Black Grooves is published by the Archives of African American Music and Culture.  Follow us on Facebook

Artist: The Roots

Label: Def Jam

Catalog No.:  B0013085-02

Formats:  CD, MP3

Release date:  June 22, 2010

_

Black Thought croons his way over Dice Raw’s choruses of the title cut, switching effortlessly to rap in the verses. It’s a microcosm for the whole record.  On their 9^th studio release, The Roots once again position themselves as the simultaneous misfits and masters of hip hop. Unlike their previous few releases, however, How I Got Over has appeal for a broader audience than most of their records, and I daresay some serious danceability. The live version of this title track from the Late Show with Jimmy Fallon is five minutes of pure joy that would have made the Godfather of Soul proud.

The collaborators are not the usual suspects for The Roots, but they are consistent with the band’s recent turn toward different audiences and festival performances.  The Monsters of Folk play a tender intro to “Dear God 2.0” that is more My Morning Jacket than hip hop.  Patty Crash and Joanna Newsome sing melancholy choruses on “The Day” and “Right On,” respectively. Black Thought’s verses and ?uestlove’s hard-hitting grooves drive John Legend’s sound on “Doin’ It Again” and “The Fire,” the latter of which is the most convincing pop-appeal collaboration on the record. With every Roots album, we always wonder how they will continue such quality content, no matter which direction they go. They do it again on this record, and the lyric “Dear diary, the fans still swear by me” says they know exactly what they’re doing.

Still, the tastiest tracks here are pretty much straight up Roots Crew material. Dice Raw sings groovy, almost Marvin Gaye-like choruses on “Walk Alone,” “Radio Daze,” and “How I Got Over.” Most hip hop groups could never get away with becoming a house band on a network late night show without being seen as total sellouts, but The Roots seem to have made the transition gracefully. They still put out the most thoughtful hip hop on the market, and now they do it with even more live swagger than ever before.

Following is a video of the single, How I Got Over ((C) 2009 The Island Def Jam Music Group):

Click here to view the embedded video.

Reviewed by Peter Hoesing

Title: El Che

Artist: Rhymefest

Label: dN|Be Entertainment

Format: CD, MP3

Release date:  June 8, 2010

-

Four years is an eternity in the music game, and that’s the last time we had an album from the “Chicago-Rilla” known as Rhymefest (aka Che Smith). Many also know him as the “Brand New” lyricist who co-wrote Kanye West’s Grammy-winning “Jesus Walks.” But a lot has changed since Rhymefest’s 2006 debut Blue Collar. For starters, he parted from J Records, citing creative differences over his sophomore album.  He eventually decided to leave major labels behind, opting to go indie, and now resides with dangerousNegro’s own dN|Be Entertainment. What else has transpired since 2006? Just push play, and Rhymefest will be glad to tell you.

El Che is the album the industry didn’t want Rhymefest to make. Loosely structured around the identity and purpose of the Argentinean revolutionary Che Guevara,  El Che is packed with social rhetoric on everything from the business, to the streets, to the church. The album is designed as if Rhymefest himself is a covert rebel for an underground revolution. The masses are unaware of the battle that will soon commence. Our only hope is Che and his lyrical revolution.

‘Fest kicks in the door with the bombastic “Talk My S**t,” which ironically samples West’s “Swagga Like Us” verse. With “Truth on You,” he takes out the middleman to address any rumors surrounding his hiatus, his current relationship with the Louis Vuitton Don, and anything in between.  And in “Chicago” he relentlessly targets the artistic lows of today’s hip hop.

He transfers his assault towards television evangelists on “Prosperity”―one of the standout tracks.  A far cry from the emotional spiritual he penned with West, this painfully honest song speaks to why he walks with Christ and not with men of the cloth. He then switches it up with the sincere vulnerability in “City Is Falling,” a stirring song over a lost relationship.

Here is the official video for “Prosperity” (directed by Konee Rok):

Click here to view the embedded video.

Featured guests on the album include Phonte on the relationship therapy “Say Whassup,” and a very impressive Saigon and Adad on the frantic “Give It to Me.”  El Che is suited for the hip hop die hard that enjoys well-written storytelling and raw lyricism. If this doesn’t motivate a purchase, maybe his plan to do a video for every track will eventually get you to join the movement.

On the following video, Rhymefest discusses his new album with reporters in Hong Kong (directed by Konee Rok):

Click here to view the embedded video.

Reviewed by Lorin Williams

Title: We Walk This Road

Artist: Robert Randolph and the Family Band

Label: Warner Bros.

Formats: MP3, CD

Release Date: June 22, 2010

-
-

In the liner notes to We Walk This Road, Robert Randolph states, “This record is a celebration of African-American music over the past one hundred years and its social messages from the last thirty. Although we cover a whole timeline of different eras on We Walk This Road, what ties these songs together remains their message of hope, their ability to uplift.”  A more astute assessment of this album could not be made.   Robert Randolph and the Family Band have come full circle on We Walk This Road, combining their gospel, blues and soul roots into one very cohesive whole.

Robert Randolph and the Family Band’s previous recordings have relied heavily on an attempt to capture their dynamite live performances and jam band leanings.  However, We Walk This Road is a far more focused effort, which reflects the input of T-Bone Burnett whom the band tapped to produce this album.  Burnett’s most famous production work to date is likely the soundtrack for Oh, Brother Where Art Thou?, and his knowledge of traditional music (such as the selections on from that soundtrack) made him a good choice for the direction Randolph was headed.

Following is the official promo video:

Click here to view the embedded video.

The album starts strong with “Travelling Shoes,” an interpretation of a spiritual most notably recorded by Mitchell’s Christian Singers in the 1930s. RR&TFB give it an update without losing any of the songs’ reverence.  This track also showcases their strength as a unit―all of the band members make a strong offering, resulting in one of the best songs on the album.

While Randolph’s pedal steel guitar work is undoubtedly the star of the band, one area in which the band’s previous efforts have suffered is in the vocals.  Randolph himself is not a great singer (although he certainly manages), but on “We Walk This Road” bandmates Daniel Morgan and Lenesha Randolph (Robert’s sister) step up vocally in a much stronger way than they have in the past.  Their presence on the wonderful “I’m Not Listening” and the politically tinged “I Don’t Want to Be A Solider Mama” truly enhance the power of each.

Ben Harper, a musician who’s own output has become more steeped in traditional gospel and roots music over the course of his career, lends his slide guitar work and vocals to another of the album’s stand out tracks, “If I Had My Way.”  Based on a traditional song by Blind Willie Johnson, this new rendition is a soul-stirring, church-shaking, monster than one can’t help but “get happy” to while listening.

We Walk This Road also includes a couple of modern covers. Prince’s “Walk Don’t Walk” from his Diamonds and Pearls album and the title track from Bob Dylan’s Shot of Love album get the Family Band treatment―both yielding excellent results.  Randolph’s pedal steel guitar work on “Walk Don’t Walk” should make His Royal Badness proud.

Overall, We Walk This Road does a masterful job at what it sets out to do.  It makes the connection of all black music apparent by modernizing the sound of traditional songs and interweaving them with contemporary covers, without losing one shred of the originals’ authenticity or losing their own identity as a band.  The Family Band’s respect for the songs as well as the artists who created them could not be more apparent.  They, with the help of T-Bone Burnett, have created a very solid release. We can only hope that Robert Randolph and the Family Band continue in this direction as their careers continue to blossom.

Reviewed by Levon Williams

Artist:  Rocky Dawuni

Label:  Aquarian Records

Formats:  CD, MP3

Release date:  June 15, 2010

-

Ghanaian artist Rocky Dawuni combines reggae with various world music influences on this rich collection centered around conscious lyrics and diverse arrangements. Still a bit under the mainstream cultural radar (Wikipedia, for example, has no Rocky Dawuni article—yet), Dawuni’s deft touch and expressive voice constitute a modern reggae treasure as his work reflects roots reggae influences in an updated cosmopolitan style.

Following the opening track, “Download the Revolution,” is Dawuni’s “African Reggae Fever,” a call to the faithful of Rastafari to unite across the diaspora and embrace the all-encompassing love of all humanity that Bob Marley promoted. It’s an upbeat, infectious song of joy and Duwani’s acrobatic skanking in the video for the song creates an entirely entertaining experience:

Click here to view the embedded video.

“Jerusalem” is a more serious but no less enjoyable musical excursion in a mid-tempo reggae arrangement in which hints of Marley again shine through. But other influences are no less noticeable and enjoyable. The instrumentation on “Jerusalem” combines Middle Eastern influences―notably Dumbek rhythms that are reminiscent of, but distinct from the Nyabinghi drums that accent much Jamaican roots reggae―with shimmering layers of disparate influences. One hears pronounced hints of Scandinavian music, which is no real surprise given that Dawuni has toured with Finnish musicians and employs a Finnish folk flute to good effect in his band.

Click here to view the embedded video.

This is truly world music at its best in that the resulting songs are seamlessly rendered and the whole of the album creates a consistent musical feel in support of Dawuni’s socially conscious lyrics. The artist is well known for his willingness to address issues like the effects of poverty in Africa and the spread of AIDS―not, unfortunately, a universal attribute of pop musicians. Dawuni is a musician of extraordinary reach and wide vision as witnessed in his version of John Lennon’s “Well, Well, Well” on the Instant Karma: The Amnesty International Campaign to Save Darfur album.

The rest of the songs on this set (“Extraordinary Woman,” “Walls Tumblin’ Down,” “Master Plan,” “Road To Destiny,” “Freefall,” “Walk the Talk,” “Heads Up High,” and “Take It Slow (Love, Love, Love)”) are equally well-realized and mark this album as a must-have item for reggae collections and world music fans.

Reviewed by Mike Tribby

Artist:  PJ Morton

Label:  Indieblue Music

Formats: CD, MP3

Catalog No.: 7764

Release date:  April 6, 2010

-

“In the state of the world I feel alone because of the way I choose to do music with true instrumentation. Creating stories and lyrics with meaning feels like a minority not a majority.”―PJ Morton

There is very little semblance of live instrumentation in much of today’s mainstream music, where it is replaced by beats, manufactured samples of instrument sounds and the beloved auto-tune.  One artist, PJ Morton, has made it his goal to jumpstart the return of live music. His name is one that many in the gospel music industry may be familiar with, his father being Bishop Paul S. Morton, founder of The Full Gospel Baptist Church Fellowship in New Orleans.

As the son of a Bishop, expectations for PJ’s musical direction have been centered on his religious beliefs. PJ, however, has other plans. His response to these expectations is housed in a book released in July 2009 entitled Why Can’t I Sing About Love and that is simply what PJ has done. His latest and fifth studio album to date, Walk Alone, brilliantly addresses his personal struggles as a musician advocating for change in the music industry, as well as his desire to “sing about love.”

