Posts filed under 'Rhythm & Blues, Soul, Funk'

Various artists – Feel Good! 40 Years of Life Changing Music

Feel good!
Title: Feel Good! 40 Years of Life Changing Music

Artist: Various

Label: Tyscot

Formats: CD, MP3

Release date: April 29, 2016

 

We’re a little late to the party, but we can’t pass up an opportunity to commemorate the 40th anniversary of Tyscot Records, the nation’s oldest African American owned and operated gospel music label. Founded in 1976 by Dr. Leonard Scott and L. Craig Tyson in Indianapolis, Indiana, the label has grown into a multi-media company that produces films as well as recordings. Yet Tyscot remains a family run operation, guided by Dr. Scott as CEO, with son Bryant S. Scott continuing the legacy as President/COO. Now entering its fifth decade, the label is an industry powerhouse whose artists garnered 19 Stellar Gospel Awards nominations in 2017.

Tyscot was originally established to record the Christ Church Apostolic Radio Choir, led by Bishop James Tyson (Craig’s father). The choir’s first hit single, “Feel Good!,” is the opening track of this anniversary compilation in a contemporary version re-recorded by Dr. Scott. The remaining 14 tracks feature songs by artists whose careers were launched by Tyscot, starting with “Hold On” (1981) by The Pentecostal Ambassadors, a popular male vocal trio from Indianapolis. Following is the smooth, ballad style “Say You Believe” (1986) performed by Deliverance and co-written by none other than Indianapolis native Kenneth “Babyface” Edmonds, who at the time was a member of the R&B group The Deele.

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Other early Tyscot releases featured on this set include the classic “Jesus Is Real” by John P. Kee & the New Life Community Choir, “Holy One” featuring Kirk Franklin with the Trinity Temple Full Gospel Mass Choir, and the P.A.W. National Mass Choir’s “How Majestic,” a fantastic arrangement based on Handel’s “Hallelujah Chorus.” Sequenced in chronological order, the set concludes with contemporary gospel artists, including break-out stars Anthony Brown & group therAPy (“Do It Again”) and Casey J (“Better”) who have been topping the charts this year.

Feel Good! 40 Years of Life Changing Music showcases the talents of local and national gospel artists and cements the legacy of Tyscot Records. The company is stronger than ever, and positioned to remain an industry powerhouse in its fifth decade.

Reviewed by Brenda Nelson-Strauss

View review November 2nd, 2017

Kermit Ruffins & Irvin Mayfield – A Beautiful World

A Beautiful World
Title: A Beautiful World

Artist: Kermit Ruffins & Irvin Mayfield

Label: Basin Street

Formats: CD, LP, MP3

Release date: September 22, 2017

 

 

Celebrating Basin Street Records’ 20th anniversary, musician Kermit Ruffins and producer Irvin Mayfield join together on a collaborative album, A Beautiful World. This album includes different musical configurations and features other Basin Street Records’ artists: Rebirth Brass Band, Dr. Michael White, Jason Marsalis, and Bill Summers. Other artists making guest appearances include Haile Reinhart, Cyril Neville, John Boutté, Glen David Andrews, Shannon Powell, and many other New Orleans musicians. Basin Street claims “A Beautiful World is the ultimate party in record form” and I must agree—it’s a non-stop celebration as well as a demonstration of the musical genius and creativity of Kermit Ruffins and Irvin Mayfield.

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The party begins with “Well, Alright,” a big band piece with tasteful horn solos, handclaps, and a swingin’ rhythm section. Along with the sounds of the big band, we hear vocal support from the artists encouraging soloists during their solos, which is participatory characteristic of African American music. “Drop Me Off In New Orleans” reflects the cheerful and jovial sounds that can be heard while walking through the streets of New Orleans, capturing a true representation of the city’s tradition jazz music legacy. In addition, there are soulful compositions and arrangements such as “Move On Ahead,” “Good Life,” “Be My Lady,” “Allen Toussaint,” “Just A Closer Walk With Thee,” and “When The Saints Go Marching In.” These songs express the spirit of the album, which is to honor the past while celebrating Basin Street Records’ 20th anniversary and the beginning of New Orleans 300th anniversary.

A notable feature of A Beautiful World is the short spoken word interludes interspersed with musical compositions throughout the album. Narratives of Kermit Ruffins and Irvin Mayfield are heard through the words of actor Wendell Pierce, DJ Soul Sister, Irvin Mayfield III, and The Urban Cellist. These interludes not only provide a contrasting element to the project, they also offer the listener a glimpse into the experiences of Ruffins and Mayfield.

When asked about the recording process Ruffins responded, “Good food and good music are my passions. I wanted to make a record people could eat.” Metaphorically speaking, A Beautiful World is certainly food for the soul. From its foot-tapping rhythms, groovy basslines, rich harmonies, and melodious hooks to its historical musical representations, this album is a wonderful treat for the listener and a heartfelt tribute to the city of New Orleans and Basin Street Records.

Reviewed by Jamaal Baptiste

View review November 2nd, 2017

Gregory Porter – Nat “King” Cole & Me

Gregory Porter
Title: Nat “King” Cole & Me

Artist: Gregory Porter

Label: Blue Note

Formats: CD, LP, MP3, Deluxe ed.

Date: October 27, 2017

 

 

Born and raised in Sacramento, California, Gregory Porter is undoubtedly a jazz legend. He captured audiences with his enchanting baritone voice the moment he stepped on the scene, receiving a Grammy nomination for his debut album Water (2010), and wining the Grammy Award for Best Jazz Vocal Album with Liquid Spirit (2013) and last year’s Take Me To The Alley. Now, as he teams up with 6-time Grammy award winning arranger Vince Mendoza as well as the London Studio Orchestra, Porter will sends chills down your spine and possibly bring a tear to your eye with his new album Nat “King” Cole & Me.

This album is meant to be a tribute to his idol, the legendary Nat King Cole, whose influence on Porter began at a very early age. In a recent interview, Porter recalls writing a song and playing it for his mother. Upon listening to young Gregory she exclaimed, “Boy you sound like Nat King Cole.” This sparked Porter’s lifelong love for Nat and his music. Porter also explained that his father was never in his life and Cole’s music seemed to fill a type of void in him, stating “They were coming out of the speakers like Nat was singing those words just to me. I would listen to his albums and imagine that Nat was my father.”

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The material in the album consists of gorgeous orchestral arrangements of songs made famous by Nat King Cole, one of the first being “Nature Boy.” Porter’s rich tone on this song is hauntingly beautiful as he treats the melody and the text in ways clearly influenced by Cole yet still maintaining his own individuality. As the album continues we are met with even more phenomenal arrangements like “Miss Otis Regrets,” with a bombastic introduction that swiftly drops as Porter enters with the lyric. But one of the best moments happens towards the end of the album as Porter sings the standard tune “For All We Know.” His tender delivery of this song is amazing in how he treats the lyric and occasionally embellishes the melody, showcasing excellent control.

With other classic tunes like “L-O-V-E,” “Sweet Lorraine” (on the 15 track deluxe edition) and “The Christmas Song,” Nat “King” Cole & Me is absolutely astonishing. With a rich and soulful sound, no one could do more justice to the memory and legacy of Nat King Cole than Gregory Porter.

