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Welcome to the July 2018 Summer Rocks issue of Black Grooves. This month we’re looking at the many permutations of Black rock, from the psychedelic riffs on Dug Pinnick’s Tribute To Jimi (Often Imitated But Never Duplicated); to the socially conscious songs of Fantastic Negrito on Please Don’t Be Dead and Bettye Lavette’s Bob Dylan tribute Things Have Changed; to the British blues rock collaboration on Buddy Guy’s The Blues Is Alive and Well; to the multi-faceted fusions of the Stanley Clarke Band’s The Message, Shuggie Otis’s Inter-Fusion, and Serpentwithfeet’s Soil; to the folk rock of AHI’s In Our Time and the countrified soul of  Priscilla Renea’s Coloured; to the black metal of Zeal and Ardor’s Stranger Fruit; and last but not least, the foundational rock and roll on The Ballads of  Fats Domino.

Seminal jazz releases this month include Kamasi Washington’s two-disc Heaven and Earth and Dr. Michael White’s Tricentennial Rag honoring New Orlean’s 300th birthday. Yet another tribute album is Lurrie Bell & the Bell Dynasty’s Tribute to Carey Bell, featuring the four accomplished sons of the legendary Chicago blues harpist.

Also featured is gospel singer Javen’s latest album, Grace; the collaboration connecting Sengalese kora master Diali Cissokho and North Carolina band Kaira Ba on Routes; Lamont Dozier’s Reimagination of tracks previously written for other artists; and the Little Freddie King compilation Fried Rice & Chicken featuring his best tracks from the Orlean’s label. Wrapping up this issue is our list of June 2018 Releases of Note in all genres.

View review July 3rd, 2018

Dug Pinnick

Title: Tribute to Jimi: Often Imitated but Never Duplicated

Artist: Dug Pinnick

Label: Rat Pak

Formats: CD, LP, Cassette, Digital

Release date: May 18, 2018

 

Dug Pinnick’s Tribute to Jimi: Often Imitated but Never Duplicated is a fitting homage to the guitar great, in part because Pinnick is an ideal musician for pulling off a project such as this. Having spent decades as the bassist and singer for King’s X, which just might be the most underrated power trio in rock and roll history, he is the perfect candidate to record tunes by the Jimi Hendrix Experience, which is arguably rock and roll’s preeminent trio. Also, upon hearing Pinnick’s vocals on these tracks, the listener is hard-pressed to think of a more fitting vocalist to sing these songs. The bulk of the guitar duties are handled by Tracey “Spacey T” Singleton from the groundbreaking metal group Sound Barrier, one of the first African American heavy metal bands. While this tribute to Jimi is not a note-for-note replication of Hendrix material, it is also not a reinvention. The eight tracks bear tremendous amounts of similarity to the originals. However, there is a general freshness to this recording that results from the presence of stylistically indoctrinated musicians who are willing to occasionally color just outside the lines.

The sonic similarity to the originals is not surprising since this recording was made with that intention. Pinnick stated that they had wanted “to recreate the analog recording process as closely to the original recordings as possible.” With this in mind, they used as many of the same types of equipment used by Hendrix and company as was feasible. The result is a modern recording that maintains a vintage feel. While the playing on the album has had the influence of fifty more years of musical evolution, the actual guitar tones maintain the characteristics of the late ‘60s. “If 6 Was 9” serves as a perfect example of this. Although there are variations in note choice from the original, the guitar sounds as if it was recorded using the exact same rig that Hendrix used back in 1967.

Song selection for a tribute album can always be tricky. When dealing with the catalog of an artist such as Jimi Hendrix, who had so many great songs, the difficulty in selecting eight tracks is compounded. Nevertheless, Pinnick did a great job in narrowing down the scope of the project by sticking with songs from the three studio albums released during Hendrix’s lifetime—Are You Experienced (1967), Axis: Bold as Love (1967), and Electric Ladyland (1968). Tracks include psychedelic standards such as “Are You Experienced” and “Purple Haze,” songs in the pop vein such as “Fire” and “Crosstown Traffic,” and iconic Hendrix tracks such as “Voodoo Child (Slight Return).” Of course, “All Along the Watchtower” is also present. It is perhaps ironic—or even fitting—that a cover of a cover would be present on this album. Nevertheless, any Hendrix project would be incomplete without “All Along the Watchtower,” which along with Aretha Franklin’s version of Otis Redding’s “Respect,” stands out as one of the greatest cover songs of all time.

“Are You Experienced” is the first track, and the impeccable backwards guitar sets the bar high for the remainder of the album regarding attention to detail in capturing the spirit of the originals. This attention to detail is evident throughout the album, and “Crosstown Traffic” continues this sentiment by including the kazoo part from the original. Other standout tracks include “Purple Haze,” driven by Pinnick’s signature 12-string bass sound. Also, though covered many times, Pinnick’s version of “All Along the Watchtower” serves as one of the more authentic covers of the Hendrix classic. Worth mentioning too is “Voodoo Child (Slight Return),” which closes the album in a blistering fashion.

As a testament to his phenomenal output with King’s X, Pinnick will always attract that band’s loyal fans. Ideally, others will also find this recording and discover what diehard King’s X fans have known for years—that Dug Pinnick is one of the great rock and roll talents. Tribute to Jimi is one of the best tributes to Hendrix ever released, and it is obvious that the musicians had fun making this album. The final product is a recording that builds upon the experimental spirit of Hendrix while still maintaining a stylistic affinity to the original recordings. As should generally be the case with performances of Hendrix songs, the guitar playing on this album is scorching, and Pinnick’s powerful voice adds a new dimension to these classics. It is truly hard to envision this album disappointing any rock and roll fan.