The personal effects of a musician with a purpose are evident in the opening title track, “Walk Alone.”  Established by the quote above taken from PJ Morton’s website, this album, along with it’s title track, is meant to be a statement of Morton’s reality―a personal, musical account.  This sentiment is continued as he takes us on a journey through the complications of love in “Girlfriend,” longing for love in “Don’t Ever Leave,” love lost in “She’s Gone,” finding true love in “The One,” the quest to retrieve love in “I Need Your Love,” and love’s emotional rollercoaster in “Love You More.”

One of the most personal tracks on the album is “Son of a Preacherman.”  Instead of singing, Morton chooses to speak directly from his life story―a story of faith, family, and the struggle to be the musician he feels he was purposed to be.  The heart of the meaning of this song rings through the hook “No matter where I stand/no matter who I am/some people will only ever see the son of a preacherman.” As much as the song is an opportunity for understanding, it is also a testament of faith and a proclamation―that who Morton is as a musician and person will be represented through his music.

Following is a trailer for Morton’s documentary, “Son of a Preacherman:”

Click here to view the embedded video.

“Mountains and Molehills” continues with a statement of encouragement to all who hope to achieve their dreams. The message is simple: “you won’t know unless you try.”  “Forever” takes the listener back to Morton’s foundational concept―love. This song speaks of the joy and appreciation of true love: “Never in my life/has it felt so right/and I believe this time will last forever/not in my wildest dreams/did I ever believe/that this could really be forever.”

The last track, “Let Go,” is probably the most important in terms of understanding Morton as an artist and individual. Sung as a duet with his father, Bishop Paul S. Morton, the song was previously released by gospel singer DeWayne Woods. The message is simple: regardless of what direction and which avenues Morton takes as a musician, his faith is never far behind.

In all, Walk Alone introduces the listener to the true PJ Morton. Brilliantly composed, musically and lyrically inspiring, this album represents an artist who appreciates the art of creating timeless music that not only reaches, but remains with any who encounter it. Amidst the assumptions and the expectations, PJ Morton utilizes his talents as a pianist, singer, songwriter, and producer to make a statement of his own―standing strong on his faith and belief that the path he is on is one purposed for him.

Reviewed by Christina Harrison

Artist: Clyde McPhatter

Label: Hip-O Select

Catalog No.: B0014233-02

Format: 2 CD set

Release Date: May 21, 2010
-

Clyde McPhatter was a soul pioneer with a uniquely beautiful voice.  He sang in the upper range of a man, but not in a freakishly high register.  His gospel-trained technique was powerful yet sweet, and he could sing the full range from ballads to soul cookers.  Already a veteran of  the Dominoes and the Drifters when MGM signed him as a solo artist in 1959, McPhatter’s singles for MGM and then Mercury are collected in this 2-CD set.  The greatest commercial success included is the title track, “Lover Please,” recorded for Mercury in early 1962, which reached #7 on the Billboard pop charts.

Bill Dahl’s excellent booklet notes claim that McPhatter’s vocals on the Dominoes 1952 hit “Have Mercy Baby” are the birth of soul singing.  The booklet goes on to chronicle McPhatter’s success with Billy Ward’s Dominoes and then leading the Drifters, recording for Atlantic and being signed away to MGM.  At MGM, McPhatter failed to generate big hits; 1959’s “Let’s Try Again” was #13 on the R&B chart and #48 on the pop chart and no other MGM singles did as well.

At Mercury, producer Clyde Otis applied the same string-heavy technique that had worked with Brook Benton and Dinah Washington and McPhatter’s singles hit higher in the charts with “Ta-Ta” (#7 R&B, #23 pop) from his first Mercury session.  But it was under the production hand of Shelby Singleton and with a pared-down backing band that his biggest Mercury hits happened.  “Lover Please” was a pure soul tune, up-tempo but contemporary to the early ’60s, not the doo-wop ’50s.

McPhatter also charted with his version of “Little Bitty Pretty One” and several other Mercury singles.  In the mid-‘60s, he took on socially-conscious themes in such songs as “Deep In the Heart of Harlem,” “Second Window, Second Floor” and “In My Tenement.” He also recorded a live album at the Apollo Theater.

The most striking thing about this collection is the range of music McPhatter was comfortable singing.  He did old-school R&B, more contemporary soul and plenty of pop.  The pop tunes run the range from gimmicky to syrupy to catchy and finger-snapping.  In all cases, both McPhatter’s vocals and the backing musicians are locked in reliable and proficient grooves—these were real pros doing their thing.

To my ears, the string-heaviest material sounds dated and somewhat dull today, while the up-tempo soulful tunes, especially on the second disc, still sound fresh and modern.  Some of the MGM sides with minimal instrumentation also jump right out of the speakers.  Net-net, I very much liked more than half of the tunes and would probably not choose to listen to the most-string-heavy quarter of the set. For a wide-ranging compilation like this, that’s pretty good.  Someone old enough to have been a teenager when these songs were new and heard on the radio might have very different favorites.

Hip-O Select’s website says only 5000 copies of this collection will be sold.  The excellent booklet by Bill Dahl, plus the high-quality remastering and nice colorful packaging justify the $30 price, when combined with the mostly good to excellent music. Much of this material was long out of print, so once these CDs sell out, it will probably again languish in the Universal Music Group vaults.

The booklet essay makes a convincing case that McPhatter is an unfairly-forgotten soul pioneer and that he was still making relevant and popular music in the 1960s.  The discs contain the musical evidence to back up Dahl’s argument, and provide a fun return to the soul music of yesteryear, via a road less traveled by the current audience.

Reviewed by Tom Fine

Artist:  Solomon Burke

Label:  E1 Entertainment

Formats:  CD,  MP3

Catalog No.:  E1E-CD-2086

Release date:  April 6, 2010

-

For more than three decades, Solomon Burke had wanted to work with Willie Mitchell, protégé to other southern R&B legends, including Al Green and Ann Peebles. Thankfully for Burke and for us, the “King of Rock and Soul” finally met Mitchell in 2008 and they overcame professional obstacles to record together.  Their resulting collaboration, Nothing’s Impossible, is a wonderful, although occasionally uneven, tribute to Mitchell, who died in January. This likely was his final studio project.

In recent years, Burke has benefited from working with top producers Joe Henry and Buddy Miller and material by the likes of Bob Dylan, Elvis Costello and Patty Griffin. But working and writing with Mitchell was something of a homecoming for Burke, whose early career was based on the Southern soul-stirring sounds which permeate Nothing’s Impossible.  Unlike other recent recordings, Burke is not reinterpreting songs of other genres—it’s just good Memphis rhythm and blues.

At age 79, Mitchell continued to have the ear that defined the Hi Records sound. He was the primary producer, arranger, and co-writer for much of the material here (he has writing credit on nine of the album’s 12 tracks). His arrangements are perfectly matched to Burke’s powerful, soul-stirring baritone. Mitchell brought in musicians who appeared on many of his Hi Records classics, particularly guitarist Mabon “Teenie” Hodges, who hasn’t lost a lick, and the New Memphis Strings.

At age 70, Burke also still has the goods (he wrote or co-wrote three songs). His singing has been described as a “force of nature, equal parts sexual and spiritual, a power that can never be tamed but might somehow be harnessed.”  For the most part, that is again the case on Nothing’s Impossible, particularly on Mitchell’s “It Must Be Love,” a tribute to young love, and “Say You  Love Me Too,” which speaks to the yearnings that naturally follow.

Following is the official promo video from Koch, where Burke speaks poignantly about working with the late Willie Mitchell:

Click here to view the embedded video.

This isn’t to say that sometimes Nothing’s Impossible isn’t marred by clichés, as evidenced by “When You’re Not Here,” but Burke brings out emotions that most vocalists would be unable to muster. When the songs are worthy of Burke’s grittiness, as on the melancholy “Dreams” and “The Error of My Ways,” the album soars.

According to the liner notes, when Burke and Mitchell first got together in October 2008 for an informal session, they covered Anne Murray’s 1978 pop hit “You Needed Me.” While it must have been fun for these two venerable musical legends—the notes say they “clowned around like kids on a playground”—it would have been best if this recording had remained unearthed.

Overall, Nothing’s Impossible is a fitting finale to Mitchell. We hope not the same for Burke, as he continues to carry the torch for an old school of earnest vocalists who are getting harder to find.

Reviewed by George Vlahakis

Artist: Cyril Neville

Label: M.C. Records

Formats: MP3, CD

Release Date: May 4, 2010

-

Cyril Neville’s roots run deep.  As a member of both The Meters and The Neville Brothers, he helped define the sound known as New Orleans Funk.  During his 40 some odd years in the music business, he has absorbed New Orleans’ rich musical culture and been privy to its changing musical landscape.   In many ways Neville serves as a bridge between Louis Armstrong, Fats Domino, Master P and Lil’ Wayne.  This is an idea that is supported by the selections chosen for The Essential Cyril Neville 1994-2007.

The compilation begins with “The Blues Is Here To Stay,” which serves as a brief history of Black popular music for the listener.  In the song Neville speaks on the importance of the blues and it’s legacy, and also shouts out several of his influences. While it is easy to see his vision in this song, his connection to the music is better illustrated by some of the album’s later tracks.

The compilation kicks into high gear as Neville covers Jimi Hendrix’s “Foxy Lady” and infuses it with a healthy helping of New Orleans funk.  Calypso rhythms and funky guitar licks play throughout the song, anchored by Neville’s soulful voice which is still in great form.

Neville acknowledges his own New Orleans influences with a spirited cover of “Tipitina” (originally recorded by Professor Longhair) and a live version of “Fortune Teller” (written by Allen Toussaint).  While the original version of “Fortune Teller” was an upbeat vehicle for Benny Spellman, Neville slows it down into a slow yearning blues.  Toussaint makes a guest appearance on the track, showcasing the piano skills that have made him a living legend during his career.

Between the time Cyril Neville joined The Meters and the formation of The Neville Brothers, he participated in an album by The Wild Tchoupitolas with The Meters and his uncle George Laundry, which was steeped in the New Orleans’ unique Mardi Gras Indian tradition.  Neville acknowledges this influence on “Indians Got That Fire,” which grooves and pops with so much energy it is hard not to get caught up in the call and response refrain.

Neville also takes time to look forward into New Orleans’ musical culture with a couple of rap-influenced tracks that yield mixed results.  “The Projects” is the stronger of the two and serves to uplift young people and remind them of the great artists that have come from the very projects in which they may now reside.

All in all, this compilation serves as a love letter to New Orleans from one its most famous sons.  By paying tribute to his “heroes and sheroes” (as noted on “Fortune Teller”), Neville reminds us of how important New Orleans’ musical legacy is to popular culture.  And just as Neville was influenced, he has influenced others through his work with The Meters, The Neville Brothers and his own solo offerings. The Essential Cyril Neville, while only showcasing a short period in his career, is still a testament to his immense talent and his respect and reverence for those who came before him.