Reviewed by Jared Griffin

View review November 2nd, 2017

Courtney Pine – Black Notes From the Deep

Courtney Pine
Title: Black Notes From the Deep

Artist: Courtney Pine

Label: Freestyle

Formats: CD, LP, MP3

Release date: October 27, 2017

 

 

From across the pond comes British jazz musician Courtney Pine’s latest offering, Black Notes From the Deep. Perhaps best known as a founding member of the Jazz Warriors as well as host of the radio show Jazz Crusade on BBC Radio 2, Pine has had a major impact on the U.K. jazz scene over the last thirty years. On his 19th album, the multi-instrumentalist focuses primarily on tenor sax while collaborating with another U.K. legend, neo-soul singer Omar Lye-Fook. Backing musicians include the dream team of Alec Dankworth (son of Cleo Laine) on bass, Robert Mitchell on piano, and Washington, DC native Rod Youngs on percussion.

As the needle drifts over the grooves of the opening track, there’s no doubt that pairing Omar with Pine was a brilliant idea. “Rules,” co-written by the two musicians, is a fitting intro the album and offers a glimpse of things to come (see video below for a live performance of the song). Next up is “You Know Who You Are.” This sultry, atmospheric instrumental brings to mind a smoky jazz club in a film noir while showcasing the piano stylings of Mitchell and some tasty tenor solos from Pine.

Several members of the group, including Pine, have Jamaican roots, which influenced the instrumental “Rivers of Blood.” The title references the 1968 anti-immigration speech by Enoch Powell, a British member of Parliament, directed primarily at the initial wave of Caribbean immigrants to the U.K. from 1948-1968. Pine’s tenor combines with chords on the lower octaves of the piano to speak the bitter truth of this era, but a ray of hope is offered as the instruments move into the upper registers, building to a forceful conclusion that defies all odds.

Ushered in on a bass riff quoting Curtis Mayfield, “Darker Than the Blue” is definitely an album highlight, with Omar imploring, “Please tell me why, why oh why, would you want to leave me this way?” while Pine wails on the tenor sax like a lover scorned. Omar returns for two more tracks, the organ layered “In Another Time” and a new interpretation of Herbie Hancock’s “Butterfly,” the latter featuring Charleen Hamilton on background vocals. On the upbeat instrumental “A Change Is Sure to Come,” Pine finesses the bass flute, proving his versatility while offering the other members of the ensemble an opportunity to solo. The album concludes on “A Word to the Wise,” with Pine plumbing the depths of the tenor to signal a warning call.

Black Notes From the Deep indeed plumbs the depth of jazz and soul, adeptly mixing message songs with passionate instrumentals performed with deft expertise by musicians who have spent decades honing their craft.

Reviewed by Brenda Nelson-Strauss

View review November 2nd, 2017

Mavis Staples – If All I Was Was Black

Mavis Staples
Title: If All I Was Was Black

Artist: Mavis Staples

Label: Anti-Records

Formats: CD, LP, MP3

Release Date: November 17, 2017

 

 

Mavis Staples ushers in her eighth decade of singing truth with the call-to-compassion album If All I Was Was Black, her third collaborative project with songwriter, producer, and Wilco frontman Jeff Tweedy. Their first partnership in 2010, You Are Not Alone, won a Grammy Award for Best Americana album. Their second effort together, One True Vine, was a Grammy nominee. But If All I Was Was Black marks the first time Tweedy has composed an entire album of original songs for Mavis’ legendary voice and a nation she’s uniquely poised to address. As a witness to both past and ongoing American civil rights issues, Staples feels that, in many respects, “nothing has changed…we’re not loving one another the way we should.”

 

The album’s first track, “Little Bit,” firmly establishes this work as a conscious ode to the déjà vu mood gripping the nation of late. A driving guitar hook sets the tone immediately at the open, with Staples’ vocals rasping out an early downbeat of “This life surrounds you, guns are loaded. This kind of tension, hard not to notice.” Throughout the song, Mavis leads listeners through call-and-response vocals in a soundscape that recalls Sly & the Family Stone’s mix of joy and social criticism unfolding over a funk-edged rhythm section. Following is the title track, an upbeat, joyous groove that continues the album’s humanistic theme of understanding and acceptance. Directly addressing those who respond to someone’s race without seeing their shared humanity, Staples expertly croons, “If all I was was Black, don’t you want to know me more than that?”

Current events appear on the record obliquely, reflecting a commitment to a universal approach that shines a comparative light on the past by suggestively addressing today’s events. As Mavis explains, “We didn’t make the songs point to a specific person. If you follow the lyrics, it’s about yesterday and today.” “We Go High” borrows its chorus from Michelle Obama’s speech on the first night of the 2016 Democratic National Convention, and the track “Build a Bridge” parses exactly which lives matter and how we can begin to talk about it.

Staples’ darker tone can be glimpsed in both “Who Told You That?” and “Try Harder.” Alluding to the frustration and realism of today, her telling line “There’s evil in the world, and there’s evil in me” signals harsh undercurrents of danger. Despite these elements, the mood ring on Mavis’ 2017 call-to-action is set to love, running through and over the occasional fury and pragmatism. The songs move like an ocean tide, ebbing and flowing, with Mavis countering the anger with an eye toward the work that is required to bring change. In the end, the answer lies in lifting each other up, Staples style. She’s not embracing the anxious hesitation of respectability politics but rather the possibilities of love.

Try Harder. Two small words, containing the biggest potential imaginable. To Mavis Staples, this phrase is key to substantial change if society will take her lead and lovingly follow through.

Reviewed by Amy Aiyegbusi

View review November 2nd, 2017

Chicago Afrobeat Project – What Goes Up

Afrobeat Project
Title: What Goes Up

Artist: Chicago Afrobeat Project

Label: Self-released

Format: MP3

Release date: September 29, 2017

 

 

The newest release from the Chicago Afrobeat Project, What Goes Up, builds upon the group’s  strong foundation of recordings.  The already large ensemble heavily features guest artists on its latest album, including Nigerian afrobeat drummer Tony Allen (who has worked with the legendary Fela Kuti, a pioneer of the genre) as a featured artist on each of the album’s tracks.

The Chicago Afrobeat Project has always drawn heavily from funk-influenced afrobeat styles, and, as the group’s name implies, continues this basic approach on its latest album.  The 14-member ensemble features great arrangements for its full horn section on cuts like “Race Hustle,” but moves somewhat outside of traditional afrobeat expectations on other cuts, as on the extended synth intro to “Cut the Infection.” The group incorporates some jazz fusion influences on the polyrhythmic cut “Must Come Down,” interpolating wah wah guitars with African rhythms more typical of the group’s style.

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Unlike the work of afrobeat pioneers like Kuti, the lyrics on What Goes Up tend to be more pop-philosophical than explicitly political, with tracks like “No Bad News” vaguely addressing the importance of ancestors and the evils of corporate pollution, but without finding specific figures to either praise or criticize.  “Marker 48” continues in the same vein, arguing that humans cannot continue to exploit the Earth’s resources, but without addressing who is using most of these resources, who benefits most from extraction, or what could be done to change this pattern. This group is at its best on songs like “Afro Party,” when taking more of a celebratory than a critical lyrical tone. It is difficult to level poignant political critique in any kind of music, let alone music this sharply focused on creating textures and grooves. This group puts forth great effort, but ultimately lacks the specificity necessary to compellingly address social issues in most cases.

With that said, the Chicago Afrobeat Project can groove—each track feels great, and there’s exciting rhythms and melodies to go around.  This is in large part due to the strength of its members’ musicianship and their strong connections to both afrobeat music and the other genres they incorporate into their approach.  For the Chicago Afrobeat Project, the audience is What Goes Up—up out of its seat and onto the dance floor.

Reviewed by Matthew Alley

View review November 2nd, 2017

Jesse Royal – Lily Of Da Valley

Lilly Of Da Valley
Title: Lily Of Da Valley

Artist: Jesse Royal

Label: Easy Star Records

Formats: CD, LP, MP3

Release date: October 6, 2017

 

 

Artist Jesse Royal, known for his creative ideas and performances, presents his debut album on Easy Star Records, Lily Of Da Valley. This release not only showcases Royal’s vocal abilities and musicianship, but also his knowledge of Jamaican reggae music. His compositions take the listener back to the roots of Jamaican music while highlighting current developments in reggae.