Reviewed by Joel Roberts

 

 

 

 

View review July 3rd, 2018

Fantastic Negrito

Title: Please Don’t Be Dead

Artist: Fantastic Negrito

Label: Cooking Vinyl

Format: Digital, LP, CD

Release Date: June 15, 2018

 

Oakland native Xavier Dphrepaulezz, professionally known as Fantastic Negrito, is an award winning musical artist and story teller. Coming back from a decade long hiatus, Negrito returned to the music industry in 2016 with more fire and flare then before, releasing The Last Days of Oakland which won him his first Grammy Award. More recently, Negrito was featured on an episode of the popular Fox television series, Empire.

Negrito’s latest release, Please Don’t Be Dead, is a rock-soul album that presents issues, warnings and solutions that have everything to do with American society and the people that live within it. Negrito wants people to “stay woke” by being aware that what is happening currently in our nation is not a normal occurrence. The album cover art, a real-life photo of Negrito coming out of a three week coma caused by a previous car accident, represents his efforts to leave dark times in the past. By choosing to move forward and leaving behind hatred, blame, disrespect and hopelessness, Negrito stands with his community to embrace love, unity, empathy and compassion.

Regarding the title track, Negrito said “Please Don’t Be Dead” tells the story of a man standing over something he cares about that is wounded. He’s looking around, and he’s saying: “Do Something.”

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“Plastic Hamburgers” is a call to the listener to break down the walls that keep people separated from one another in American society, harkening to issues of racism, classism, sexism, poor government policy and regulation. The chorus, “Let’s break out these chains, let’s burn it down,” suggests that we are slaves to the American hegemonic machine, referred to as a “bomb with a winning hand.” Negrito suggests we can overcome this domination if we stop buying into the idealistic pressures of American society.

“Bad Guys” continues with this narrative, suggesting that dominions create the evil, charging us to fear it while swearing to protect us from it. According to Negrito, a “bad guy” is a figure, thing or idea that we can point to as the blame for all the problems we create. He goes on to suggest we should look in the mirror before we start blaming others for the issues we create due to the consequences of our choices.

“A Letter to Fear and Transgender Biscuits” is the silver lining of the album. Despite the horrible things happening in America, Negrito claims, “We can carry on.” In doing so, however, we don’t have to accept the current issues as the norm. Negrito offers his solution to the problem by standing with his friends and his community who have agreed that, “Hope will never die!” The song encourages everyone to keep fighting against the present violent norms by pressing back against it with love as a community: “All the people with love in your heart, get unified, get organized….. Unity.” By unifying and organizing, standing against the issues that are being pressed upon us to be accepted as the norm, we can elicit change. That is the history of the positive paradigm shifts in our nation’s past.

“The Suits That Won’t Come Off” is a song that encourages perspective empathy. As Negrito sings, “How do you sleep at night when you have stolen from me,” he is asking his audience to stand in the shoes of those in other circumstances in order to gain compassion. How different could this world be if people respected those who are unlike them? Negrito ends his album with the funk and gospel influenced, “Bull Shit Anthem.” The chorus of the song sums up what Negrito wants us to do with all the issues presented on the album. Along with love, standing with the community, showing empathy and having compassion, we need to “Take that bullshit, turn it into good shit!”

Please Don’t Be Dead is a fitting wake-up call from an artist who reclaimed his consciousness both physically and artistically, and is now striving for others to follow his example. It’s a request we all should heed, as Negrito instructs, before it’s too late.

Reviewed by Bobby Davis

View review July 3rd, 2018

Buddy Guy

 

Title: The Blues is Alive and Well

Artist: Buddy Guy

Label: Silvertone/RCA

Format: CD, LP, Digital

Release Date: June 15, 2018

 

Immediately upon hearing his mesmerizing riffs, this blues novice could tell I was in the presence of a legend. The Blues is Alive and Well, the latest release from multiple Grammy and award winner Buddy Guy, demonstrates that this icon is throwing us what could arguably be his most skilled offering yet. In recognition of his many contributions to the genre, The Americana Music Association is awarding Guy a Lifetime Achievement Award on September 12th in Nashville’s Ryman Auditorium, complimenting his 2015 Grammy Lifetime Achievement award and his more than 50 years as a blues innovator, musician and mentor. To say that Buddy Guy has a long history with the blues does not do him justice—according to numerous musicians, Buddy Guy IS the blues, period.

Guy opens the 15-track album with “A Few Good Years,” a haunting, rambling slide number showcasing his trademark growl and lyrically addressing the desire to do what he does best for just a little while longer: “A few good years/is all I need right now.” “Guilty as Charged” testifies exactly as you would expect—an uptempo confessional sermonizing not only the singer’s introspectiveness but also Guy’s legendary steel-driving artistry. “Whiskey for Sale” is a call-and-response between the vocals and Guy’s guitar as they negotiate their trade, and the invigorating work song rhythm on “Ooh Daddy” remains with you long past the last chord drop.

