Wilson:  Sunday Song (eOne Music Nashville)
Anthony Brown & Group Therapy: A Long Way From Sunday (Tyscot)
Bill Moss Jr : Songbook of Praise & Worship (Salathiel)
Gene Moore: The Future (Motown Gospel)
Le’Andria Johnson: Bigger Than Me  (Verity)
Ricky McDuffie & The Family: He Changed Me (Ophirgospel)
Sho Baraka: The Narrative, Vol. 2: Pianos & Politics (Columbia)
Tauren Wells:  Hills and Valleys (Reunion)

Jazz
Ahmad Jamal : Marseille (Jazz Village)
Bryant/Fabian/Marsalis : Do For You? (Cap)
Charles Lloyd New Quartet: Passin’ Thru (Blue Note)
Cyrus Chestnut: There’s A Sweet, Sweet Spirit (HighNote)
Dezron Douglas Quartet: Soul Jazz
Douyé: Daddy Said So (Rhombus)
Eric Gale: The Definitive Collection  (Robinsongs)
Eric Roberson: Wind  (Blue Erro Soul)
Gary Bartz Ntu Troop: Harlem Bush Music (reissue) (Jazz Dispensary)
Gerald Beckett: Oblivion (Summit)
Gerald Cannon: Combinations (Woodneck)
Joe Henderson & Alice Coltrane: Elements (reissue) (Jazz Dispensary)
Russell Malone: Time for the Dancers (Highnote)
Stanton Moore: With You In Mind Songs of Allen Toussaint (Cool Green)
Yolanda Brown: Love Politics War (Black Grape)

R&B, Soul
Alfa Anderson: Music from My Heart (digital)
Aretha Franklin: Divas Live (MVD Visual)
Don’t Miss A Beat: My Destiny (digital)
Eddy Grant: Reparation (Ice)
Esther Phillips: Beautiful Friendship Kudu Anth. 1971-76 (SoulMusic)
Force M.D.’S:  Our Favorite Joints (Goldenlane)
Harvey Mason: Sho Nuff Groovin You: Arista Anthology   (BBR)
Jimmy Reed: Mr. Luck Complete Vee-Jay Singles (Craft)
LeVert: Family Reunion The Anthology (SoulMusic )
Mr. Jukes: God First (Alamo/Interscope)
Royce Lovett: Love & Other Dreams (Motown Gospel)
Sam Frazier, Jr.: Take Me Back (Big Legal Mess)
Sevyn Streeter: Girl Disrupted  (Atlantic)
Ultra Naté & Quentin Harris: Black Stereo Faith (Peace Bisquit)
Various: Complete Loma Singles Vol. 1 (Real Gone Music)
Various: Foxy Brown OST (expanded) (Motown)

Rap, Hip Hop
Aminé: Good For You Explicit (Republic)
Decompoze: Maintain Composure (Orchestrated Prods)
Dizzee Rascal: Raskit (Island)
DJ Harrison : HazyMoods (Stones Throw)
DJ Krush : Kakusei
Gensu Dean & Wise Intelligent: Game of Death (Mello Music)
Illa J: Home (Jakarta Records)
Issa: 21 Savage (Epic)
Madchild: The Darkest Hour  (Battle Axe)
Malik Turner:  Invisible Freedom  (Osceola Music Group)
Marquee: Femme Fatale (Marvel/Shinigamie)
Marty Baller: Baller Nation (916% Ent.)
Meek Mill: Wins & Losses (Atlantic)
Philthy Rich: Neighborhood Supastar 4 (dig.) (Empire)
SahBabii : S.A.N.D.A.S. (Warner Bros.)
Shabazz Palaces: Quazarz Born on a Gangster Star (Sub Pop)
Snoop Dogg: Neva Left (Empire)
Stalley: New Wave (Real Talk Ent.)
The Doppelgangaz: Dopp Hopp  (Groggy Pack Ent.)
Therman, Prod. Roc Marciano: Sabbath (Hardtimes)
Trae tha Truth: Tha Truth, Pt. 3 (ABN)
Tyler, The Creator: Flower Boy (Sony)
Vic Mensa: The Autobiography (Roc Nation)
Wizkid: Sounds From the Other Side (Starboy/RCA Records)

Reggae
Chronixx: Chronology (Virgin)
Damian Marley: Stony Hill (Island)
Delroy Wilson: Here Comes the Heartaches  (Kingston Sound)
Various: Treasure Isle Story: The Soul of Jamaica (Sanctuary)

World
Rio Mira: Marimba Del Pacifico (Aya Records)
Sibusile Xaba: S/T (Mushroom Half Hour)
XOA: Mass/Mon Ecole EP (Soundway)
Jupiter & Okwess : Kin Sonic (Glitterbeat)

View review August 1st, 2017

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