The 14 tracks include previously released hit songs such as “Modern Day Judas,” “Generation,” and “Finally,” as well as new compositions—“Real Love,” “Full Moon,” “Waan Go Home,” and others—covering topics from religion and oppression, to peace and love.

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On “400 Years,” Royal tackles the issue of systemic oppression, calling for peace and equality, reparation for the black nation, and the elimination of a system that has kept people of African descent in “shackles.” In addition, the electrifying performance by the rhythm, coupled with a memorable melodic hook and harmonious backing vocals, resonate with the listener.

Royal’s song “Jah Will See Us Through” offers an uplifting messaging of hope that Jah will help us overcome life’s struggles and obstacles. Royal’s usage of biblical references in his lyrics provides encouragement and comfort. Along with his lyrics of hope, the listener is treated to a brilliant musical arrangement filled with warm and lush harmonies, groovy basslines, and a superb soulful guitar solo.

Lily Of Da Valley is certainly an inspiring collection of artistic and musical expression, and contributes to the ongoing legacy of Jamaican reggae music.

Reviewed by Jamaal Baptiste

 

View review November 2nd, 2017

Lloyd Price – This Is Rock and Roll

Lloyd Price
Title: This Is Rock and Roll

Artist: Lloyd Price

Label: Double L Records

Formats: CD, MP3

Release Date: September 22, 2017

 

 

Lloyd Price’s career may have launched way back in 1952 with the famous single “Lawdy Miss Clawdy,” but his newest release proves that his career is far from over. This Is Rock and Roll, Price’s first album in over a decade, includes a combination of newly penned original tracks, like the bluesy “I’m Getting Over You,” as well as a collection of covers.

The title track exemplifies the album’s balance between originals and covers, combining Jimmy Reed’s “Peepin’ & Hidin’” with Price’s celebratory call-and-response “This is rock and roll.” This song is significant to the album as a whole, as it was recorded in the New York City club where, three years ago, Price decided he still had much to offer fans and conceived this album.

For his slowed-down cover of Carole King’s “Will You Still Love Me Tomorrow,” the legendary Rock and Roll Hall of Famer turns the song into a ballad sung from a man’s point of view. Regardless of whether it’s an original or a cover, each track on This Is Rock and Roll contains the unique Lloyd Price essence that has been captivating listeners for over 60 years.

Reviewed by Chloe McCormick

View review November 2nd, 2017

October 2017 Releases of Note

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

Blues, Folk, Country

Darius Rucker: When Was the Last Time  (Capitol Records Nashville)
Du-Rites:  Greasy Listening  (Redefinition)
James Armstrong: Blues Been Good to Me (Catfood)
John Lee Hooker:  King of the Boogie  (Craft)
Kim Wilson: Blues and Boogie, Vol. 1 (Severn)
Mighty Mo Rodgers & Baba Sissoko: Griot Blues (One Root Music )
Nico Wayne Toussaint: Plays James Cotton (Dixiefrog)
Original Blues Brothers Band: Last Shade of Blue Before Black (Severn)
Supersonic Blues Machine: Californisoul (Provogue)
Various: Stax Country (Stax/Concord)

Classical, Broadway, Soundtracks
Pretty Yende:  Dreams (Sony)

Holiday
Fantasia:  Christmas After Midnight  (Concord)
Leslie Odom Jr.:  Simply Christmas  (S-Curve)
Various: Cool Blue Christmas: Mr. Santa’s Boogie (Contrast)

Funk, Rock, Pop, Electronic
Ayo: S/T  (Believe Direct Limited )
Benjamin Clementine: I Tell A Fly (Virgin)
Bootsy Collins:  World Wide Funk (Mascot)
Crowd Company:  Sun and Stone (VLM)
Ikebe Shakedown: The Way Home (Colemine)
Jimi Hendrix Experience: American Landing Live at Monterey (DVD) (Legacy)
Kele Okereke: Fatherland  (BMG)
Nubiyan Twist: S/T  (  Wormfood )
Phonk Beta: Symplex 3 (digital) (Fahrenheit)
Rock Candy Funk Party: The Groove Cubed  (J&R Adventures)
The Clubs: Funk on the Floor (digital)
Various: Funkadelic Reworked By Detroiters (Ace)

Gospel, Christian Rap, CCM
Ada: Future Now (FreeNation)
Angella Christie: Intimate Conversations (ACSM)
Chad Brawley:  WeWorship Project (digital) (CKBMusik)
Coliér McNair: Intimacy (COGEO Ent. Group)
Deanna Ransom:  The Real Me EP
Earnest Pugh:  Survive  (Black Smoke)
Felton Hodges & The Annointed Voices: Fix It   (Ecko)
Lisa Knowles-Smith & The Brown Singers: Evolution-The Legacy (EvoWorld)
Mission: All of You None of Me (RPSMG)
Optimist & Fresh Yardey: The Mission, Vol. 1 (digital)
Parxx:  Uncharted (RLVNC Music Group)
Tasha Page-Lockhart: The Beautiful Project  (RCA Inspiration)
The Porter’s Gate: Worksongs (Fuel Music)
Troy Sneed: Taking It Back  (Tyscot)
Tye Tribbett: The Bloody Win (Motown Gospel)
Visionz Of Destiny: The Works
Williams Brothers: Timeless  (Blackberry)

Jazz
Céline Rudolph & Lionel Loueke:  Obsessions
Chantae Cann: Sol Empowered (Ropeadope)
Christian Scott aTunde Adjuah:Emancipation Procrastination  (Ropeadope)
Cornell Thigpen: History (Hitman)
Ezra Collective: Juan Pablo: The Philosopher  (Enter The Jungle)
Joey Alexander:  JOEY.MONK.LIVE! (Motema)
Johnny O’Neal: In the Moment (Smoke Sessions)
Sherman Irby: Cerulean Canvas  (Black Warrior)
Sonny Emory: Love Is the Greatest (Universal )
Various:You Need This: Introduction to Black Saint & Soul Note (1975-1985) (BBE)
Virginia Ayers Dawson: Standards of Love  (Ayerplay Music)
Wadada Leo Smith:  Najwa  (TUM)
Wadada Leo Smith:  Solo: Reflections and Meditations on Monk  (TUM)
Wally Badarou:  Unnamed Trilogy, Vol. 1 (Diskotopia )
Wayne Ellington: Sings ‘Unforgettable (digital)