Collaborators weigh in on Guy’s blues mission, as well, including several British musicians profoundly influenced by the genre. Rolling Stones frontman Mick Jagger and guitarist Keith Richards contribute to the ‘killing floor’ offering “You Did the Crime” and the warm and fuzzy “Cognac,” respectively, as does another rock guitarist, Jeff Beck. Being that the Rolling Stones began as a band called “The Blues Boys” and they’ve paid homage to Guy in the past, the participation of Jagger and Richards comes as no surprise. “Blue No More” introduces guitarist James Bay, a worthy up-and-coming blues man in his own right.

Taking down the tempo a notch Louisiana blues style, “When My Day Comes” mesmerizes with its plodding tempo and dark undertones about what is yet to materialize. “Bad Day,” a dark but electric musing, warns of how even the best person can reach their wit’s end sometimes. But in the end, Guy’s line, “You can call me old-fashioned/but I still know how to have my fun” on the track “Old Fashioned” sums up this album—and indeed, his entire career.

Guy sounds every bit as vital and youthful on this album as he did on his early collaborations with the late Junior Wells, and it’s inspiring to hear a veteran artist laying down the blues with such continual precision time and again. Both timeless and cutting edge, The Blues is Alive and Well proves that when it comes to Buddy Guy and the blues, 81 is certainly the new 21—no bones about it.

Reviewed by Amy Aiyegbusi

View review July 3rd, 2018

Bette Lavette
Title: Things Have Changed

Artist: Bettye Lavette

Label: Verve

Formats: CD, Digital, Vinyl

Release date: March 30, 2018

 

 

The Times, They are a ’Changin’. This phrase, with all its historic relevancy, has once again become the most accurate description of contemporary times all over the globe. Therefore, it stands as no surprise a 60’s soul legend such as Bette Lavette would release a cover album focusing on ironic political artist Bob Dylan. Things Have Changed is a fitting tribute to some of Dylan’s most prolific movement songs in addition to showcasing other soul rock classics, with Lavette weaving in her own gritty stylings and adding a contemporary layer to the timeless classics.

The title track, Things Have Changed, serves as a warning for those who feel overwhelmed and anxious about their world: “Any minute now I’m expecting all hell to break loose/People are crazy and times are strange/I’m locked in tight/I’m out of range/I used to care, but things have changed. “Political World”, with its echoing of past conflicts and shouts of current trajectories, features Keith Richards, who layers his talents behind Lavette.

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Additional tracks pay homage to some of Dylan’s more introspective musings, with selections such as “It Ain’t Me Babe” and “Mama, You’ve been on My Mind.” But it’s on “Emotionally Yours” that Lavette’s ability to tug at the heartstrings becomes most evident. Through a combination of Dylan’s lyrics and her own amazingly soulful abilities, Lavette gives her listeners a thought-provoking look into the mind of a tortured soul yearning for that one last chance: “Come baby, find me, come baby, remind me of where I once begun/Come baby, show me, show me you know me, tell me you’re the one/I could be learning, you could be yearning to see behind closed door/But I will always be emotionally yours.”

Things Have Changed offers us the best of both worlds—Bob Dylan’s ageless classics and Bettye Lavette’s endless soul stylings—proving to us that even though time marches on, some things remain eternal and relevant, no matter what.

Reviewed by Amy Aiyegbusi

View review July 3rd, 2018

The Stanley Clarke Band

 

Title: The Message

Artist: The Stanley Clarke Band

Label: Mack Avenue

Formats: CD, MP3

Release date: June 29, 2018

 

The release of Stanley Clarke’s latest album, The Message, comprises magnetic compositions that incorporate various elements of funk, jazz-fusion, and breakbeats. The band’s members—Beka Gochiashvili (pianist), Cameron Graves (keyboardist), and Mike Mitchell (drummer)—come together with featured artists such as Doug E. Fresh, Salar Nadar, Skyeler Kole, Trevor Wesley, and voice actor Steve Blum to cut this eclectic offering of hope, love and compassion.

Group frontman Stanley Clarke has always been a prominent artist in the music industry with his funky bass lines, virtuoso technique, and versatility as a musician. He has maintained a successful career spanning over five decades, and in the past has collaborated with artists such as Chick Corea, Lenny White, Herbie Hancock, Béla Fleck, Jean-Luc Ponty, Marcus Miller, Victor Wooten, and Dee Dee Bridgewater, among others. Clarke also produced film scores for major movies such as Boyz n the Hood, Passenger 57, and What’s Love Got to Do with It.

The inspiration of The Message stems from the band’s experience during a 2015 terrorist attack in Tunisia, which halted their tour in that country. During that time, the members of Clarke’s band composed new material, which they later recorded at the ICP studios in Belgium, laying the foundation for this album.

The Message opens with a dialogue between Clarke and Fresh, paying homage to music legends Al Jarreau, Leon “NDUGU” Chancler, George Duke, Tom Petty, Chuck Berry, Larry Coryell, and Darryl Brown as Clarke sings, “And Ya Know We Missing You” along with Fresh providing the underlying vocal percussion. The next track, a stirring rendition of “After the Cosmic Rain/Dance of the Planetary Prince,” is based on a composition written by Clarke in the 1970s, and features a melodious synthesizer solo by Graves. The title track, “The Message,” begins with celestial pads evoking a cosmic atmosphere, followed by an expressive electric bass solo that serves as a counterpart to Clarke’s profound solo performance of Bach’s “Cello Suite, No. 1” on acoustic bass. “Alternative Fact” switches gears to an up-tempo swing groove, displaying both Gochiashvili’s impeccable piano technique and Mitchell’s explosive light touch on the drums. Finally, Clarke takes us out with a funky groove on “To Be Alive,” a song filled with rich horn backgrounds, percussive breaks, and Fresh’s rhythmic flow and tight lyrics.