Reviewed by Levon Williams

Artist: Sun Ra Arkestra

Format: DVD (Color, NTSC, all regions)

Label:  MVD Visual

Catalog No.: MVDV4774

Release date: 2009
-

After Sun Ra “left planet Earth” in 1993, Marshall Allen took over the direction of the Sun Ra Arkestra. Devoid of its creator, the band, now composed of nineteen musicians, still continues to evolve in the same direction—“Outer Space.” Searching new spaces virtual as well as aural, the Arkestra always attempts to offer new possibilities and new reflections to its listeners, chasing a mystical quest, according to Sun Ra’s impulse since the mid-1950s—the search of an “Other.”

Points on a Space Age follows the Sun Ra Arkestra under the direction of Marshall Allen, interweaving interviews, archival images of the first steps on the moon and of the space conquest, and videos from concerts. This 33min. documentary (erroneously advertised as 60 min.), directed by Ephraim Asili, can be viewed as an exploration of the current work of these musicians, both former and new members of the Arkestra, who define themselves as an “art-for-its-own-sake scholarly band.”  Asili discovered the band for the first time in 1998 during a festival where the Arkestra started, according to him, “some sort of procession through the park under the rain.”  Making contact first with Tyrone Hill (long time trombone player from the Arkestra, and a close friend of Sun Ra), Asili eventually caught up to the rest of the band. While the film was originally released in 2007, it did not become available on DVD until 2009.

No explanations are given about Sun Ra’s philosophy, but it’s undeniable throughout this documentary that his disciples are walking the same path. Still wearing their celestial hats and their Egyptian abayas, the Sun Ra Arkestra projects its crowd into distant and deep spheres, celebrating ancient Egypt as a technologically advanced civilization deeply rooted in “Outer Space.”  The exploration of new sounds, the core of the band research, is made possible by the appropriation and mastery of new technologies. These are the quintessential aspects of the afro-futurist discourse in the eyes of each member. The Sun Ra Arkestra attempts to integrate its public in its sphere, and encourages active participation both in its music and in its universe, the Omniverse.  As Sun Ra said, “Omniverse is the totality of all the universes and you are welcome to be citizen of the Omniverse”.

“Space-Age Jazz” was born more than 50 years ago and continues to live today. Quoting a line from the video, “the final chapter is being written right now,” and according to Ephraim Asili, Points on a Space Age is a “glimpse into this final chapter.”

Reviewed by Guillaume Dupetit

Artist: Jevon D. Brock & Restoration

Label: Brock Music Group/Central South Distribution

Release Date: April 13, 2010

-

In their fourth album, Brock & Restoration relay the urgency of getting right with God through high spirited praise with energetic songs such as “Jesus Is Coming Back.”

======================================================

Title: Psalms, Hymns, & Spiritual Songs: Volume 3 Favor

Artist: David Frazier

Label: David Frazier Music/God’s Music Inc.

Release Date: December 15, 2009
-

A composer, arranger, and keyboardist, Frazier has penned over 25 songs for Hezekiah Walker’s The Love Fellowship Choir. In this uplifting and refreshing solo project, Frazier shares of the liberty and favor that he has found in Christ.

=======================================================

Title: Revealed – Live in Dallas

Artist: Myron Butler & Levi

Label: EMI Gospel

Release Date: March 30, 2010

-

The contemporary gospel group, under the direction of Butler, continues in their legacy of ministering music which is lyrically thoughtful, harmonically fulfilling, and dense with heartfelt exhortation to the Lord!

=======================================================

Title: Gospel According to Jazz – Chapter 3

Artist: Kirk Whalum

Label: Rendezvous

Formats: 2 CD set, MP3

Release Date: March 16, 2010

-

Whalum continues to tell the “Gospel According to Jazz” with his latest release in the series, featuring the lovely Lalah Hathaway and the Whalum brothers.  This project was begun in 1998 with Chapter 1, followed by Chapter 2 in 2002.

======================================================

Title: Here I Am (Live)

Artist: Marvin Sapp

Label: Verity Records

Release Date: March 16, 2010

-

Recent winner of the 2010 BET Best Gospel award, Sapp continues his record breaking streak with Here I Am—now the  highest charting album ever by a gospel artist.  On this live recording, Sapp blesses his audiences with a worship experience thick with ballads including his lead single “The Best In Me.”

Artist: Ranee Lee

Label: Justin Time

Release date: May 11, 2010

-

Paying homage to Upstairs–Canada’s most well-respected jazz club—Ranee Lee presents “Lives Upstairs,” an award-winning vocal jazz album.

======================================================

Title: Travelling Like the Light

Artist: V.V. Brown

Label: Capitol

Release Date:  March 30, 2010

-

Travelling Like the Light reveals a refreshing burst of creativity. British singer-songwriter VV Brown does justice to a long tradition of strong, individual female voices that have had the power to define their times—Alicia Keys and Amy Winehouse, prominent among VV’s immediate inspirations.

======================================================

Title: Who Knew?

Artist: Keke Wyatt

Label: Shanachie

Release Date: February 23, 2010

-

With the release of her fourth studio album, Who Knew, on her fourth record label (she recently left major labels in pursuit of more artistic freedom), Indianapolis native Keke Wyatt is finally back on track.  Reflecting on life and love, she picks up where she left off with her promising 2002 debut Soul Sista. Two singles have been climbing the charts including the title track and “Daydreaming,” penned by Wyatt.

For our Black Music Month issue we deemed it especially appropriate to include the work of artists that shed light on the foundations upon which contemporary music stand, including Feed My Soul by The Holmes Brothers, Shake For Me by the Mannish Boys, and Duke Ellington’s Queenie Pie.  Virtuoso drummer Cindy Blackman’s Another Lifetime honors the creative legacy left behind by Tony Williams’ album Lifetime. Haitian-American violinist/composer Daniel Bernard Roumain (aka DBR) offers a new genre-bending album, Woodbox Beats & Balladry. Adrian Younge’s original score to the Blaxploitation parody Black Dynamite, recently released on CD, is an accurate re-creation of ‘70s funk and soul.  Other new releases featured this month include Janelle Monae’s ArchAndroid,  B.o.B.’s The Adventures of Bobby Ray, Devin the Dude’s Suite 420, and gospel artist Rafeal Ross’s New Creation Live. Last but not least, we’re including brief descriptions of many more new releases from the first quarter of the year that caught our attention.

Artist:  DBR (Daniel Bernard Roumain)

Label:  Thirsty Ear

Catalog No.:  THI 57193.2

Formats:  CD, MP3

Release Date:  March 30, 2010

Haitian-American violinist Daniel Bernard Roumain (aka DBR) has made a name for himself as a genre-bending innovator blending classical music and hip hop, a concert violinist, and art music composer who has performed on American Idol with Lady GaGa.   His newest release, Woodbox Beats & Balladry upholds this reputation, but its contents, and DBR’s talent, deserve to be unpacked and explored beyond the simple classical-meets-hip-hop moniker. Technology plays a significant role on this album, not only with the turntables and samples, but through the use of computer composition, synth programming, and the custom 4-, 5-, and 6-string electro-acoustic violins that DBR plays.  His academic musical training—he earned a doctorate in composition studying with William Bolcom, and is on the composition faculty of Vanderbilt University—is evident throughout the forms and techniques employed throughout the album.

Compositionally, DBR borrows from the meticulous craftsmanship of the Second Viennese School and from minimalist composers such as Philip Glass as much as from the sampling and beat-building methods of hip hop and techno. His six-part Sonata for Violin and Turntable, co-composed with turntablist Elan Vytal, marries one of the oldest genres in the instrumental repertoire with new technologies and popular sounds.  He notes on his website that every track on the album is fully notated, though he employs several different types of notation (numerical, graphic, and traditional) in his writing.  The violin remains the dominant part of the musical texture throughout, and DBR employs a variety of extended performance techniques and effects pedals in addition to digital processing; the result is always virtuosic, but it channels sources as diverse as Romantic violin virtuosi, breakneck bebop soloists, and rock guitar shredders.

Only four parts of the Sonata for Violin and Turntable are included here, and they’re interspersed out of numerical order among the other tracks, so it’s hard to get a sense of the Sonata as a whole, or whether it’s even one multi-movement piece or several different pieces.  Nevertheless, DBR utilizes the possibilities of both tools for their technological, textural, and melodic abilities:  Part 1 opens with a slow, sparse solo violin intro with an improvisational quality; Part 2 features more rhythmic manipulations of recorded samples, plus delicate moments of sound collage reminiscent of Varèse; Part 4 lays down R&B-influenced instrumental samples under the wailing violin with all the drama of an operatic aria; and Part 6 intertwines a jazz-tinged violin line with fuzzed electric guitar.

The other tracks on the album explore a range of other influences.  The opener “Spaceships Over Haiti” nods to DBR’s heritage while letting him shred like an electric guitarist over a backing rock band.  “Simone” offers a wordless ballad, with all the stillness and sparse textures of modal jazz.  “Armstrong,” on the other hand, channels bebop’s frenetic energy through a heavy metal filter and funk samples.   The mid-tempo jazz riffs of “Moonshine” are punctuated by a recurring Middle Eastern rhythmic motif, while the final track “Our Country” reinterprets “My Country ‘Tis of Thee” as a musical meditation.

Here’s the official trailer for the album (courtesy of Thirsty Ear Recordings), in which DBR discusses his background and approach to the album:

Click here to view the embedded video.

Not all of DBR’s fusion is entirely successful—at times, the aggression and noise levels overwhelm the very masterful construction of these pieces.  But his gift lies in understanding the full musical possibilities of all of his instruments, turntables and drum machines included, and DBR has a composer’s ingenuity for making them work together in innovative and expressive ways, rather than simply relying on mixing contrasting stereotypical gestures from different genres.  Woodbox Beats and Balladry offers exciting and finely crafted musical ideas, whether you’re listening for the compositional process, the virtuosic performances, or the infusion of hip hop style.

Reviewed by Ann Shafer

Artist: Janelle Monae

Label: Bad Boy/Atlantic

Catalog No.: 512256-2

Formats: CD, MP3

Release date: May 18, 2010

Imagine, if you will, a world where music is dead. Artistry is a dying art as quality has been compromised by quantity. Substance is executed by the Industry: a tyrannical authority that suffocates musical individuality with mass production of pre-packaged pop stars and multiple mixtapes. It’s replaced the concept album with catalogues of filler and two months-long singles. Society has grown dependent on this instantaneous gratification, demanding whatever is supplied, good or not; and, once the high has been met, it only fiends for more.

Suddenly, a foreign object appears in the midst of the Sasha Fierces and black Barbies. The being is of the past and future, here to relieve the present of its dormant state of artistic expression. It goes by one name and one name only: The ArchAndroid.