R&B, Soul
112: Q Mike Slim Daron  (eOne)
Bigg Robb: Born 2 Do This  (Music Access Inc.)
Bobby Byrd: Help For My Brother – Pre-Funk Singles 1963-68 (BGP/Ace)
Boyz II Men:  Under the Streetlight  (Sony Masterworks)
Brik.Liam:  The Ascension (digital) (Cre8Daily)
Chante’ Moore: Rise Of The Phoenix  (CM7)
Charlotte Dos Santos: Cleo (Fresh Selects)
Chuck Jackson: Big NY Soul – Wand Records 1961-66 (Kent/Ace)
Curtis Harding: Face Your Fear (Anti/Epitaph)
Demetria McKinney: Officially Yours (eOne)
Detroit Emeralds: I Think Of You-Westbound Singles 1969-75 (Westbound /Ace)
Deva Mahal: S/T (Motéma Music)
Devvon Terrell:  Weird Nights (digital)
dvsn: Morning After (Warner Bros.)
Eartha Kitt: I Want To Be Evil – The Wicked Eartha Kitt (Jasmine)
Eric Roberson: Fire (Blue Erro Soul)
Jackie Shane: Any Other Way (Numero)
Jamila Woods: Heavn  (Jagjaguwar)
Kelela: Take Me Apart (Warp)
Kenny Latimore: Vulnerable (Sincere Soul)
Keyshia Cole:  11:11 Reset (Epic)
Leroy Hutson: Anthology 1972-1984 (Acid Jazz )
Lyrica Anderson: Adia (Empire)
Marcus Randolph & My Peeples Peeple: Transplant (American Showplace Music)
Mic Lowry: Mood (Island)
Michael Jackson: Searching for Neverland (DVD) (Lionsgate)
Mpho Sebina:  Neo (digital)
Nicole Willis & UMO Jazz Orchestra:  My Name Is Nicole Willis (Persephone)
PP Arnold: The Turning Tide  (Kundalini Music)
Rationale: S/T (Warner Bros.)
Rhyon: Pretty Girl (Empire)
Saràyah: Feel the Vibe (Basin Street)
Tom Tripp: Red EP (Prime Sound)
Vivian Green:  VGVI  (Make Noise)

Rap, Hip Hop
Juice Aleem: Voodu Starchild (Gamma Proforma)
Aaron Alexander: Memento Mori  (Ignant Art)
Belly: Mumble Rap (Republic)
Big K.R.I.T.:  4eva Is A Mighty Long Time (BMG)
Blood Before Pride: Mimesis, Catharsis and Imitation of Art in Life (Fatbeats)
Blu & Exile: In The Beginning: Before The Heavens (Fat Beats)
Bone Thugs-N-Harmony, Outlawz: Thug Brothers 3 (Real Talk Ent)
Chief Keef & Fredo Santana: Turbo Bandana mixtape
Cunninlynguists: Rose Azura Nijano (A Piece of Strange Music)
Da Flyy Hooligan: S.C.U.M.  (Lux Ent.)
Dame D.O.L.L.A.: Confirmed (digital) (Front Page Music)
Earthgang: Robots (digital) (Spillage Village)
Edo.G: FreEDOm (5th & Union)
Future & Young Thug: Super Slimey (mixtape) (Epic)
GhostWryter:  27 Darvin (digital) (Never Basic Assoc.)
Gospel of Rufus: Alternate Path (Alternate Path Music Group)
Hex One:  Words Worth a Thousand Pictures ( Mic-Theory)
Hustle Gang: We Want Smoke (Roc Nation/Grand Hustle)
IDK: Iwasverybad (Commission Music/BMG)
J. Stalin: Gas Nation 2 (Livewire)
Krayzie Bone: E.1999: The LeathaFace Project (Real Talk Ent.)
Krept & Konan:  7 Days & 7 Nights (mixtapes)
Lil Pump: Lil Pump (digital) (Warner Bros.)
Masta Killa: Loyalty Is Royalty ( Nature Sounds)
Meyhem Lauren & DJ Muggs: Gems from the Equinox (Soul Assassins)
Moneybagg Yo: Federal 3X  (Interscope)
Playboi Carti:  S/T (Interscope)
Rob Stone: Don’t Wait For It (Grove Town)
Sivion: Dark Side of the Cocoon (Illect)
Snoop Dogg: Make America Crip Again (Empire)
Stalley: Another Level (mixtape)
Swissivory: Real Dreams 2 (NoHook!/Rough Trade)
Tech N9ne Collabos: Strange Reign (Strange Music)
TeeCee 4800: Realness Over Millions 2 (digital)
Trippie Redd: A Love Letter to You 2 (mixtape)
Ty Dolla $ign: Beach House 3 (Atlantic)
Vandalyzm: Rumors of My Demise Have Been Greatly Exaggerated (Blue Collar Initiative)
Waka Flocka Flame: Flockavelli 2
Wu-Tang: The Saga Continues (36 Chambers ALC /eOne)
Yo Gotti: I Still Am (Epic)
Young Dolph: Thinking Out Loud (digital) (Paper Route Empire)
Young Dro: Da’ Real Atlanta (Real Talk Ent)
Young RJ: Blaq Royalty (Ne’Astra Music/Slum Village)
Young Spray: Invisible Tears (RTM)

Reggae, Dancehall
Emeterians: The Magic Touch (VP)
Frightnrs: More to Say Versions (Daptone)
Jamaiel Shabaka: Land of the Rising Sun ( Roots Vibration )
Lee Perry & The Upsetters: Trojan Albums Collection, 1971-73 (Trojan)
Prodigal Son: Pure Gold  (Main Street)

World, Latin
Adriano Trindade & Los Quemados: Balançando o Jazz (Loop Publishing)
Da Cruz: Eco do Futuro  (Boom Jah)
Diron Animal: Alone  (Soundway)
Eduardo Sandoval: Caminos Abiertos (Egrem)
Elida Almeida: Kebrada (Lusafrica)
Emo Kid:  Gqomtera EP  (Gqom Oh! )
KOKOKO!: Tongos’a EP (ICI)
Leila Gobi: 2017 (Clermont Music )
Miles From Kinshasa: Limbo (Quality Time)
Orchestre Les Mangelepa:  Last Band Standing (Strut)
Professor Rhythm: Bafana Bafana (Awesome Tapes from Africa)
Thandeka: Thandanani Ma Afrika (Chocs Pro Sound)
Various: Jukebox Mambo Vol. 3 (Jazzman )

 

View review November 2nd, 2017

Chopteeth Afrofunk Big Band – Bone Reader

Chopteeth
Title: Bone Reader

Artist: Chopteeth Afrofunk Big Band

Label: Grigri Discs

Formats: CD, Digital (MP3, MP3-320, FLAC)

Release date: September 15, 2017

 

 

September sees a new release by the Chopteeth Afrofunk Big Band, a Washington D.C. based Afrobeat group.  This marks the second release (the first being a live LP) from the 10-year veteran band that cut its teeth on the festival and world music circuit.  The 12-member ensemble balances its funky polyrhythmic grooves with outstanding solos and compelling political commentary throughout the 10-track Bone Reader, an album that is dense with lyrical and musical concepts while being straightforward enough in its message and music for the casual listener to take something meaningful away after the first listen.

Afrobeat has historically been animated by political and social justice issues, and Bone Reader follows closely in the mold set by Fela Kuti and others who pioneered this element of the genre.  The band comes out swinging on the first track, “Questions of Our Day,” which opens with the lyrics “Who’s gonna take the lion’s share / Who’s gonna tip the scales, who’s gonna put them square / Who’s gonna stuff the box, who’s gonna say they can’t / Who’s gonna buy the block, who’s gonna pay the rent.” The song continues in this mold, addressing social issues in the abstract and setting the tone for some of the more specific commentary the band offers throughout the course of the album.

The following track, “Edward Snowden,” features an extended saxophone solo interpolated with audio clips of the NSA surveillance whistleblower warning of the constitutional and personal dangers of federal government snooping. It includes what is perhaps one of the most foreboding endings of any track about a political issue ever: Snowden asserting that “If I end up in chains in Guantanamo, I can live with that.”

The album’s fourth cut brings home an issue that is near and dear to the band based in the nation’s capital—the fact that Washington D.C. is inadequately represented in Congress. With the chorus exhorting “Give D.C. the vote immediately,” they point out population statistics, including the fact that Wyoming has a smaller population than the District but more Congressional representation. “Cop Show” (featuring rapper Flex Mathews) addresses police brutality and racial profiling in a compelling fashion over a funky, ever-changing groove.