The Message is certainly a testament to Clarke’s creativity and longevity as a music artist. From beginning to end, the listener is taken on journey filled with sonic qualities that excite the spirit, satisfy the ear, and calm the soul.

Reviewed by Jamaal Baptiste

View review July 3rd, 2018

Shuggie Otis
Title: Inter-Fusion

Artist: Shuggie Otis

Label: Cleopatra

Formats: CD, LP, Digital

Release Date: April 20, 2018

 

 

Known best for his soulful songwriting and tender serenades as heard on hits such as “Strawberry Letter 23” and “Inspiration Information,” Shuggie Otis, “heir to Hendrix,” has long been held as one of the most innovative guitarists to ever pick up the 6-strings. A prodigy from early age, Otis regularly performed on stage and in the studio alongside his legendary father, bluesman Johnny Otis. Shuggie’s latest project, an adventurous new fusion rock project called Inter-fusion, showcases just how mind-blowing he is on the pearly frets of his gorgeous maroon Gibson SG.

The album consists of mostly instrumental tracks that groove and weave, taking unexpected turns in surprising directions, but all anchored by one of the finest rhythm sections imaginable. Drummer Carmine Appice (of Vanilla Fudge/Beck, Bogert & Appice) and bass player Tony Franklin (of The Firm/Roy Harper) both layer their expertise beyond Otis. In addition, keyboardist Kyle Hamood (of L.A. rockers Them Guns) steps in as both a musician and producer, delivering outright superlative performances from each artist involved.

The opening track, “Aphelion,” is a sweetly smooth shot of melancholy that goes down without a hitch. “Woman,” an uptempo beat complete with intricate melodies and layered percussion, begs to be played over and again, and “Clear Power” is a clean, crisp polyrhythmic groove that satisfies the aural need for virtuosity.

Uniting some of the best rock fusion artists on one recording, Inter-fusion reminds us that when it comes to Shuggie Otis, some of the most eclectic, quality art and artists have been right beside us all along.

Reviewed by Amy Aiyegbusi

View review July 3rd, 2018

Soil

Title: Soil

Artist: Serpentwithfeet

Label: Tri-Angle/Secretly Canadian

Format: CD, LP, Digital

Release date: June 8, 2018

 

 

At first glance, you might not peg Josiah Wise as a classically trainer singer. Before transforming himself into the performance artist known as serpentwithfeet, the Baltimore-born musician spent his formative years singing gospel music in his mother’s Pentecostal church. While Wise later studied jazz as well as opera, he was also enamored ‘90s R&B—especially Brandy. Synthesizing all of these influences in his first full-length album, Soil, Wise draws connections to the sustenance of life and love, while simultaneously rebelling against today’s “symmetry and sterile soundscapes.”

Collaborating with producer Clams Casino and experimental electronic musician Katie Gately, Wise has created unique sound collages that are operatic in their own way. Casino, known for his ‘cloud rap’ productions and tracks for the likes of ASAP Rocky & Lil B (“Be Somebody”), The Weeknd, and Kelela, brings hip hop beats with a spacey, freeform style. Gately, who sculpted the sound on nearly half of the tracks on Soil, is known for constructing pieces from multiple layers and samples. Together, they offer a work that enhances Wise’s melismatic singing style with avant garde electronics and multi-layered, hyperprocessed vocals. By also eschewing standard melodies and notions of song construction, the result is more akin to freestyle.

Opening with Wise’s seductive vocals over synth clarinet arpeggios, “Whisper” is one of the album’s most compelling tracks, and perhaps the closest in form to an R&B single. Written by Gately, the song shows off Wise’s vocal range and technique, with extensive overdubbing to create a choral effect. This is one of the many songs on the album touching upon the “shame around two black men dating and loving on each other” as Wise—who is openly gay—sings, “If you whisper, only I will hear you.” “Wrong Tree” seems to expand upon this theme. As the gospel organ and hand claps evoke the conservatism of the church, the song turns more menacing with the lyrics, “The fruit I couldn’t wait to eat / suddenly began to bleed / then I heard them shouting / He climbin’ up the wrong tree.” Both Gately and Casino contributed to “Mourning Song,” the orchestral backing adding weight to the poignant lament, “I want to make a pageant of my grief.”

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Another highlight of the album is “Cherubim,” produced by Gately and the Boston-based electronic producer known as mmph. More overtly homeoerotic, the official video underscores the dramatic elements of Wise’s performance art, while the music is a seamless combination of classical, R&B, and gospel influences with rock overtones. Clams Casino’s footprint is all over “Seedless,” with its laborious beat, electronic effects and elastic rhythms, while Wise flows between song and chant. The album comes full circle with the final track, “Bless Ur Heart,” a tender, upbeat love song expressing optimism: “What was once a whisper will become a deep rumbling sound / I’ll keep a tender heart.”

Soil is a mesmerizing project full of lush harmonies and heartfelt lyrics that pushes the envelop through the electronic production, as well as the thematic material.  Undefinable, and undeniably unique, the album’s deep roots extend into many facets of the Black music spectrum.