The ArchAndroid is Janelle Monae’s debut album, sprinting off from her 2008 EP Metropolis: the Chase Suite. Monae welcomes us to a not-so-foreign ideology where cultural expression, individuality, and ultimately love is punishable with extermination. She manifests this movement in the protagonist Cindi Mayweather, a futuristic android sent to save those silenced. Her adventure is played out in an 18-track opus that would rival Avatar if sounds could be transformed into visuals.

Monae defines her reach for any genre-framing category as she pulls multitudes of influences from James Brown to Jimi Hendrix to OutKast (Big Boi) to John Lennon. The album splits itself into two: Suite II and III of Monae’s saga—a continuation of Metropolis: the Chase Suite. The journey hits instantly with “Dance or Die,” a frantic freestyle of jarring social warnings between her and NiggyTardust himself (aka slam poet and artist Saul Williams). Listeners continue their descent into Metropolis as we finally meet Cindi’s forbidden love on “Sir Greendown,” a beautiful hello to the human she has grown attached to.

The conflict ensues as one of two singles, the triumphant rock battle cry “Cold War” echoes into play, followed by the funky lead single “Tightrope” featuring Big Boi. This James Brown-inspired song with the hip hop mentality and yesterday’s soul is a rebuttal to life’s haters. Monae’s staccato delivery is perfect as she spits “I step on alligators/and little rattlesnakers/but I’m a different flavor/something like a terminator.”

Following is the official video for “Tightrope”:

Click here to view the embedded video.

Monae’s eclectic sound continues with the afro-punk monster “Come Alive” and the Woodstock hippie-induced “Mushrooms & Roses.”  She then ventures to overseas pop and electro rock with Of Montreal on the 80s-inspired “Make the Bus,” and channels Devo and that song from “Revenge of the Nerds” with the galactic “Wondaland.”

The albums most heralded moments are perhaps the final two songs. On “Say You’ll Go,” Monae, or Cindi, pushes her agenda one last time: “Love is not a fantasy/a haiku written in Japanese/a word too often used but not believed.” She beautifully echoes the opportunities that lie before us if we choose to fight for and with love. And in the climatic eight-minute close, the majestic “BabopbyeYa,” with signature big band sound and glorious mystery, plays out as her swan song to Sir Greendown.  Monae belts the end of their love affair with a song that could be the title track to a James Bond film.

The ArchAndroid is one of the best surprises this year; and one of the most impressive debuts from a female artist since, dare we say, Lauryn Hill. Monae’s unabridged deliverance of both unique style and substance has produced a concept album which can only be enjoyed in its entirety, uninterrupted. Every component―lyrics, production and vocals―is perfectly executed. I wouldn’t be surprised if Monae earns a Best New Artist Grammy nod, if the album sells well.

And even if not, the goal of supplying an album with the intent of expressing oneself mentally, socially and emotionally, is by far the greater feat. With The ArchAndroid a star is born, one who challenges the mediocrity plaguing the Industry today.

Reviewed by Lorin Williams

Artist:  The Manish Boys

Label:  Delta Groove Music

Catalog No.: DGPCD137

Formats:  CD, MP3

Release date: March 16, 2010

Delta Groove Music has recently released its fifth studio album by The Mannish Boys. Shortly after Randy Chortkoff founded the label in 2004, he pulled together a group of musicians for the purpose of reviving some of the lesser-known blues hits of the past. Although the main band members have shifted some since their last album (Jimi Botts has replaced Richared Ines on drums and Willie J. Campbell has replaced Tom Leavy and Ronnie James Weber on electric and upright bass), the core group has remained the same. Long-time members Finis Tasby (vocals), Kirk Fletcher (guitar), Frank Goldwasser (guitar/vocals), and Chortkoff himself (lead/harmonica) are joined once again by vocalist Bobby Jones, pianist Fred Kaplan, and wind player David “Woody” Woodford along with approximately a dozen guest artists.

Perhaps because of its huge pool of guest artists, the band covers a range of sounds and genres over the course of this sixteen-track release. Although they offer up plenty of lowdown blues numbers with a California twist, they mix in some rock ’n’ roll and big band style numbers as well. For instance, the album opens with “Too Tired”–a number that combines Chuck Berry style riffs by guitarist Nick Curran with a big band sound multi-tracked by David “Woody” Woodruff and Lee Thornburg. Another example is a medley of Bo Diddley’s “Mona” and Johnny Otis’ “Willie and the Hand Jive.” The group does a great job of capturing the Bo Diddley beat throughout both tunes, albeit at a faster clip and with a more elaborate guitar line than Diddley’s version.

Other highlights on the album include “Educated Ways,” which stands out for its interesting mix of blues piano and vocals over a slide guitar line by Frank Goldwasser and a bari sax rhythm line by Woodford. The timbre combination alone is enough to make this song worth a second listen. “Half Ain’t Been Told” features a duet by Jones and pianist Rob Rio. Rio’s performance is fairly faithful to the Otis Spann version, although Jones signing style is harsher than Spann’s mellow laidback delivery, giving the song more of an edge.

“Bullet” is a blues instrumental featuring solos by Kirk Fletcher, Nick Curran, Fred Kaplan, and Jimi Bott.  Although one can’t find fault with Fletcher’s performance, Curran’s livelier style and quick rock ’n’ roll riffs steal the show.  Curran’s past performances have run the gamut from rockabilly with Ronnie Dawson, punk with Deguello, and rock ‘n’ roll with his own band, The Lowlifes.

For harmonica lovers, there are a number of fine solos, including performances by Chortkoff, Rod Piazza, Lynwood Slim, Mitch Kashmar, and “Big” Pete van der Pluijm. Van der Pluijm is currently big on the Dutch blues circuit and is sometimes hailed as one of the Netherland’s best kept secrets. In addition to the harmonica, he’s perfectly capable of belting out Lester Butler’s “Way Down South.”

All in all, the Mannish Boys have stuck true to their mission of performing “some of the greatest music from the blues canon without lapsing into clichés and dead-horse beating.” I suspect for diehard blues fans some of the numbers will be a bit too close to earlier versions to warrant repeated listening. For more casual blues listeners, however, Shake for Me promises to make a great addition to your collection.

Reviewed by Ronda L. Sewald

Artist: Rafeal Ross

Label:  R2 Music

Formats: MP3, CD

Release Date: January 10, 2010

With a vocal sound that is uniquely his, Rafeal Ross situates himself comfortably within the realm of contemporary gospel. From start to finish, New Creation Live rings of heartfelt praise and intimate worship. Thick with reprises which are reminiscent of Sunday morning praise and worship service, listeners can readily observe Ross’s passion for ministry through his music. By utilizing his background of classical technique in vocal performance at George Mason University, as well as an early dedication to music ministry, Ross delivers a product which is both aurally pleasing and spiritually inspiring. Ross tastefully shows off his range with high notes that ring of sincere praise.

In listening to the album, it is apparent that Ross values sonic equilibrium. The background vocals, supplied by singers from the Mt. Pleasant Baptist Church Mass Choir, are well balanced within and across each section (soprano, alto, tenor). The supporting vocalists definitely have their work cut out for them,  and rise to the challenge in every selection, utilizing precise diction without sacrificing dynamics. There is a pleasant compromise between the vocals and instrumentalists; neither is incredibly overbearing to the point of hindering the listener from enjoying either component.

While Ross uses some traditional lines found throughout gospel songs in order to relay his message, he does it in a way that is unexpected, limiting the predictability of his music. This is valuable, as it allows the listener to connect to his music and appreciate his musical interpretation of the various scriptures woven into his lyrics.

The project opens in a salutation of praise with “Praise Awaits.” New Creation Live provides music which inspires praise and invokes worship. In the way of praise, Ross exalts the “Lion of Judah,” by exclaiming that He is worthy to be praised.  The single for the album, “I’m Free,” is a declaration of the liberty found in living for Christ.

In the way of worship, the album’s namesake song, “New Creation,” further speaks to being restored to Christ. This song is a commentary upon the total transformation that occurs when one’s entire being is dedicated (or rededicated) to God. It captures the essence of encountering a life-augmenting relationship; in being “arrested by [His] love,” there is a change that began on the first day Jesus’ name is spoken, which yields the ultimate result of being made into a new creation! The dynamics found in “None Like You” are especially moving, and reflect the dynamic nature of the relationship with Christ that is available upon accepting salvation.

Praise team leaders and choir directors alike—adult or youth—will find several songs suitable for setting the environment for focused, high energy ministry events.

Follow this link to hear selections from New Creation Live. http://www.myspace.com/rossrafeal

Reviewed by Melody Barham

Title: Duke Ellington’s Queenie Pie

Artists: Carmen Bradford, Robert DeSimone, Butler Opera Center, UT Jazz Orchestra, Huston-Tillitson University Concert Choir

Label: Longhorn Music

Catalog No.:  LHM 2010003

Formats: CD

Release Date: March 30, 2010

-

When Duke Ellington initially announced his Black, Brown and Beige in 1938, he stated that it was going to be an opera. However, when the work was finally heard at Carnegie Hall in January 1943, it had metamorphosed into “a tone parallel to the history of the Negro in America”―a purely instrumental work. This turned out to be only the first salvo in a long string of ambitious works; Queenie Pie is about the last, a collaboration with librettist Betty McGettigan that occupied the Duke from 1967 until his death in 1974; and it is, at last, an opera.

Based loosely on the character of Madame C. J. Walker, Queenie Pie is a champion beautician whose reign is threatened by a young upstart, Café Olay, who gets involved in a torrid affair with the main contest judge, Holt Faye. It becomes considerably less of a contest when Olay kills Faye, and Queenie Pie decamps to a mysterious island to retrieve a magic formula for “everlasting anythingness.” McGettigan has since served as Queenie Pie’s principal advocate, aiding productions in Philadelphia and Washington D.C. in 1986, Brooklyn in 1993 and the Oakland Opera in 2008. This 2009 production of Queenie Pie was given by the Butler Opera Center at the Butler School of Music, University of Texas at Austin under the direction of Robert DeSimone, starring Carmen Bradford in the title role.

Bradford, a former singer for the Count Basie Orchestra and collaborator with George Benson, is definitely one the best things about the Longhorn Music album; she throws herself into the role with abandon and exudes charm and confidence. John Mills, who made the orchestrations, does come up with a score that sounds Ellingtonian in a general way though it does not focus on strong instrumental voices in the manner of Ellington’s own band; instrumental solos are not well mixed in the recording and do not stand out. The chorus is the weakest element in Queenie Pie; they are not particularly well drilled and were dubbed in after the fact. Even if this were a seamless recording and an absolutely true representation of Ellington’s intentions―which McGettingan asserts it is, in the latter case―then Queenie Pie wouldn’t have been as successful a show as was Sophisticated Ladies, a musical based on Ellington’s work cobbled together by others. The plot fails to reach a meaningful conclusion, and one wonders what changes might have gone into Queenie Pie had the Duke lived long enough to get it past the lyrics and lead sheet stage. Nevertheless, Queenie Pie does close a major recording gap in the output of the Duke, and while it pales in comparison to Ellington’s other “last work,” The Afro-Eurasian Eclipse, it fits into his late output and easily merits recording.