If all of this sounds alternatingly wonky and depressing, the grooves that the band plays throughout the course of the album are the spoonful of sugar that this medicine needs to go down smooth.  Every cut on the record is danceable, and scorching solos—guitar on “Questions of our Day,” piano on the New Orleans-flavored “Rambeau,” and horns interspersed throughout—color the album with much-appreciated musical diversity.

Chopteeth Afrofunk Big Band can riff as well as it can pontificate, and listeners are treated to a heavy dose of both on Bone Reader.

Reviewed by Matthew Alley

 

View review October 2nd, 2017

Bette Smith – Jetlagger

jetlagger

Title: Jetlagger

Artist: Bette Smith

Label: Big Legal Mess

Format: CD, MP3

Release date: September 29, 2017

 

 

“The Gospel According to Bette” is the most apt refrain one can give to Bette Smith’s debut album, Jetlagger. Showcasing a gritty, booming voice well fit for her pulpit of southern soul preachin’, Smith follows in the likeness of icons such as Etta James and Tina Turner, churning out message after emotional message in her razor-edged style.

A native of Bedford-Stuyvesant, Brooklyn, Smith began her love of music at an early age, singing in her church choir at the tender age of 5. Her path to secular composition took her through music therapy classes as part of her curriculum within Colombia University School of Social Work, and into the 9-5 grind as she wrestled with her longing for musical performance outside of the clerical sphere. Her older brother Jimmy, who succumbed to kidney complications in 2013, gave his approval, offering final words of encouragement that resonated with Smith long after his passing. She formed her band slowly, but once complete she wouldn’t turn down any gig—“I’d play a senior center one day, a street fair the next.” Her perseverance paid off, and as a token to her brother’s memory, she proudly wears the color yellow on stage and in her music videos.

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Smith begins her offering of soul-searching, lyrical melodies with “I Will Feed You,” which starts out with a choir of background voices slowly giving way to Smith’s musings of unrequited love. The next track, “Jetlagger,” not only allows Smith to growl her way into her listener’s hearts but also to prove her standing in the vintage soul-inspired world. “Durty Hustlin’” and “Shackle & Chain” are as diverse as their titles suggest. “Do Your Thing” makes use of strong horns, a driving bass and a winding tempo that allows Smith to do her own thing, in her own unique way. But it is her psalm “Manchild” that preaches to Smith’s audience most fervently, warning from its opening chords she “don’t want nobody tellin’ me what to do,” she “just want a manchild, I can teach my lovin’ to.”

Modern soul is Bette Smith’s gospel truth, proving when it comes to down-home, soul-searching tunes, nothing beats a classic sermon like Jetlagger.

Reviewed by Amy Aiyegbusi

 

View review October 2nd, 2017

Brian Owens – Soul of Cash

Soul of Cash
Title: Soul of Cash

Artist: Brian Owens

Label: Ada Cole/Purpose Music Group

Formats: CD, Vinyl, MP3

Release date: October 6, 2017

 

Few African American artists have succeeded in country music. As Charles L. Hughes wrote in his groundbreaking book, Country Soul,* “In the 1960s and 1970s, nothing symbolized the rift between white and black in the United States more than the music genres of country and soul.”  Those who did cross musical boundaries to dip a toe into country music typically infused generous drops of blues, gospel and soul. Classic examples of this fusion include Ray Charles’ highly successful Modern Sounds in Country and Western Music (1962), Joe Tex’s Soul Country (1968), and Linda Martell’s Color Me Country (1969), to name just a few.

Enter soul singer Brian Owens. This preacher’s son from Ferguson, Missouri, first saw Johnny Cash on TV when he was 11 years old. Later, as an up-and-coming soul singer in his mid-20s, he was fascinated by the Cash biopic Walk the Line (2005), and decided there was just something about the famous country singer’s music and life story that really resonated. Perhaps the idea for a cover album has been germinating since that moment; whatever the case, the project has now come to fruition with Soul of Cash.

With this album, Owens seeks to bridge the divide by demonstrating that “a white man born in the South, who’s now passed on” and “a young African-American guy born in the Midwest, raised on soul music” can find common ground through music. Supporting Owens on this endeavor are a number of special guests as well as members of his regular backing band, The Deacons of Soul: Alvin Quinn (bass), Rob Woodie (drums), and Shaun Robinson (guitar).

While some singers might have sought out lesser known songs, Owens reaches for the gold ring, covering seven of Cash’s most iconic hits. Opening with “Ring of Fire,” he follows in the path of Brother Ray, but where Charles’ sweetened the mix with strings, Owens’ rendition punches in with a Stax-style horn section and the talented Daru Jones on drums, while Nashville session musician Zander Wyatt provides the country twang on acoustic guitar. This is followed by “Folsom Prison,” which Cash sang over a chugging acoustic guitar. Owens, however, raises the rafters with his uptempo rhythm and blues delivery, accented by Tripp Bratton on congas.

On “Walk the Line,” Owens captures the essence of the original version, but substitutes a driving, syncopated rhythm and gospel inflected vocals that heighten the emotional intensity of the lyrics. If there was ever a song that calls out for a soulful crossover version, it’s “Cry, Cry, Cry.” Owens fulfills this mission while still respecting the simplicity of the original, with excellent backing vocals by Anita Jackson and Trunesia Combs. Country music fans may enjoy “Sunday Morning Coming Down” and especially the mournful “Long Black Veil,” which maintain their country roots with pedal steel by Tony Esterly.

The final cover song, “Man in Black,” really struck a chord with Owens, who has seen his share of injustices on the streets of Ferguson. Indeed, any given line is as relevant today as when the song was written, including the second verse: “I wear the black for the poor and the beaten down / Livin’ in the hopeless, hungry side of town / I wear it for the prisoner who has long paid for his crime / But is there because he’s a victim of the times.”  This is definitely one of the highlights of the album, with Owens’ passionate delivery echoed by The Vaughans on backing vocals.

The album closes with an original, “Soul in My Country,” by Owens and Rissi Palmer, who share vocals with Robert Randolph sitting in on pedal steel. Ending on the refrain, “It’s a feeling I know / it’s the soul in my country / the country down in my soul,” the song expresses the commonalities between the genres. As Owens explains, “You shouldn’t look at me strange if I say I dig Johnny Cash, because I don’t look at you strange when you say you dig Otis Redding or Sam Cooke or Marvin Gaye. All of these guys came out of the church; that’s what binds them and us together.”

One album can’t heal the soul of this country, but with Soul of Cash Brian Owens proves that bridging the divide can bear sweet fruit.

* Hughes, Charles L., Country Soul: Making Music and Making Race in the American South (Chapel Hill: University of North Carolina Press, 2015).

Reviewed by Brenda Nelson-Strauss

View review October 2nd, 2017

Soul Understated – Songs in the Key of Grease

Songs in the Key of Grease
Title: Songs in the Key of Grease

Artist: Soul Understated

Label: Shanachie

Formats: CD, MP3

Release date: June 30, 2017

 

 

I want to make it clear, I like EPs. I adore listening to the genesis of what may become a success.  Soul Understated, a group from New York, may well blossom into something and I hope I can say, “Told you so.”  Based on the strength of their new EP, I do believe they have a bright future. Ok, now that I’ve caught your attention, who are Soul Understated?

Mavis “Swan” Poole and Jeremy “Beans” Clemons form the core of the group. Poole has performed background vocals with Prince and Lauryn Hill, among others, while Clemons, a drummer, has played with Gregory Porter, Burning Spear, and Jen Holiday. Other guests include Marc Cary (Betty Carter and Abbey Lincoln’s bands) on piano and keyboards and Mighty Moe Hagans of the Chuck Brown band on percussion.