Reviewed by Brenda Nelson-Strauss

View review July 3rd, 2018

In Our Time

Title: In Our Time

Artist: AHI

Label: Thirty Tigers

Formats: CD, LP, Digital

Release Date: July 13, 2018

 

 

Canadian singer-songwriter AHI (pronounced “eye”) offers a refreshingly earnest commentary on life, love, and the concept of home on his sophomore album, In Our Time. His first album, We Made It Through The Wreckage, was independently released in 2017, and despite a lack of promotion, the album resonated with listeners and began receiving recognition across Canada due to AHI’s gritty, soulful vocals and commitment to honest, simplistic music.

The opening track on his newest album, “Breakin’ Ground,” is an uplifting introduction, telling of AHI’s journey to becoming an artist and musician. Lyrics like “I’ve been told I’m worthless so much that it gave me purpose” are honest and real, and are complemented by AHI’s raspy and raw-sounding vocals over an upbeat melody. “Made It Home,” the following track, presents the second chapter of AHI’s personal story. In the song, the father of three explores the concepts of family and home in a way that simultaneously expresses vulnerability and strength.

The other songs on the album, from the energetic “Five Butterflies” to the more emotional and softer “Just Pray,” highlight AHI’s ability to blend folk, soul, rock influences with his personal experiences and feelings in a way that makes his music poignant and engaging for anyone and everyone.

On In Our Time, AHI manages to use his mesmerizing vocals and catchy melodies to create a personalized yet relatable collection of folk rock tracks based on his own experiences of life, love, and family.

Reviewed by Chloe McCormick

 

View review July 3rd, 2018

zeal

 

Title: Stranger Fruit

Artist: Zeal & Ardor

Label: MVKA

Formats: CD, LP, Cassette, Digital

Release date: June 8, 2018

 

Swiss-American provacateur Manuel Gagneux, the artist behind the avant garde rock group Zeal & Ardor, unleashed his debut album Devil Is Fine to much acclaim in 2017. Grounded in Norwegian black metal and its inherent paganism, the album imagined an antebellum South where slaveshad chosen defiance and rebellion and the power of Satan” instead of Christianity. With his new album, Stranger Fruit, Gagneux not only hints at Billie Holliday’s haunting classic, but implies he might take us one step beyond the already grotesque imagery of “Black bodies swinging in the southern breeze.” The answer comes sooner rather than later.

After a brief intro sets the stage with the sound of a pickaxe striking the ground, the opening song “Gravedigger’s Chant” seems to pick up where “Strange Fruit” left off, as Gagneux sings “bring the dead body down to the graveyard…Lord have mercy.” In a press release, Gagneux describes the official video as subverting roles: “People find themselves in situations untypical for their ilk, tools become weapons, weapons turn into tools, and fingers meant for sensing make themselves felt.”

Unlike the previous Zeal & Ardor album—an interwoven fabric of metal tempered with elements of blues, spirituals, Lomax-esque work-song melodies, soul and gospel—Stranger Fruit hews more closely to black metal roots. “Servants” promotes an uprising of the oppressed, while “Don’t’ You Dare” takes things one step further, hinting at human sacrifices with the chorus, “never come ‘round these parts…don’t you dare look away, boy.” The brief “Fire of Motion” features a wall of thrashing guitars, then segues into the gorgeous vocal harmonies of “The Hermit” with a nod to Gregorian chant.

If you were a fan of Devil Is Fine, then you will appreciate the hand-clapping rhythms behind “Row Row,” the soulful elements of “You Ain’t Coming Back,” and the bluesy “We Can’t Be Found.”  The title track, “Stranger Fruit,” is built over an ominous piano ostinato that gradually builds to the timely finale, “there’s a storm out there / there’s no shelter for us.” The album closes with “Built on Ashes,” another track interjecting soulful vocals that makes for a satisfying finish, despite the gloomy chorus, “”Like a strange fruit out of season / You are bound to die alone.”

Though a couple of electronic tracks seem somewhat out of kilter, Zeal & Ardor’s Stranger Fruit is a solid sophomore effort. The album was produced by Gagneux alongside Austrian producer Zebo Adam and mixed by Converge guitarist Kurt Ballou. Gagneux has assembled a band for live shows and will be touring the U.S. later this year.

Reviewed by Brenda Nelson-Strauss

View review July 3rd, 2018

fats

 

Title: The Ballads

Artist: Fats Domino

Label: Bear Family

Format: CD

Release date: April 20, 2018

 

One of the architects of rock and roll, Fats Domino is also remembered as one of New Orleans’ greatest musicians, which is quite an honor in a city that produced so many legends. Now the venerable Bear Family label honors Fats, who died last year, with this compilation featuring 32 ballads culled from his 1955-1962 Imperial Records sides. Most were either produced, co-written/arranged, and/or performed (on trumpet) by the great Dave Bartholomew and recorded at Cosimo Matassa’s studio.

Instead of the red-hot sound of the Crescent City’s rhythm and rocking blues scene, The Ballads of Fats Domino highlights many of his lesser known gems. As noted author/historian Bill Dahl states in the liner notes, “Fats without his trademark rocking rhythms [was] every bit as effective and lovable as when the big beat was scalding behind him.” And that’s the truth!