Reviewed by Uncle Dave Lewis

Title: Nothin’ on You

Artist: B.o.B. feat. Bruno Mars

Label: Atlantic Record

Formats: CD, MP3

Release Date: April 27, 2010

Two years ago XXL magazine “enrolled” a group of up-and-coming rappers in the Freshman Class of 2009, based on their lyrical ability and current buzz in the music blogosphere. These ten students of the craft have since tried to live up to the title. Some became honor roll students (Kid Cudi, Wale), while others were sentenced to academic probation (Ace Hood, Charles Hamilton). One of those ten was a 19-year-old Atlanta native by the name of B.o.B, aka Bobby Ray Simmons. His grade had yet to be determined. Luckily, on April 27 his final class project, The Adventures of Bobby Ray, was released to the world and now we can judge the results.

The schizophrenic, André-sounding, Lupe look-a-like actually dropped his highly-anticipated album a month early (the original release date was May 25). The hard work definitely paid off as both singles reached the top ten, and the album debuted at No. 1.  B.o.B’s perfect combination of ill lyrics and pop brilliance gained him a load of fans and makes for a great album, even if one may argue its hip hop authenticity. Despite this fact, his pure musicianship (he’s also listed as an executive producer) allows him to compile not just good pop songs, or good hip hop songs, but great music. Period.

We get a mix of both personalities on his debut.  Bobby Ray is the guitar-strumming neo-rock star who merges pop with hip hop stylings. His melodic offerings cover numerous subjects. He contemplates his career with the album’s first track “Don’t Let Me Fall.” He switches gears and produces strong love songs with the infectious hit single “Nothin’ on You” and “Lovelier Than You.” The amazing “Airplanes” soars with the help of Paramore’s Hayley Williams on vocals; Eminem joins on the remix. He trades bars with Lupe on the uptempo “Past My Shades” and gets socially-conscious on “The Kids” with the ArchAndroid herself, Janelle Monae.

Following is the “Nothin’ on You” official video:

Click here to view the embedded video.

B.o.B is his ATL-ien persona, with passionate rhymes and beats. While the B.o.B tracks are few, they deliver strongly. “Bet I” goes ham with the addition of T.I.’s verse. And “5th Dimension” lifts Gaye’s “Inner City Blues” for an exceptional experience for the ladies.

All in all, B.o.B scores an ‘A’ for The Adventures of Bobby Ray. Each song offers something special. From the writing, to the production, this “non-hip-hop” hip hop album is one of the year’s best.

Reviewed by Lorin Williams

Title: Feed My Soul

Artist: The Holmes Brothers

Label: Alligator

Catalog No.: ALCD 4933

Format: CD

Release Date: March 2, 2010

The Holmes Brothers‘ music is hard to classify. Put this new CD into your iTunes library and it gets classified as blues.  Guitarist/vocalist Wendell Holmes says they play “American roots music” in a promotional video made by Alligator Records.  Even more than their other albums, this latest from the New York City-based band defies categorization.  There are soul tunes, blues tunes, gospel tunes and some country-western flavors; there are cover tunes and originals.  What results is a very enjoyable musical gumbo, with less edge but more soul than some of the band’s previous albums.

The Holmes Brothers―brothers Wendell and Sherman Holmes plus drummer Popsy Dixon―have been playing together since the 1970s, but didn’t make their first album (In the Spirit on Rounder) until 1989.  Since then, they’ve put out a steady stream of recordings and toured tirelessly.  All of that ground to a halt in 2008, when Wendell Holmes was diagnosed with bladder cancer.

Wendell Holmes’ successful battle with cancer is central to this album.  The time off the road led to more original tunes than any previous Holmes Brothers album.  Plus, the new songs resonate with reflections and lessons drawn from the cancer experience.  In all, Wendell Holmes wrote or co-wrote 7 of the album’s 14 tunes, and Sherman Holmes wrote two others.  The band also covers a tune by the Beatles, “I’ll Be Back.”  And they present the recording debut of “Something Is Missing” by John Ellison, who wrote the soul classic “Some Kind of Wonderful.”

The following is a behind the scenes look at the Holmes Brothers regarding the making of Feed My Soul.

Click here to view the embedded video.

This album has a quiet intensity to it. It sounds comfortable, relaxed and natural.  Singer/songwriter Joan Osborne did a fine job producing it and singing backup on some cuts.  The recording, at Long View Farm Studios in Massachusetts, was well-done, adding to the laid-back feeling.  For example, Wendell Holmes’ guitar solos are generally panned right, not placed in your face in the center, and are somewhat back in the mix. In other words, the solos are in balance with the band and sounding like if the whole band is together in front of you, playing together.  It sounds and feels like a Holmes Brothers live performance, which is not to be missed.

The vocal harmonies are also a highlight of the album, as on all Holmes Brothers recordings.  These guys are older and maybe a little less edgy, but they still make beautiful harmonies and still have strong pipes.

The whole album flows very nicely, but there are stand-out cuts:  “Fair Weather Friend”; “Living Well Is the Best Revenge”; a cover of “Pledging My Love” by Don Robey and Ferdinand Washington; the cover of the Beatles’ “I’ll Be Back”; and the title track.  Here’s hoping the Holmes Brothers remain healthy and vital and turn out some more recordings!

Reviewed by Tom Fine

Artist: Devin the Dude

Label: E1 Entertainment

Catalog No.: E1E-CD-2043

Formats: CD, LP, MP3

Release Date: April 20, 2010

Often referred to as ‘your favorite rapper’s favorite rapper,’ Devin the Dude brings down to earth humor and subtle seriousness to the rap table without having achieved any major mainstream success. Despite working with such powerhouses as Scarface, Nas, Dr. Dre, and De La Soul, Devin Copeland remains a relatively unknown name in the popularized rap circuit. Now, twelve years after the release of his first album, The Dude (1998 on Rap-A-Lot), Copeland delivers his sixth studio record. Entitled Suite 420 and released by E1 Entertainment, the album proves to be a hilarious ode to the wonders of marijuana.

The album begins with a comical skit imitating various weed smokers of the world and moves flawlessly into the first track, “We Get High”, featuring the Odd Squad. “Still Comin’” is one of my favorites, utilizing Eastern inspired synthesizers and revealing Copeland’s intention to continue playing the rap game regardless of his degree of monetary success—according to him he’s “best rated, still wreck the show even though I get faded.”

Following is the official video for “What I Be On” (© Koch Records):

Click here to view the embedded video.

Similarly on “Pick My Brain,” Copeland laments producers and deadlines in the hip hop game, relying on the powers of marijuana to keep him creative. His spacey, long-winded timbre still reverberates on “That Aint Cool,” an incredibly funny track in which he accuses his girls-on-the-side of trying to get him in trouble with his steady woman. It’s hard not to laugh when Devin’s temptations become so strong at “one dollar Mondays” at the club (a deal most rappers don’t have to jump at) that he has to chat at his genitals directly, reminding them that he has a woman at home and should remain faithful.

Correspondingly, the overtly sexual track “I Can’t Handle It” (track 9) brilliantly features an Isley Brothers interpolation sampling the song “Let Me Down Easy,” a refreshing change of pace in a time when direct sampling is so scarce. His chill and even sexy vocal tone captivates listeners, while his signature relaxed lines don’t stop at the end of phrases, keeping conversation with the listeners without pause. On track 12 this laid back style is brilliantly contrasted with the fast antics of rappers Wood and Quad, offering words of wisdom about ignoring negative people and doing what’s in one’s heart, no matter what people say. With a characteristically southern rap backbeat, the track is certainly reminiscent of days spent on the Houston-based label Rap-A-Lot Records.

Continuing in the weed anthem genre that has become representative of Devin the Dude, “All You Need” is a side-splittingly funny yet pseudo-somber warning about the hazards of heavy drugs as he relays stories of friends and musicians who have fallen prey to narcotics, describing people who cry for no reason and end up walking down the street naked.

All in all, the album is incredibly effective; with intoxicating beats and hilarious dialogue, the entire project mimics the effects of marijuana while remaining a legitimate work of art and an underground accomplishment. With six albums now in rotation, an appropriately named Coughee Brothaz label, and devoted and powerful fans, Devin the Dude can now hardly be overlooked in rap culture.

Reviewed by Rachel Weidner

Arist: Adrian Younge

Label: Wax Poetics Records

Catalog No.: WPR007

Format: CD,  MP3  (booklet)

Release Date: October 20, 2009

-

Black Dynamite the movie is a reverential parody of 1970’s Blaxploitation cinema, complete with huge afros, bad attitudes, ridiculous fight scenes and plenty of soul music.  That’s where Adrian Younge comes in.  Along with editing the film, Younge composed and performed the original score.  He did all this while keeping his day job as a professor at the American College of Law in Anaheim, CA.

Younge’s years as a club DJ and music aficionado were brought to bear in creating the Black Dynamite score.  It is an accurate re-creation of ‘70s funk and soul, down to period instruments like a Rhodes electric piano, Hammond organ and electric sitar.  Younge is a multi-instrumentalist, often playing sax, flute, keyboards, bass and drums.  He sometimes enlisted other musicians to play guitars and sing, but he also laid down guitar and vocal tracks here and there. (The video about the making of the “Black Dynamite” score is hilarious).

Although Black Dynamite is a spoof movie, aimed at amusing audiences, Younge took the soundtrack creation process very seriously.  In the booklet for the CD version of this album, he wrote:  “As a composer, my goal was to stimulate emotion; as a musician, I studied the instrumentation of superlative vintage soul; as a recording engineer, I utilized golden-era recording techniques to denote the nostalgic sound of early cinema funk.”

With that sort of approach, it’s legitimate to worry about overly serious “academic” music.  Thankfully, Younge avoided that dead-end and produced a rollicking good listen.  He delivers the funk and understands the soul.  It’s not quite up to par with the best of the genre (think Isaac Hayes’ soundtrack to Shaft), but it sounds and feels like a genuine article.  Plus, the title cut features hilariously nasty lyrics, in fitting with the film.

There’s nothing new to the sounds Younge created, but he didn’t want new, he wanted to revisit what in his mind were the classic motifs and sounds of Blaxploitation soundtrack music. He succeeded at that, and as a whole his score doesn’t sound like a bunch of disconnected samples.  It works as a listening experience, not needing the context of the film to be enjoyed.

The best cuts are the ones with extended lyrics and vocals.  LaVan Davis, who sings the title song and the super-bad “Cleaning Up the Streets,” is a good singer—he could hold his own in Stax or King studios.  Toni Scruggs, who handles most of the female leads, is an excellent singer for this kind of music.