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Is the title of their EP, Songs in the Key of Grease, a homage to Stevie Wonder’s Songs in the Key of Life? Maybe. After all, Wonder was in full glory when he released that classic album. Songs in the Key of Grease, however, is a contemporary blend of soul and neo soul with jazzy grooves and funk.

Mavis Poole’s vocals sound similar to Erykah Badu, but on the track “1 Monkey,” Poole’s vocals go where Badu’s have never been. That’s not a knock on Badu, but high praise to Poole. Go Girl! “Junkie” tells the compelling story of someone who has a very difficult time getting their life back on track. The line, “We don’t want your kind here,” displays society’s contempt for a person on the path of self-destruction. On “So What,” Clemons’ drumming and the hand claps is straight up jazzy, ‘90s era soul. This is perhaps the best of the six tracks on the EP.

One negative about EPs is that they are just too short. This is certainly the case with Songs in the Key of Grease.  I hope we hear more from Soul Understated, and I’m certain once you hear their album, you will agree.

Reviewed by Eddie Bowman

View review October 2nd, 2017

Michael Jackson – SCREAM

Michael Jackson SCREAM

Title: SCREAM

Artist: Michael Jackson

Label: Epic/Legacy Records

Formats: CD, LP, MP3

Release date: September 29, 2017

 

 

Michael Jackson fans rejoice— SCREAM, a collection of the pop icon’s 13 most electrifying tracks, is being released by Epic/Legacy Records in collaboration with The Estate of Michael Jackson. The album includes classic hits like “Thriller” and “Dirty Diana” as well as the bonus track, “Blood on the Dance Floor X Dangerous.” Created by acclaimed remixer The White Panda, the bonus track is a high-energy mashup of five of The King of Pop’s songs: “Blood on the Dance Floor,” “Dangerous,” “This Place Hotel,” “Leave Me Alone,” and “Is It Scary.”

In addition to CD format, SCREAM will be available as a glow-in-the-dark two-disc vinyl edition with collectible poster in honor of MJ’s affection for the Halloween season. If just listening to this album isn’t enough, there are also Official Michael Jackson SCREAM Album Celebrations being held this fall in six major cities around the world (Paris, London, Sydney, Berlin, Los Angeles, and Tokyo). The celebrations will include screenings of MJ’s seven short films, including the rarely-seen Michael Jackson’s Ghosts, and an after party. For those that can’t make it to one of the album celebrations, SCREAM offers a collection of Michael’s hits that are sure to get you ready for the Halloween season.

Reviewed by Chloe McCormick

View review October 2nd, 2017

Black Kids – Rookie

Rookie
Title: Rookie

Artist: Black Kids

Label: Black Kids Records via CD Baby

Formats: CD, MP3

Release date: September 15, 2017

 

 

The Jacksonville, Florida-based indie band Black Kids is back after an almost decade-long hiatus with their second studio album and it does not disappoint. Rookie combines an upbeat tempo, ‘80s-style atmospherics, and earnest lyrics to create songs that are undeniably catchy. The title track showcases this combination through its infectious mix of playful rhythms and reflective lyrics that make you want to sing along. This isn’t the only track that’s worthy of dancing to—each track delivers a unique sound that’s just as lively as the last.

The album starts off strong with the opening track, “Iffy,” that will have you spelling I-F-F-Y all day long. Don’t be fooled by the upbeat sound though—like most of the songs on Rookie, the lyrics of “Iffy” deal with serious topics (unrequited love, in this case) which are masked by a catchy beat and a mesmerizing chorus sung by siblings Reggie and Ali Youngblood.

The next track, “In A Song,” is the album’s first video single and is just as colorful and frenetic as the lyrics:

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Whether you’re a longtime fan who’s been awaiting this album or someone who’s just hearing about Black Kids for the first time, Rookie deserves a listen.

Reviewed by Chloe McCormick

View review October 2nd, 2017

Garrett Shider – Hand Me Down Diapers

Garrett Shider
Title: Hand Me Down Diapers

Artist: Garrett Shider

Label: Everland Music Group

Formats: CD, MP3, Vinyl

Release date: July 10, 2017

 

 

The Mothership has returned to feed “funk-starved” earthlings, bringing as its main course second-generation P-funker Garret Shider, aka Starchild, Jr.  Garret, son of former Parliament-Funkadalic’s “Diaper Man” Garry Shider, serves up his own recipe of the much-needed groove, proving with this debut album that he has come into his own as an adult artist. First and second generation Clintons show up to the meal as members of Shider’s team, with George, son Tracey “Trey Lewd” Lewis and grandson Tracey “Tra’zae” Clinton providing a healthy dose of those bass/rock/horn booms indicative of the unique P-funk sound.

The set begins with “Sugar Rush,” a not-so-subtle sultry ode to all the sweetness that special person holds in our life. Shider then gets cooking with the next offering, “Bop Gun 17,” a song holding strong echoes of classic P-funk backdropped against Shider’s funky old-school falsetto. Starchild Jr.’s dose of political consciousness spills out in the form of “Hard Pill,” as Shider intonates, “When the doctor prescribes his pill it’s the side effects that’s gonna keep you ill, so go ahead and get your glass of water.” The courses just keep on coming from the center section of the funk banquet, as “Jamnastics” to “Stuck in the Middle” reinforce the concept that Shider and his bandmates have plenty of simmering soulfulness.

But it’s the final dish in the form of the title track that fully encapsulates the servings of both Shider’s. “Hand Me Down Diapers” acts as Garret’s personal tribute to his father, tracing the Shider legacy from its beginnings to current day. The song ends with a poignant guitar solo by Jr. as background to an interview conducted with the late Garry Shider, in which he explains the point of his diaper and references an upcoming album.

Showcasing P-funk’s multiple generations at their best, Hand Me Down Diapers is both a testament to Garry Shider’s legacy and a presentation of Garrett Shider’s own artistic individuality, all while holding true to the main ingredients of 1970s funk.

Reviewed by Amy Aiyegbusi

 

View review September 1st, 2017

Nooky Jones – Nooky Jones

Nooky Jones

 

Title: Nooky Jones

Artist: Nooky Jones

Label: Young and Foolish

Formats: CD, MP3

Release Date: July 28, 2017

 

Minneapolis-based band Nooky Jones have been lighting up their local jazz scene for over three years with a distinctive fusion of soul, jazz and hip hop, but the recent release of their self-titled album allows for dissemination of their unique musical styling to all. Helping to bridge the gap between these diverse vibes is lead singer Cameron Kinghorn, a former Mormonite-turned-student from the University of Minnesota. It was during his schooling, Kinghorn claims, that his eyes were opened to an entirely different world; one where he met and befriended a diverse mix of people from varied ethnic and religious backgrounds. These formative years led to his subsequent dealings with drummer Reid Kennedy and trumpet player Adam Meckler, both U of M alums. Freshly penned songs in hand, the trio quickly teamed with bassist Andrew Foreman, keyboardist Kevin Gastonguay and trombonist Ryan Christianson to begin recording.

Produced over a course of 15 months at RiverRock Studios and The Hideaway in Northeast Minneapolis, Nooky Jones relies on each musician’s unique style as a critical part of the overall sound. Atop airtight yet comfortably loose drum and bass grooves often reminiscent of ‘90s R&B and hip hop, layers of harmonically complex piano, organ, and Fender Rhodes create a lushness associated with jazz that rarely integrates so tastefully into pop music. Each track is a delight to the ears, as the merging of each musician’s talents hits the ultimate apex when combined with Kinghorn’s sultry vocals. “After One” opens the album softly with steady beats and chords, gradually simmering in vocals and brass to a slow boil, while the later “Sweet Wine” gently punches with an immediate release of Kinghorn’s talents. A heartfelt message intermixed with wholehearted instrumentals dominates “The Way I See You,” while “Someone Who” features a silky smooth falsetto on par with the best soul crooners in the business.