This “blusier, atmospheric side” of Fats is certainly apparent on classics like “Blueberry Hill,” which opens the set, and a pair string drenched sides, “Walking to New Orleans” and “Three Nights a Week,” both R&B hits despite Domino’s opinion that “people don’t like me with too many violins.” The hardships of life on the road spurred more than a few ‘homesick’ ballads that are great examples of Fats’ signature story songs: “I Miss You So” (1961); a 1962 remake of “Goin’ Home” (the original side was released a decade prior); and the earliest song on the set, “Helping Hand (A Long Way From Home)” from 1955.

This is just a small taste of what’s in store on The Ballads of Fats Domino, produced with the typical high standards we’ve come to expect from Bear Family, including illustrated liner notes and a complete session discography.

Reviewed by Brenda Nelson-Strauss

View review July 3rd, 2018

Renea
Title: Coloured

Artist: Priscilla Renea

Label: Thirty Tigers

Formats: CD, LP, Digital

Release Date: June 22, 2018

 

 

One of the most sought-after songwriters in the business, Priscilla Renea now offers her own solo project, Coloured. Growing up in Vero Beach, Florida, music has always been a mainstay in Renea’s life. As explained in an interview with Rolling Stone, her mother and grandmother loved to sing and her father played the trumpet. After writing her first song at the age of eight, Renea’s mother gave her a note book to write in and eventually she received a guitar from her father and taught herself to play. By the age of 16, Renea became a YouTube sensation, setting her on a path to become one of today’s greatest writers with songs you know and love such as “Timber,” by Kesha and Pit Bull, Charlie Puth’s “River”, and “California King Bed” performed by Rhianna. With Renea’s own album Coloured, we get to truly hear her voice as she tells her own story.

Renea describes her new album as, “a big gumbo of everything that’s happening in my life,” and explains it was created when she spent a few months in Nashville in 2016 with her friend and colleague Brett James. While in Nashville, she attended a performance of the Grand Ole Opry, discovering there were only two photos of black artists on display backstage—Chuck Berry and Darius Rucker. Taking this as a challenge, Renea was inspired to create Coloured, a very unique album with a style all its own she calls “country soul,” seamlessly combining a classic Nashville sound with R&B and hip hop in a manner she describes as “unapologetically black.”

Coloured begins with the song, “Family Tree.” Opening up with a guitar progression that is just so stereotypically country it sounds like you could be listening to a Dolly Parton album, Renea enters and quickly shows her versatility as vocalist. Though she maintains a country “twang” throughout, it doesn’t take long for her to knock you back with her robustly gritty voice, showcasing vocal prowess and control reminiscent of powerhouses like Etta James.

Throughout the remainder of the album you can hear other spectacular tracks like, “Gentle Hands,” a fun upbeat song with a driving trap beat, followed by the gorgeous track, “Heavenly,” where Renea plays more to her R&B sensibility. She actually brings these songs together in one storytelling music video:

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With songs like “You Shaped Box,” “If I Ever Loved You,” and “Different Color,” Renea incorporates a reggae feel, blurring the line between genres as she tells stories of love, not only love of family or a significant other, but love of oneself.

Having made such a name for herself as a songwriter, Priscilla Renea is clearly just gearing up to shock the world with her own vocal talents, and Coloured is only the beginning.

Reviewed by Jared Griffin

View review July 3rd, 2018

Kamasi
Title: Heaven and Earth

Artist: Kamasi Washington

Label: Young Turks

Release Date: June 22, 2018

Formats: CD, LP, Digital

 

While technically his third release as a leader, Kamasi Washington’s newest record, Heaven and Earth, is the second in an extra-long play format. The double album, like 2015’s The Epic, stretches well over 2 ½ hours across two CDs (the LP version is 4 discs with an additional hidden inside the centerfold, giving listeners a compelling version to purchase this one on vinyl). While Washington certainly has much to say, this album doesn’t feel long-winded. His excellent band keeps things interesting for the entire 2 hours and 24 minutes of Heaven and Earth’s sonic exploration.

Washington is a marvelous player, but his talents of composition and orchestration are what lie at the heart of this album—the music is orchestral, improvisational, and undeniably hip all at once.  It’s no wonder that he and the crew of musicians he regularly works with, including his crack rhythm section of the Bruner brothers (bassist Stephen AKA “Thundercat” and drummer Ronald Jr.), are first-call musicians for sessions and production work.

It is possible to say that Washington has grown as a composer while also acknowledging that his previous full-length was released by a fully-formed artist. While The Epic spanned much musical territory, Heaven and Earth demonstrates skillful use of musical contrast within tracks as well as on a tune-to-tune basis. Washington’s music works on many levels—for instance, the album’s foreshadowing opener, “Fists of Fury,” is about righteous indignation. The track’s vintage orchestral sound would easily be at home in the title sequence of a neo-western or kung fu movie, but also features a blazing doubletime piano solo incorporating very hip jazz harmonic and rhythmic vocabulary.

 

“The Invincible Youth” begins with a roiling Ornette Coleman-esque introduction and then evolves into a synth-jazz odyssey, while “Testify” is a poetic slow jam that would not be out of place on a ‘70s Stevie Wonder album. “Street Fighter Mas” is a funky tune on which Washington really stretches out on his sax; “Journey,” on the other hand, is a sparsely arranged jazz hymn.  “The Space Traveler’s Lullaby” perhaps best captures Washington’s maximalism—it’s a fully fleshed-out orchestral work that stretches to 10 minutes in a swirling collection of textures, colors, and harmonies that might make orchestral and cinematic composers jealous.