Net-net, this is a better than average film soundtrack album. There are some filler instrumentals, and not all of the complete tunes with vocals work well, but it’s a fun album and my bet is that it gets heavily sampled and spun in the club-DJ world.  Younge’s careful study of the musical genre paid off, and he clearly understands it on a level deeper than academic analysis. It would be fascinating for him to apply these methods and aesthetics to a modern R&B artist—the results could be something truly new and different.

Adrian Younge and The Black Dynamite Sound Orchestra are currently touring around the country. Check out their recently released video for “Shot Me in the Heart,” featuring Loren Oden on vocals (produced by Wax Poetics):

Click here to view the embedded video.

The movie Black Dynamite was recently released on DVD—following is the official trailer:

Click here to view the embedded video.

Reviewed by Tom Fine

Artist: Cindy Blackman

Label: Four Quarters Entertainment

Catalog No.: FQT-CD-1820

Release date: March 10, 2010

Cindy Blackman is a drummer’s drummer. She plays exciting, busy fills and solos without getting in the way. She plays with Lenny Kravitz, but her self-professed first love is jazz, so she’s equally comfortable in multiple genres. She matches versatility with great taste and impeccable timing. She hits hard enough to get a truly satisfying sound, but she still manages all of the finesse and versatility that her touring schedule requires. She also has great style and cool hair.

On this, her latest solo record, Blackman pays tribute to her friend and one-time mentor, the late, great Tony Williams. She clearly has too much respect for Williams as an innovator and too much personal integrity to clone his music, though she does cop his intricate cymbal work and signature polyrhythms convincingly when she needs to. Another Lifetime is about a new generation of musicians who, though they cut their teeth with the first generation of jazz-rock greats, have their own inter-genre paths to forge. Blackman says it best: “Celebrating Tony is not just one day or one album, but it’s a way of living, a way of being creative, spontaneous, thoughtful and diligent in pushing the envelope.” Whether considering Williams’s groundbreaking group, Lifetime, or Blackman’s collaborators, it is difficult to argue with unbridled virtuosity.

This record listens like a one-hour set at a jazz club. The “house band,” featuring Doug Carn on organ, Benny Rietveld on bass, and Mike Stern on guitar, plays the first few tunes before inviting some heavy-hitting guests to sit in. The group begins with the first of three versions of Carla Bley’s “Vashkar,” a classic track from Lifetime’s first record, Emergency! Each version gets progressively further out, where two things become exceedingly clear: these musicians are completely comfortable moving in and out of the changes and they communicate extremely well. This core group really gets a chance to stretch out on “Where” and “Beyond Games,” both of which also appeared on Emergency! Mike Stern is no substitute for John McLaughlin, but then again, he’s not trying to be. He makes his own statements here in his own voice, an excellent compliment to Blackman’s drumming and Doug Carn’s tasty organ work. The result is a face-melting trio of tunes that pay homage to Williams and Lifetime, a perfect opening to this tribute album.

The next couple of cuts provide a smooth transition to introducing guests to this project. Carlton Holmes’s synthesizer contributes significantly to the segue. These tunes reiterate an already well-established statement from the first part of the record: these musicians are breathing new life into the jazz-rock trends developed during the forty years since Tony Williams left Miles Davis to form Lifetime. On “Love Song,” Blackman puts saxophonist Joe Lovano in one of his strongest playing environments. Their duo does not just draw attention to Lovano’s fascinating harmonic mind, it also gives listeners space to consider drumming as a kind of rhythmic harmony, to appreciate the drumset in all of its complex voices.

The last three tracks reign in the chaos of much of the rest of the record. If Blackman’s singing on “There Comes a Time” is unremarkable, it does not detract from Finn O’Lochlainn’s searing guitar sound, and the drum break at the end of the track is absolutely killing! “And Heaven Welcomed a King” and “Wildlife” feature these epic, rock-like anthems to end a jazz-rock record appropriately. Nothing could be more fitting than one-time Tony Williams sideman Vernon Reid’s brilliant guitar work on the closer, “Wildlife.” He amps up a theme reminiscent of Lifetime or Mahivishnu Orchestra.

Blackman’s group leaves the impression that if I did hear this set in a club somewhere, I would leave full of wonder and possibility. I would know that the future of jazz-rock is in good hands. She has found virtuosic voices for an impressive tribute to Tony Williams and Lifetime. She has done so with humility. Blackman is definitely a drummer’s drummer, but she and her band leave everyone wanting more.

Personnel: Cindy Blackman: drums, vocals; Doug Carn: organ; Benny Rietveld: bass; Mike Stern: guitar; Carlton Holmes: synthesizer (tracks 5, 10); Fionn O’Lochlainn: guitar (tracks 5, 10); Joe Lovano: tenor sax (track 8); Vernon Reid: guitar (track 11); Patrice Rushen: Fender Rhodes, synthesizer (track 11); Davis Santos: bass (11).

Reviewed by Peter J. Hoesing

Artist:  Percy Sledge

Label:  Blues Boulevard

Release date:  Jan. 12, 2010

-

Best known for his iconic 1966 soul single “When a Man Loves a Woman,” Sledge’s new blues album was “designed to mimic the soulful, laid-back vibe of Norala Studios in Alabama, where he cut most of his early sides.”

======================================================

Title:  Brian Young

Artist:  Brian Young

Label:  Tate Music Group

Release date:  Jan. 12, 2010
-

A self-taught guitarist, vocalist and songwritter from East St. Louis, Young offers up his own brand of electric blues, heavily influenced by B.B. King and Jimi Hendrix.

======================================================

Title:  Baby Please Set a Date

Artist:  Elmore James, Jr.

Label:  Wolf Records

Release date:  Jan. 12, 2010

-

Slide guitar master and winner of the 2009 Living Blues Awards, Elmore James Jr.’s new release is described as “traditional with a modern touch” and features Jake Dawson on guitar with Ed Williams on sax.

======================================================

Title: Gotta Walk with Da King

Artist: Little Freddie King

Label: MadeWright Records

Release date: Feb. 16, 2010

-

Recorded at a blues festival in Santa Fe, this new release by the New Orleans’ blues elder offers up live versions of many songs featured on his previous albums. As noted in the press release, his guitar playing and singing are “unmistakably rooted in his native Mississippi Delta soil.”

======================================================

Title:  Bare Knuckle

Artist:  Guitar Shorty

Label:  Alligator

Release date:  March 2, 2010

-

The legendary guitarist/vocalist, credited with influencing both Jimi Hendrix and Buddy Guy, proves he is still going strong at 70 with yet another solid, hard-driving electric blues album.

=======================================================

Artist:  Omarion

Label:  EMI

Release date: Jan. 12, 2010

Omarion’s third studio album ventures into hip hop territory with guest appearances by Gucci Mane and Fabolous.

======================================================

Title:  The Sea

Artist:  Corinne Bailey Rae

Label:  Capitol Records

Release date:  January 2010

The British diva’s sophomore release, recorded after the death of saxophonist husband Jason Rae, offers a soulful mix of jazz, rock, and pop inflected ballads and songs that reflect upon life’s joys and sorrows.

=======================================================

Title:  I’m New Here

Artist:  Gil Scott-Heron

Label:  XL Recording

Release date:  Feb. 9, 2010

-

The “founding father” of rap’s first album in 13 years is a powerful, if brief (30 minutes), mix of spoken word and bluesy tracks that will certainly not disappointed his legions of fans.

======================================================

Title:  Another Round

Artist:  Jaheim

Label:  Atlantic

Release date:  Feb. 9, 2010
-

The fourth album by neo-soul singer Jaheim Hoagland cements his place among up and coming R&B singers, demonstrating once again that comparisons to Luther Vandross are very apt.

Artist:  Massive Attack

Label: Virgin

Release Date:  February 9, 2010
-

The British band featuring 3D, Daddy G, Mushroom and Tricky, combine soul, jazz and hip-hop
to produce their infectious trip-hop sound.

======================================================

Title: Prenuptial Agreement

Artist: J-Stalin

Label: SMC Recordings

Release date: January 12, 2010
-

The Bay Area rapper’s latest album features 22 tracks that run the gamut
from street tracks to slow jams, with beats provided by an impressive lineup of guests.

======================================================

Title: Return of Wu and Friends

Artist:  Wu-Tang Clan

Label: Gold Dust Media

Release date: February 16, 2010
-

A collection of various Wu-Tang Clan songs and six unreleased Wu-Tang remixes,
all produced by Mathematics.

======================================================

Title: Make It Quake

Artist: Deep Thinkers

Label: LA Hill Records

Release date: February 9, 2010
-

The K.C. duo consisting of MC The Brother of Moses and producer/beat-maker Leonard Dstroy have unleashed their talent on their 4th full-length album, which ranges from “scratch-heavy bangers” to  “laid-back and jazzy” tracks.

=======================================================

Title: Unholy Terror

Artist:  Army of the Pharaohs

Label: Dcide Records

Release date: Feb. 16, 2010

-

Known as one of indie hip hop’s supergroups,  The Army of the Pharaohs crew’s latest release features verses from Vinnie Paz (Jedi Mind Tricks), Outerspace, Apathy, Doap Nixon, King Syze, Des Devious, Reef The Lost Cauze, and Celph Titled, among others.

======================================================

Title: Battle of the Sexes

Artist:  Ludacris

Label: DTP

Release date: March 9, 2010

-

Ludacris decides to tackle the many differences between men & women on his latest album, and is joined by all-star guests including Ne-Yo, Flo Rida, Ciara, Trey Songz, Lil’ Kim, Eve, Trina, and Plies.

======================================================

Title: Yes

Artist:  K-OS

Label: Last Gang Records

Release date:  Feb. 23, 2010

-

The third album from the Canadian singer and rapper  K-OS, a genre defying blend of rap and R&B, was recently released in the U.S. to wide acclaim.

Label: Numero

Release date: January 26, 2010

Once again Numero’s crate diggers have unearthed a wonderful array of rare tracks, this time focusing on the funkier side of gospel.

-

======================================================

Title:  At The Revival

Artist: The Mighty Clouds of Joy

Label: EMI Gospel

Release date:  January 26, 2010

-

The pioneering gospel quartet branches out on their latest album, something of a 50^th anniversary tribute. Produced by R&B singer Raphael Saadiq, the group offers a mix of traditional and contemporary gospel, while lead singer Joe Ligon (the only remaining original member) demonstrates that his fiery vocals can still burn up the pews.

======================================================

Title: Lions & Liars

Artist: Sho Baraka

Label: Reach Records

Release date:  March 30, 2010

-

The gospel hip hop artist’s sophomore album is more experimental and hard hitting than his debut, tackling themes of racial identity, sex, violence, and the drug culture, while integrating musical styles ranging from gospel to rock and soul.