Hands down, Nooky Jones delivers, reminding us all exactly what we are looking for in life and in jazz—someone who passionately and steadily offers the very best of all they have to give.

Reviewed by Amy Aiyegbusi

 

 

View review September 1st, 2017

Big Boi – Boomiverse

Boomiverse
Title: Boomiverse

Artist: Big Boi

Label: Epic

Formats: CD, MP3, Vinyl

Release date: June 16, 2017

 

 

Big Boi, best known as part of the duo Outkast, is proving he is an exploding star in the rap universe with his third release, Boomiverse. This 12 track offering from one of Atlanta’s established legends is possibly his finest yet, and judging from the heavy hitters featured, hip hop’s finest seem to agree. Blending funk sounds, pop influences and distinctive southern hip hop, Big shows how his progressive edge with diverse stylings has morphed into what he self-describes as his symbolistic “graduation record.”

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“Kill Jill” features Big along fellow Atlantians Killer Mike and Jeezy weaving their distinctively unique methods into a friendly rap battle for rhythm and rhyme bragging rights. A nostalgic reference to Andre 3000’s 1995 Source Award speech—“The South’s got something to say”—can be found within Big’s drop, reminding all of Outkast’s declaration for things to come. With the next track, “Mic Jack,” the mood changes to upbeat, dance-floor catchy that screams club vibe. But just when you get used to Levine’s smooth vocals posed against Big’s clean, deep verses, the tone returns to its slab roots with “In the South.

Having proved his multiplicity in just three songs, the remainder of Boomiverse functions as a collection of Big’s favorite goodtime rap. Snoop weighs in with classic Dogg style on “Get Wit It,” and electro-inspired Jake Troth produces the album’s deep house vibe, “Chocolate.” Boomiverse delivers exactly what one would expect from this innovative, Southern rap legend, proving once again that the South still has plenty to say about the miscellany of hip hop for years to come.

Reviewed by Amy Aiyegbusi

 

View review September 1st, 2017

Goapele – Dreamseekers

Goepele

Title: Dreamseekers

Artist: Goapele

Label: Skyblaze/Empire

Formats: CD, MP3

Release date: May 19, 2017

 

 

Goapele’s name means “to move forward” in Setswana, a South African language, and moved forward she has. Her last release, Strong as Glass, from 2014, offered beats and lyrics of an introspective nature. Dreamseekers, her newest project, focuses outward on social causes interwoven into her everyday life.

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The album opens with the title track, an interlude which invites you to close your eyes and meditate on the important issues around you. “Power” and “I Want To Do Right By You, Cause You Always Done Right By Me” are tributes not only to her family members, but the public as well. The words make you nod your head, because of their relatable and obvious wisdom as well as their encouragement to all. Goapele is very strong social activist and a firm believer in using her voice for change, as she demonstrates in “Stand”:  “Stand for something or fall for anything.” Considering all that is going on in our world at this time—Colin Kapernick’s situation, Black Lives Matter, Charlottesville—you can just imagine “Stand” as a contemporary collective anthem. With “Cool Breeze,” Goapele shows off her ties to funk, grooving and proving she can deliver anyway you prefer, personal or otherwise.

The only bad thing about this album is that seems over too soon. In this case, it’s way too short. You want more. We need more. Goapele is a complete singer. If you’ve never heard of her, check her out. I promise you won’t regret it.

Reviewed by Eddie Bowman

View review September 1st, 2017

Angela Bofill – I Try: The Anthology 1978-1993

Angela Bofill

Title: I Try: The Anthology 1978-1993

Artist: Angela Bofill

Label: Soul Music

Format: 2-CD set

Release date: June 16, 2017

 

 

Angela Bofill should have been bigger than she was. The New York born singer of Cuban and Puerto Rican heritage had the voice. She could go from R & B to quiet storm to smooth jazz. Bofill was pre-Sade. She was pre-Anita Baker. In the late ’70s, she was well on her way.  But in recent years, Angela Bofill has been absent from the music scene due to two strokes—one in 2006 and another in 2007—which impaired her abilities as a vocalist. I Try: The Anthology 1978-1993, is a two disc set containing 34 tracks from Bofill’s career culled from her GRP, Arista and Jive releases. Compiled by British soul music historian David Nathan, this iconic singer’s collection comes with liner notes by A. Scott Galloway that are based on interviews with many of Bofill’s contemporaries. Some of these tracks were hits and if you were around, you can easily recall them; others, perhaps, you had no clue.

Disc one opens with the extended version of “Too Tough.” Produced by Narada Michael Walden, Bofill went for the dance crowd on this track, but some of her biggest fans felt that she got out of her lane, and before long—Poof. Bofill’s career started to fade away. I can understand trying new material, but on the other hand, if it ain’t broke, don’t tinker with it. “What I Wouldn’t Do (For The Love Of You)” was one of Bofill’s earliest hits, when eyes and ears were noticing her.  Her “Ain’t Nothing Like the Real Thing” duet with Boz Scaggs is a remake of the Marvin Gaye & Tammi Terrell classic. That’s the good thing about anthologies—you hear songs you never knew the artist recorded. “Angel of the Night” finds Bofill showcasing her Latino roots. When she starts singing in Spanish at the end, just flow with the vibe. Often, she was singing about herself and the smooth flow of the language highlights her fantastic tonal qualities.

Disc two contains more duets, including one with Johnny Mathis, “You’re A Special Part Of Me,” and with Carl Anderson on “A Woman In Love.”  Other collaborators include Stanley Clarke, Carl Anderson, Narada Michael Walden, and Marion Meadows—all unique to this specific compilation. You cannot end an Angela Bofill collection without her signature song, “I Try.”  If you ever happened to see Bofill live, then you know what this song means to her. Turn it up and sing along.

It’s a shame that Bofill never reached the heights that some of her contemporaries eventually achieved. It’s even sadder that her health has affected her career the way it has. However, thanks to this anthology we can appreciate what Bofill was able to offer and enjoy her music forever.

Reviewed by Eddie Bowman

View review September 1st, 2017

August Releases of Note

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

Blues, Folk, Country
Altered Five Blues Band : Charmed & Dangerous (Blind Pig)
Big Joe Turner : San Francisco 1977 (Rockbeat)
Dan Zanes and Friends: Lead Belly, Baby! (Smithsonian Folkways)
Steve Howell & Jason Weinheimer: Hundred Years From Today (Out of the Past)

Classical, Broadway
McGill McHale Trio: Portraits – Works for Flute, Clarinet & Piano (Cedille)
Various: The View Upstairs (Original Cast Recording) (Broadway Records)

Comedy, Spoken Word
Tiffany Haddish: She Ready! From Hood to Hollywood! (Comedy Dynamics)

Funk, Rock, Pop, Electronic
Fifth Harmony:  S/T (Syco Music/Epic)
Ghostpoet: Dark Days + Canapés (Play It Again Sam)
Peter Ngqibs: Let Me Go (Ananm Ent.)
Ronettes: The Colpix Years, 1961-1963 (Cornbread)
Van Hunt: Popular (digital) (Blue Note)