Even though Heaven and Earth pushes 3 hours, it’s not dull for a single second. The album’s gargantuan musical scope allows it to earn its title, as Washington takes his listeners through its many twists and turns with an unparalleled sense of taste. Certainly worth the celestial journey,  this epic album that features a great deal of greatly complex music.  Like a good book, Heaven and Earth can’t be digested in one sitting, but it is good enough to explore again and again.

Reviewed by Matthew Alley

View review July 3rd, 2018

Dr. Michael White

Title: Tricentennial Rag

Artist: Dr. Michael White

Label: Basin Street

Formats: CD, Digital

Release date: June 29, 2018

 

 

This year the city of New Orleans is celebrating its 300th anniversary (1718-2018) and acclaimed clarinetist, Dr. Michael White, set out to commemorate the occasion by paying tribute to the city’s most important original musical contribution. Of course we’re talking about jazz. Birthed from the rhythms of Congo Square and gestated in the French Quarter over 100 years ago, the genre is an indelible part of the African American experience in NOLA and beyond.

New Orleans born and bred, White has been immersed in the city’s music scene for decades and holds numerous distinctions, including Heritage Fellow of the National Endowment for the Arts and recipient of the Jazz Hero Award from the Jazz Journalists Association of America. Not only is he a virtuoso on his instrument, but White is also a composer of note as well as a historian and educator who has long been championing NOLA’s jazz heritage.

On Tricentennial Rag, White offers ten original compositions, many inspired by early jazz musicians and traditional styles, but with a contemporary twist. Paying homage to the street where Jelly Roll Morton spent his childhood, “Frenchmen Street Strut” opens the album. There’s a wonderful interplay on this track between White, Shaye Cohn on cornet, and David L. Harris on trombone, while Detroit A. Brooks’s banjo solo is a further connection to the African roots of jazz. White takes over on “Blues on the Bayou,” a showcase for clarinet that he performs with aplomb, stretching out the blue notes. The mid-tempo title track is a modern take on ragtime, full of interesting modulations and solo turns with hints of R&B-styled melismas. Kicking off with a snare solo signaling the start of Carnival, “On Mardi Gras Day” is song celebrating Mardi Gras Indians and the Zulu parade with vocals by Gregory Stafford (who doubles on trumpet).

“I Saw Jesus Standing in the Water” might seem like a departure—the song connects to themes from the black church but musically doesn’t stray far from traditionl jazz. Other highlights include the clarinet moans of “Loneliness” and the bluesy tribute to “Sassy Creole Woman.” The album closes with the only non-original song—a fantastic rendition of “When the Saints Go Marching In” that’s performed in a wholly original manner with the band changing tempos and swapping solos—this time with Seva Venet on banjo. I must also give a shoutout to Steve Pistorius, the pianist for all but one track, who is given ample opportunities to showcase his virtuosity.

Who better to celebrate NOLA as the cradle of jazz than Dr. Michael White, one of the leading authorities of the traditional New Orleans style. He proves this again and again on Tricentennial Rag, keeping the music fresh and tasty with delicious licks and righteous rags that take NOLA’s jazz traditions into the 21st century.

Reviewed by Brenda Nelson-Strauss

View review July 3rd, 2018

Lurrie
Title: Tribute To Carey Bell

Artist: Lurrie Bell & The Bell Dynasty

Label: Delmark

Formats: CD, Digital

Release Date: May 18, 2018

 

Released before Father’s Day—that special time in June set aside for men we call dad, father or pops—the Bell household’s man of honor is Carey Bell. The late blues harpist moved to Chicago the decade after Little Walter and Chess legend Muddy Waters, and went on to play with both as well as many other Chicago blues legends. What better way to pay homage to dad, especially a man the stature of Carey, then with a new album by Lurrie Bell & The Bell Dynasty titled Tribute To Carrey Bell. Paying the tribute is Carey’s son Lurrie (vocals, guitar) and the other siblings—Tyson (bass), Steve (harmonica), and James (drums, vocals). And wait, Charlie Musselwhite and Billy Branch get in on the fun too. Delmark Records picked up Carey for his 1969 debut, Carey Bell’s Blues Harp, so it’s fitting they releasing this special project.  

The blues is and always will be about storytelling. The first track, “Gone To Main Street,” is all about that “All Yeah” feeling. When you listen closely, you may hear references to The Doors’ “Road House Blues”—I kid you not. “I Got To Go” switches it up, and by that I mean the tempo. “So Hard To Leave You Alone” is a slow tune and again, a great story being told. “You’re my midnight dream, my all day stint,” Lurrie Bell spills his guts and you feel it. It’s the blues baby! Billy Branch takes over on “Carey Bell Was a Friend of Mine,” explaining his love for this man, both on and off the stage.

I never heard of Carey Bell before this, but Tribute To Carey Bell made me a fan. Though he left us well over ten years ago, his memory will live as long as the Bell family dynasty has something to say.

Reviewed by Eddie Bowman

View review July 3rd, 2018

javen
Title: Grace

Artist: Javen

Label: Tyscot

Formats: CD, Digital

Release Date: June 22, 2018

 

Born and raised in Hollywood, Florida, Javen P. Campbell is the 12th child in a family of 13. His career in the music industry began in 1999 after he was signed with Crowne Records. Since then, Javen has made a name for himself in many facets of the Christian music and entertainment industry—as a vocalist, songwriter, and actor. He is also a well-known television personality, hosting Now Living on the Christian network TBN and The Gospel Music Experience alongside Tye Tribbet. Recently Javen released his 6th album, Grace, with contributions from current gospel icons like Tye Tribbet, Tim Bowman Jr., and Johnny Rez.