Label:  Valcour

Release date:  January  2010

-

Louisiana Creole musician Cedric Watson has been making a name for himself by reviving and reinterpreting old Creole fiddling styles and songs, which he sings in a Cajun-French/Créole patois.  Previously a member of the Pine Leaf Boys, Watson and his band, Bijou Creole, take their latest album in some new directions, shaking things up with inflections of soul, blues, zydeco, and even a hint of Caribbean and reggae rhythms.

=======================================================

Title: Nha Sentimento

Artist: Cesaria Evora

Label: LUSAFRICA

Release date: January 12, 2010
-

Performing compositions from some of Cape Verde’s best songwriters, Evora  is accompanied variously by  guitar, violin, soprano saxophone and the kanun (Arabic zither), in an album that showcases the diversity of  Cape Verdean music.

=======================================================

Title:  Sweet Sweet Jamaica

Artist: Gilzene & Blue Light Mento

Label: World Village

Release date:  January 12, 2010
-

The debut recording of Jamaica’s Blue Light Mento Band showcases their mastery of the mento genre through fifteen songs, one of which features “Toots” Hibbert (Toots & the Maytals) on harmonica in a reinterpretation of his reggae hit “Sweet and Dandy.”

=======================================================

Title:  Vision of a Psychedelic Africa

Artist: African Head Charge

Label:   On-U Sound

Release date:  February 9, 2010

-

The dub-funk-psychedelia group’s latest release, arguably their best album of the last decade, finds leader Bonjo Iyabinghi Noah accompanied by a bevy of guests including Living Colour bassist Doug Wimbish, guitarist Skip “Little Axe” McDonald, and drummer Keith LeBlanc (all members of the band Tackhead).

=======================================================

Title:  Rising Sun

Artist:  Souljazz Orchestra

Label:   Strut

Release date:  February 16, 2010

-

Canada’s Souljazz Orchestra has released it’s first all-acoustic afro-jazz album, which is a feast for the ears.  The complex arrangements, utilizing as many as thirty different instruments, draw from jazz, soul, funk, Afro-beat, and Latin music, while channeling Fela, Miles Davis, Pharoah Sanders, and Ethio-jazz  great Mulatu Astatke.

=======================================================

Title:  Rise & Shine

Artist:  Sierra Leone’s Refugee All Stars

Label:  Cumbancha

Release date:  March 23, 2010

-

Sierra Leone’s Refugee All Stars, originally formed  in West African refugee camps, have released a sophomore album recorded both in their hometown of Freetown, Sierra Leone, and in New Orleans, where they picked up guest artists Trombone Shorty, Bonerama and Washboard Chaz.  The musicians deftly move between styles ranging from roots reggae to African soukous.

=======================================================

Title:  Oyo

Artist: Angélique Kidjo

Label:  Razor & Tie Music

Release date:  April 6, 2010

-

On her latest project, “Africa’s premier diva” embraces the music of her native Benin as well as soul and R&B, with distinctive interpretations of songs made famous by James Brown, Otis Redding, Santana, and Miriam Makeba.  Guests include Bono, John Legend, Roy Hargrove and Dianne Reeves.

Artist: Sharon Jones & The Dap-Kings

Label: Daptone

Catalog No.: DAP 019

Formats: CD, LP, MP3

Release Date: April 6, 2010
-

This year appears to be Sharon Jones’ time to shine.  Her previous album, 100 Days, 100 Nights, caused enough buzz to sell over 150,000 copies worldwide, according to Daptone Records’ publicity materials.  The small Brooklyn-based label has now arrayed its entire marketing machine behind this new release, and Jones is booked all over the summer music-festival scene. If you’re anywhere near live soul music this summer, you are liable to hear Sharon Jones. Indeed, she launched the album with a dynamic performance at South by Southwest in Austin, TX.

Some reviewers have pigeonholed this album as “retro soul.” I would suggest it is, rather, a new extension of musical styles that left the popular vernacular a couple of decades ago. In other words, she’s not a mechanical copy-cat, but instead is picking up the old threads of soul that went dormant when the Stax, Philadelphia International and Motown streams morphed into hard funk and then disco. Sure, this music could have been played back in the mid-60s, but these exact tunes and hooks were not, so this counts as original and new music.

Daptone says the album was “recorded on an Ampex 8-track tape machine by (producer/engineer Gabe Roth, a.k.a. Bosco Mann) in Daptone Records’ House of Soul studios.” The old-style production puts a vintage sparkle on things, but the sound works just fine in a modern setting. The overall product is much less fuzzy/distorted than old albums from Motown and Stax, but it’s not as punchy and in-your-face as a modern “R&B” production. The net result is a coherence and believable ensemble performance, very enjoyable to listen to either through speakers or earbuds. Using real strings and horns adds desired flavors, and demonstrates the polish of Daptone’s “house band.”

Following is the official music video for “I Learned the Hard Way” (© Daptone Records, 2010):

Sharon Jones’ voice is definitely a throwback, but in all the good ways. She isn’t doing vocal-chord-gymnastics like an American Idol contestant, nor is she mumbling or burying herself in a dense backing track. She’s right out there, just being Sharon Jones. To use an over-used descriptor, she delivers the songs effortlessly. She is clearly in her natural voice and is not forcing the energy level or vocal range. This is such a pleasure to hear, a real soul natural making records today. I’m reminded of Etta James in her prime, or a young Aretha Franklin.

As for the Dap-Kings, these boys clearly absorbed all the classic soul motifs and hooks, and can bring them on demand. Daptone’s own publicity materials compare them to “the golden days of Muscle Shoals and Stax,” but I also hear echoes of Motown and Philadelphia International, and even some Duke/Peacock in the mix.

The album is available for preview-streaming online, so an interested listener should form their own conclusions about favorite tunes.  My own favorites are: “Better Things,” “Window Shopping,” “Money,” “I’ll Still Be True,” and “Without a Heart.” But the whole album heard in sequence is a very rewarding 45 minutes because thought and care went into the order and mix of each track.

Bottom line, Sharon Jones and the Dap-Kings can deliver the goods during their moment in the spotlight.  This should lead to a bright future, both for them and the kind of soul music they’ve chosen to pick up and move forward.

Reviewed by Tom Fine

Artist:  Regina Carter

Label:  E1 Entertainment

Catalog No.: Koch 2090

Formats:  CD,  MP3

Release date: May 18, 2010
-

In September 2006, jazz violinist Regina Carter received McArthur Fellowship, which she used to delve into research at New York’s World Music Institute. The fruit of those labors is Reverse Thread, an album of African and African Diasporic folk tunes reinterpreted with a modern sensibility borrowing from jazz, pop (both African and western), and even classical.  In addition to her regular backing band, Carter brought in two virtuoso West African musicians—Malian kora player Yacouba Sissoko, and Senegalese bassist Mamadou Ba—and added accordion (played by Will Holshouser and Gary Versace) into the mix.

In researching her source material, Carter explored ethnographic field recordings and their anthropological and sociological contexts, finding hidden gems along the way.  The opening track “Hiwumbe Awumba” and closing track “Mwana Talitambula” are both derived from an obscure Jewish community in eastern Uganda.  Although the source lyrics for “Hiwumbe Awumba” are “God creates and then He destroys,” the piece as Carter conceives it is joyous and upbeat.  The paired tracks “Kothbiro (Intro)” and “Kothbiro” showcase Sissoko’s kora playing, first in an improvised solo, then in a lullaby-like ostinato pattern underlying Carter’s violin melody, finally growing to an atmospheric improvisation over the violin and ostinato.  “Un Aguinald Pa Regina” takes us to the diaspora, pairing Afro-Caribbean rhythms and a tango-like melody.  The influence of Christian missionaries in Africa can be heard in the hymn-like opening melody of “God Be With You,” which is then treated to African percussion and a jazzy swing.

Here Carter performs “N’Teri” with kora player Yacouba Sissoko and accordionist Will Holshouser at the NPR Music Offices for All Things Considered’s Tiny Desk Concerts series:

Click here to view the embedded video.

All of these different facets make Reverse Thread a bright gem of a recording, one that transcends the label of mere world beat for a livelier, more interactive approach to drawing on ethnographic sources.  Fusing the classic with the popular, traditional with modern, Regina Carter and her band have created music that is deeply rooted, yet very much alive.

Reviewed by Ann Shafer

Artist: Freeway & Jake One

Label: Rhymesayers Entertainment

Formats: CD, MP3

CD Catalog No: 0117

Release Date: February 16, 2010
-

Over the course of his career, rapper Freeway has struggled to solidify his spot among rap’s mainstream kings. This is not due to a lack of skills, as Freeway is an extremely gifted emcee. Neither is this from a lack of promotion, as he has been supported by both Jay-Z and 50 Cent, two of rap’s most visible figures. It is possible that Freeway’s lack of commercial success is the result of his style, or maybe he’s just too good. Though Freeway’s subject matter is similar to other mainstream rappers, his raw delivery places him in an underground aesthetic that mainstream fans often find inaccessible. This is why, although surprising, it was not odd to see him link up with underground producer Jake One and release The Stimulus Package on underground powerhouse Rhymesayers Entertainment.

The album opens up with the smooth “Stimulus Intro,” on which Freeway and old Philly partner Beanie Sigel rip a Blaxploitation soundtrack inspired instrumental. The energy turns up on the anthemic “Throw Your Hands Up,” which finds Freeway musing over his history with hip hop. The equally hot “One Fit In” follows and features Free discussing his dual careers. Jake One employs a well-placed Rick James’ sample on “She Makes Me Feel Alright,” as Freeway relates tales of romance. “Never Gonna Change” and “One Thing” with Raekwon are two more solid tracks with hot contributions from both Free and Jake.

Following is the single “She Makes Me Feel Alright,” courtesy of Rhymesayers:

Click here to view the embedded video.

The airy “The Product” opens up the second half of the album and is followed by old school flavored “Microphone Killa,” which also features State Property member Young Chris. “Follow My Moves” is the most commercial song on the album, but it still maintains the album’s raw feel and includes good performances by Free and Birdman. “Show Nuff” is a solid track featuring Texas legend Bun B and “Freekin’ the Beat” sounds like a Reasonable Doubt remake, which is not a bad thing at all. “Free People” finds Freeway in an introspective mode, discussing his life and career over a piano driven beat. The album’s closer, “Stimulus Outro,” is by far its greatest track. Over incredible Jake One production, Freeway lyrically answers a few pieces of fan mail, and relates the importance of his music in the lives of his listeners. His ability to capture different voices gives the song an honest feel that makes it very effective.

Aside from the stale “Know What I Mean” and the slightly more entertaining “Money,” The Stimulus Package is a total banger. Both Freeway and Jake One make incredible contributions and exhibit amazing chemistry. Rhymesayers and Jake One allowed Freeway to flex his skill as an MC, giving him the freedom to present his entire repertoire. In the summer of 2009, Free signed with Cash Money Records, making the possibility of future Rhymesayers collaborations unclear. No matter what happens in his future, with The Stimulus Package, Freeway has finally left his artistic mark on the hip hop game.