Gospel, Gospel Rap, CCM
Brinson: Thornz (GodChaserz Ent.)
Chevelle Franklyn: Set Time (N.O.W.)
Clark Sisters: You Brought the Sunshine, Sound of Gospel 1976-1981 (Kent)
Cobbs Leonard, Tasha:  Heart. Passion. Pursuit. (Motown Gospel)
Deitrick Haddon & Hill City Worship Camp: S/T (eOne)
Jared Robinson & Resurrection Worship: The Repentance
Jimmy Hicks & ACOJ: Waterway (Blacksmoke Music)
Judy Bailey: Between You and Me
Melvin Williams: Where I Started From (New Day)
Poetic Lace: King of the City (digital)
Reconcile: Streets Don’t Love You (mixtape)
Terrence Cotton: Live in Atlanta (Puretonez Productions)
The Blind Boys Of Alabama: Almost Home (BBOA Records)
TNED: Geneuslife (Royal Oath Ent)
Travis Greene: Crossover: Live From Music City (RCA Inspiration)

Jazz
Andrew McCormack, ESKA: Graviton (Jazz Village)
Brenda Nicole Moorer:  Brand New Heart (CD Baby)
Darren Barrett: dB-ish
Eclectik Percussions Orchestra:  Traces De Vie – Traces Of Life (Passin’ Thru)
Harold Mabern : To Love and Be Loved (Smoke Sessions)
Jamire Williams: Effectual (Carlos Nino & Friend)
John Vanore : Stolen Moments: Celebrating Oliver Nelson (Acoustical Concepts)
Kris Johnson Group & Lulu Fall: The Unpaved Road (Artist Centric Music)
Najee:  Poetry in Motion (Shanachie)
New Vision Sax Ensemble: Musical Journey Through Time (Zaki Publishing)
Tyshawn Sorey: Verisimilitude (PI)
Ulysses Owens, Jr. :Falling Forward (Spice of Life )
Various: Soul of a Nation: Afro-Centric Visions in the Age of Black Power (Soul Jazz)
Dial & Oatts: Rediscovered Ellington

R&B, Soul
Brian McKnight : Genesis (Independent Label Services, Inc.)
D’Angelo: Brown Sugar (expanded ed.) (Virgin/Ume)
Decosta Boyce: Electrick Soul (Vintedge)
Joshua Ledet: S/T (digital) (SoNo Recording Group)
Kim Tibbs: Kim (Expansion)
R.LUM.R  : Afterimage (PRMD)
The Steoples: From the Otherside (Stones Throw)
Thelma Houston: Summer Nights
Undisputed Truth : Nothing But The Truth (Kent)
V.Lace: What Love Does
Various: Soul of the 70s (Box set) (Time-Life)
Wilson Pickett:  Sings Bobby Womack (Kent)

Rap, Hip Hop
A$AP Ferg: Still Striving  (RCA)
Akua Naru: Miner’s Canary (vinyl reissue) (Urban Era)
Andy Mineo & Wordsplayed : Magic & Bird  (Reach)
Apollo Brown & Planet Asia: Anchovies (Mello Music Group)
Berner & Young Dolph:  Tracking Numbers (Bern One Ent)
Chip: League of My Own II  (Cash Motto)
Chris $pencer: Blessed (Perpetual Rebel)
Ea$y Money: Flyer Lansky (EA$Y MONEY)
Grieves: Running Wild (Rhymesayers)
Gunplay: The Fix Tape ( X-Ray)
Illa J: Home (Jakarta)
Japhia Life: Welcome to Heartsville (Arms Out)
Joseph Chilliams: Henry Church (mixtape)
Lil B: Black Ken (BasedWorld)
MadeinTYO: True’s World (Commission)
Mozzy: 1 Up Top Ahk (Mozzy/Empire)
Pawz One: Pick Your Poison (Below System/Dope Shit)
Perceptionists (Mr. Lif & Akrobatik): Resolution (Mello Music)
Sean Price: Imperius Rex (Duck Down Music)
Slim Thug, Killa Kyleon:  Havin Thangs 2K17 (SoSouth)
Tattoo Money : Untitled EP
Too $hort: The Pimp Tape (Dangerous Music)
Wordsworth & Sam Brown: Our World Today (Fat Beats)

Reggae, Dancehall
Alborosie: Freedom in Dub (Greensleeves)
Barry Brown: Step It Up Youthman (Radiation Roots)
IamStylezMusic: Back to My Roots (Blaze Ent)
New Kingston:  A Kingston Story: Come From Far (Easy Star)
Rico Rodriguez & Friends: Unreleased Early Recordings (Dubstore)
Roy Panton & Yvonne Harrison: Studio Recordings 1961-70 (Liquidator)
Shurwayne Winchester: Shurwayne (VPAL Music)
Spacewave: Space Dub (Megawave)
Tanya Asaki: Simply Me (Treasure Chest Prod.)
U-Roy:  Dread in Babylon (Get On Down)

World
Bro. Valentino:  Stay Up Zimbabwe (Limited ed.) (Analog Africa)
Jay-U Experience: Enough is Enough (Soundways)
Sibusile Xaba: Open Letter To Adoniah (Mushroom Half Hour)
Various: Afrobeats Hot Hits: New Urban Dance Grooves from Africa (Shanachie)
Black Boy: Sa E Nan Bouda’w
Various: Sweet as Broken Dates – Lost Somali Tapes from the Horn of Africa

 

 

View review September 1st, 2017

Ayron Jones – Audio Paint Job

Avron Jones
Title: Audio Paint Job

Artist: Ayron Jones

Label: Sunyata

Formats: CD, MP3

Release date: June 2, 2017

 

 

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

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

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

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

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

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

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

Reviewed by Brenda Nelson-Strauss

View review August 1st, 2017

Ronald Bruner, Jr. – Triumph

Ronald Bruner Jr Triumph
Title: Triumph

Artist: Ronald Bruner, Jr.

Label: World Galaxy / Alpha Pup Records

Formats: LP, MP3

Release date: March 3, 2017

 

 

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

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

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

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

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

Reviewed by Matthew Alley

 

View review August 1st, 2017

Benjamin Booker – Witness

Benjamin Booker Witness
Title: Witness

Artist: Benjamin Booker

Label: ATO Records

Formats: CD, MP3

Release date: June 2, 2017

 

 

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

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

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

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

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

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

Reviewed by Jennie Williams

View review August 1st, 2017

The Isley Brothers and Santana – The Power of Peace

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

Artist: The Isley Brothers and Santana

Label: Sony Legacy

Formats: CD, LP, MP3

Release date: July 28, 2017

 

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

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

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

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

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

Reviewed by Raynetta Wiggins

 

View review August 1st, 2017

Brownout – Over the Covers

Brownout Over the Covers
Title: Over the Covers

Artist: Brownout

Label: Fat Beats

Formats: CD, MP3

Release date: June 2, 2017

 

 

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

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

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

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

Reviewed by William Vanden Dries

View review August 1st, 2017

The Sherman Holmes Project – The Richmond Sessions

Sherman Holmes
Title: The Richmond Sessions

Artist: The Sherman Holmes Project

Label: M.C. Records

Formats: CD, MP3

Release date: July 21, 2017

 

 

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

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

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

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

Reviewed by Jennie Williams

View review August 1st, 2017

Delorean – Chris Rivers

Delorean Chris Rivers
Album: Delorean

Artist:  Chris Rivers

Label: That’s Hip Hop Music

Release Date: July 14, 2017

Format: CD, MP3

 

 

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

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

Reviewed by Amy Aiyegbusi

View review August 1st, 2017

Summer of ’96 – Splendid Things Gone Awry

Splendid Things
Title: Splendid Things Gone Awry

Artist: Summer of ’96

Label: Unsociable Music/RED

Format: MP3

Release date: July 21, 2017

 

 

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

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

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

Reviewed by Brenda Nelson-Strauss

 

 

View review August 1st, 2017

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

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

Artist: Various

Label: Cree/Bear Family

Formats: CD, LP

Release date: March 10, 2017

 

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

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

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

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

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

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

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

Reviewed by Levon Williams

 

View review August 1st, 2017

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