Reviewed by Langston Collin Wilkins

Artists:  Various

Label:  Big Legal Mess; dist. By Fat Possum Records

Format:  3 CD set

Catalog No.:  BLM 0224

Release date:  February 16, 2010
-

There have been many interesting reissues of black gospel music in recent years, but the Pitch/Gusman Story is notable for shedding light on a little known company out of Savannah, Georgia, operated by Waymon “Gusman” Jones.  According to the liner notes, noted scholar David Evans “discovered” the recordings back in the day when he visited Gusman’s record store, and was largely responsible for spreading the news amongst fellow collectors and crate diggers. When word trickled down to John Glassburner, a gospel collector who also dabbles in artist and label compilations, he decided to make it his mission to track down every record and historical detail about Waymon Jones.

To make a long story short, Jones decided on a mid-life career change and returned to his hometown of Savannah in 1967 to open the Gusman Record Shop (“Gusman” was apparently his nickname).  Though secular records were the mainstay of his business, Jones’ personal preference was gospel music (two of his brothers sang in a quartet, and their father was a deacon).  Before long, his shop became a hang-out for local gospel singers, and Jones quickly expanded his role to label owner, recording engineer, and producer.  By the late ‘60s, Jones was issuing 45s on the Pitch label, which he apparently purchased, and later added his own Gusman label.  His recording activity continued until 1978 when, due to economic constraints, he decided to concentrate solely on his store. Waylon Jones passed away in 2004 at the age of 72, and if not for Glassburner, his story may never have been told.

Thanks to the community of gospel record collectors, 71 rare recordings from the Pitch and Gusman labels have been made available for this project. Produced by Glassburner and Bruce Watson, with notes by gospel historian Alan Young, the three CD compilation is primarily laid out in chronological order.  Disc One is devoted to Pitch 45s recorded between 1961-1975 and features 12 different groups from South Carolina and Georgia, including quartets and solo artists, such as Evangelist Loretta Myles. Disc Two reproduces Pitch and Gusman LPs pressed between 1977-78, the final years of the labels. Artists include the Golden Stars of Greenwood, SC , the Sensational White Family Singers of Savannah, the Mighty Reverlaires, and the Six Voices of Zion from Columbia, SC.  The third disc includes the remaining Pitch 45s from the late ‘60s along with four Gusman 45s from 1973, again featuring a mix of quartets and soloists.  Overall, the selections reflect Jones’s preference for the traditional, and are largely devoid of the contemporary leanings of the ‘70s.

This project is such an obvious labor of love that it is impossible not to be equally enthusiastic about the results.  The liner notes are informative and well-illustrated, and the remastering is excellent.  The set truly gives “21st century listeners a unique opportunity to roll back the years and hear the vital and vibrant sounds of a southern community’s gospel music world in a simpler age.”

Reviewed by Brenda Nelson-Strauss

Artist:  Lightspeed Champion

Label:  Domino

Catalog No.: DNO 254

Formats:  CD, LP, MP3

Release date: February 16, 2010
-

The second solo album from Lightspeed Champion (aka Devonte Hynes) finds the 24 year-old Brit moving further into pure pop and away from the indie rock sound of his first album, Falling Off the Lavender Bridge. The ironic quirkiness and unexpected juxtapositions of musical elements found on Lavender Bridge continue on Life is Sweet!, but Lightspeed Champion wears his musical influences on his sleeve here, channeling the history of pop from the ‘50s onward, as well as musical theater and even classical keyboard repertoire.

Lightspeed Champion’s vocals take on more prominence on this album as well, sitting at the front edge of the sound and leading the accompaniment in surprising directions.  Drawing on Motown and ‘70s glam, the opening ballad “Dead Head Blues” sounds oddly reminiscent of Queen—while Hynes can’t compare to Freddie Mercury in presence or vocal virtuosity, he commits with an unabashed sincerity akin to Mercury’s, backed by soaring rock guitar and strings.  A greater sense of theatricality becomes evident, too, on tracks like “The Big Guns of Highsmith,” which sounds like what would happen if the Sgt. Pepper-era Beatles produced a Broadway musical in the late 1990s.   Meanwhile, he evokes ‘50s doo-wop and ‘60s girl groups in the Chopsticks-esque piano accompaniment, swooping string codas, layered backing vocals, and lovelorn plea of “I Don’t Want to Wake Up Alone.”

Several of the tracks feature pairings of contrasting musical styles that work in spite of themselves, as in “Marlene,” which suggests classic Talking Heads pop punctuated by string stingers from ‘70s funk.  Even Hynes’s fondness for country and folk is reflected here in “Sweetheart,” which starts out for all the world like a forgotten Johnny Cash song.  Life is Sweet! delivers four pared-down instrumentals as well, single-note palate-cleansers in the midst of so many stylistic fusions: “Intermission” is an introspective synth meditation, “Intermission 2” delivers a mellow Afro-Caribbean percussion groove, “Etude Op. 3 ‘Goodnight Michalek’” allows Hynes to experiment with writing a classical piano etude, and the closing track “A Bridge And A Goodbye” combines electric bass and celesta to create a delicate final coda to the album.

Following is the official video for “Marlene” (courtesy of Domino Records):

Life is Sweet!  Nice to Meet You is a strong sophomore effort, surpassing Lavender Bridge.  Lightspeed Champion’s gift for orchestration and arranging has always been his strong point, and it shines here.  At the same time, his lyric-writing skills have improved, giving his songs more focus and expression, and his vocals are stronger, integrating better with his accompanying textures.

Reviewed by Ann Shafer

Title: How to Rap: The Art and Science of the Hip Hop MC

Author: Paul Edwards

Publisher: Chicago Review Press

Format:  Book (paperback, 340 p.)

ISBN: 978-1556528163

Date: 2010

-
-

How to Rap: The Art and Science of the Hip Hop MC by Paul Edwards is an in-depth exploration of the dynamics of hip hop lyrical performance. Through the words of more than 100 hip hop artists, Edwards offers a how-to guide for emceeing. According to the author, he became motivated to write this book after discovering that, unlike other musics, there was no instructional guide to hip hop performance:

“I was motivated to write this book mainly because I was looking for something similar myself. If you want to know about most other genres’ music theories or how an instrument works or another musical technique, you can normally look it up, but there wasn’t really anything for rap. You can pick up books on how to play guitar, how to sing, how to play bass, how to learn Jazz chords, how to play Blues scales and guitar, etc. so it was odd nobody had really touched on rapping properly.”

Furthermore, Edwards desired to “preserve all this information and the skill sets and the techniques, so that others can learn from the combined knowledge of all these MCs and hopefully the genre can continue to move forward and build on the strong foundations of the pioneers and masters of the art.”

How to Rap offers readers expert advice on the art of hip hop music. The book is divided into four parts that Edwards posits as essentials of hip hop performance: content, flow, writing, and delivery. Each part is further separated into smaller sub-sections that feature specialized topics. Words from actual artists make up around 90% of the book’s content, collected primarily via telephone interviews. As the author notes, however, this process had its difficulties:

“Contacting the artists was difficult in a lot of cases – you have to just search and search until you find a manager or publicist name and then try to track down their contact info. In most cases you’re contacting the label, a publicity firm, or a booking agent. After a while you start to get the hang of which label people are on, who is most likely to represent them, and in some cases you can contact other people who have interviewed them and see if they’re willing to give up some hard earned contacts! Then from there it’s just a matter of persistence. With some of the artists I had to contact their managers every week for a year until they set up an interview, and I was interviewing pretty much full time to work around their schedules. If they want to do the interview at 3am, that’s when we’re doing it!”

The rappers interviewed by Edwards and featured in the book are among hip hop’s most skilled MCs:  Kool G Rap, Big Daddy Kane, Royce Da 5’9”, Crooked I, Tech N9ne, Sean Price, and Twista are among the many artists who relate the dynamics of their practice.  In the book, Edwards acts a facilitator, introducing and synthesizing artists’ comments. Ultimately, How to Rap is set up like any other musical instruction book, offering a text-based guide to the development of musical aptitude.

Here Tech N9ne explains to the author how he comes up with his incredible flows and how he manages to deliver them on stage (other interview excerpts are also offered on Youtube):

Click here to view the embedded video.

How to Rap: the Art and Science of the Hip Hop MC, a 300 page course on the particulars of hip hop performance, should serve as a resource for those interested in developing their MC skills as well as those simply interested in the aesthetic. As previously noted, there is a severe shortage of texts focused on the musicality of hip hop. Hopefully, How to Rap will lead to an increase in the number of works dedicated to hip hop as an art form.

Editor’s note:  Paul Edward’s quotes were taken from emails exchanged with the author.

Reviewed by Langston Collin Wilkins

Artist: Quintus McCormick Blues Band

Label: Delmark

Catalog No.: DE 801

Format: CD

Release Date:  September 22, 2009
-

Quintus McCormick has been a fixture in the Chicago blues-club scene since the mid-90s, but this is his first studio album as a leader.  In a nice marketing touch, and for the edification of some listeners, Delmark includes a definition of a Jodie on the cover: “n. 1. back door lover.”

The album’s style straddles the line between modern urban blues and southern soul, the common theme being wronged lovers and “troubled business.”  McCormick is a first-rate guitarist, and his band—which includes horns, harmonica and backing vocals—stands firmly behind him.  The result is a polished and smooth sound, with musicianship edging out soul in some parts.

McCormick can also sing, and his vocal range works perfectly with the way he’s arranged the music. The mix is punchy but uncluttered, so the album really pops out of the speakers. The operative mode is “modern,” which means Hey Jodie! sounds closer to Alligator blues records from the ‘90s than Chess blues records from the ‘60s.  Delmark is a veteran Chicago label, so it’s fair to say this album represents a modern example of their catalog, as opposed to what they were selling in the early 1970s. This is noted so a listener is forewarned against “nostalgia-blues.”

Fourteen of fifteen tunes on the album are McCormick originals, and he proves an able songwriter. The sequence offers a nice mix of tempo and topic, as well as parts for each musician to shine. The band sounds like they’ve been working together, live, for a long time, with a very tight beat and nice licks and hooks coming at opportune times, no one stepping on anyone else.  There’s a nice contrast between songs like the title track and the pure blues number “What Goes Around Comes Around.” Several tunes are of the shuffle-blues variety, and others are up-tempo soul.

The band’s Myspace site offers streams of several songs from the album, so an interested listener can pick their preferences. My favorites are “Fifty/Fifty,” “Get That Money,” “Plano Texas Blues,” and the band’s enthusiastic send-up of “Let The Good Times Roll,” which closes the album. To my ears, the weakest tune is the title track, because it’s delivered too “shiny” and not soulful enough for the song and the lyrics. But it’s certainly not a terrible song—there are no duds on this album.

Here’s hoping Quintus McCormick keeps this fine band together and keeps putting out albums as good as Hey Jodie!.

Reviewed by Tom Fine