Featuring eight songs written by Javen over the years, as well as an arrangement of the classic hymn “Amazing Grace,” Grace is beautifully produced from start to finish. The album combines harmonic, instrumental, and rhythmic aspects of Christian pop and classic gospel as well as new production techniques and rhythms from music of the African diaspora such as dancehall and hip hop.

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Javen opens the album explaining his understanding of the word grace, and how the term speaks to his faith. Stating he has come to understand grace as “God’s love, power, and strength,” he explains one must trust in these things to truly have access to God’s power and favor: “Grace is not something you do/but something you receive.” Immediately following this powerful introduction is the gorgeous title track duet, “Grace”, featuring Margaret Bell. This compelling song showcases a classic modern gospel sound accompanied by magnificent backing vocals as the absolutely awe-inspiring voice of Margaret Bell takes total command of the song. An acoustic version of this song in Spanish by artist Johnny Rez, closes the album, as well, providing an artful compliment to not only Bell but the entire collection of worship tunes.

Javen is a spectacular artist and vocalist with such a warm and smooth tone remnant of artists like Smokie Norful and Sam Cooke, but from time to time he is a slightly outshined, vocally, by the artists he features. This is especially apparent in his duets, such as “Grace” with Margaret Bell, and “You Lift Me Up” with Christina Bell. However, this takes nothing away from the album—if anything it shines a light on the brilliance of Javen as a songwriter. Another stand-out track is the song “Fresh Oil,” originally released on Javen’s 2013 album, Worship In the Now, and re-recorded as a duet with Na’sha Watkins for Grace. “Fresh Oil” is an absolutely stunning song just perfect for the smooth stylings and timbre of both Javen and Watkins as they offer their prayer lyrics: “Fresh Oil from Heaven cleanse my heart/Holy Spirit I call, from you I don’t want to part”. This song is extremely soothing while maintaining the capacity to bring you to tears.

Grace is a wonderful and eclectic album with a perfect marriage of songs and artists. It is an offering that will touch and uplift your soul, leaving you feeling renewed and blessed.

Reviewed by Jared Griffin

View review July 3rd, 2018

Routes

 

Title: Routes

Artist: Diali Cissokho & Kaira Ba

Label: Twelve Eight

Formats: CD, Digital

Release date: June 29, 2018

 

Building a bridge across the Atlantic, Routes is a collaboration between Sengalese kora master Diali Keba Cissokho and his band Kaira Ba that links North Carolina to M’bour, Senegal—where the tracks were recorded in a rattan-paneled hotel room overlooking the ocean. Cissokho, who was born into a family of griots and can trace his musical linage back to 16th century Mali, relocated to North Carolina after marrying an American student of Sengalese music. There, he connected with a quartet of local musicians including drummer Austin McCall, percussionist Will Ridenour (who also plays djembe), Berklee-trained jazz guitarist John Westmoreland, and bassist Jonathan Henderson—an ethnomusicologist well versed in jazz and afro-diasporic styles. Working together to create a musical language that combined elements of these multiple traditions, the group transformed into Kaira Ba.

One of the unique aspects of Routes is the wide range of contributing artists from both nations who lent their talents to this project. As the tracks were laid down in Senegal, Cissokho invited numerous friends and relatives to contribute to the mix, including a group of drummers who set up in the courtyard. Once the band returned home, they overdubbed instrumental and vocal tracks using a variety of well-known local musicians. Their goal, to “tell the story of these two places Diali has called home,” has certainly been realized through this expanded musical palate and community spirit, while the aural soundscapes of each location also enter the mix.

Opening with the familiar Carolina summer sound of cicadas, “Alla L’a Ke” is a traditional kora song dedicated to Cissokho’s late father, which the group transforms through the addition of a string quartet featuring violinist Jennifer Curtis, among others. Up next is “Badima” with a catchy Afro-rock groove laid over Chuckey Robinson’s organ and a fast and furious percussive conclusion.  Salsa, which is extremely popular in West African, is the basis for the track “Salsa Xalel,” blended here with the national dance mbalax using local percussion and balafon. The tie-in to the American South comes by way of the track’s funky horn section and gospel singers Shana Tucker and Tamisha Waden, who join Cissokho on vocals as they ponder what kind of world are we leaving for our children:

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Yet another interesting sound collage can be found in “Saya,” a poignant song about grasping the reality of death. Opening with a kora solo by Cissokho, the focus shifts mid-section to Eric Heywood’s pedal steel guitar, blending perfectly with kora, guitar and bass. John Westmoreland takes the lead on “Story Song,” which he composed in the Mali style known as desert blues, with Cissokho providing the narration in English about the band’s seven-year collaboration: “these people I’m playing music with / we’re not the same culture / we’re not the same religion/ but out heart is the same…you can’t play music like this if your heart is not beautiful.”

The album closes with “Night In M’Bour,” featuring a collage of sounds recorded during an evening in Cissokho’s home town, including a traditional sabar drum ensemble and fula flute solo, then concluding with the night crickets of M’Bour—a bookend to the opening soundscapes of North Carolina.

Routes is the perfect showcase for Kaira Ba’s unique fusion of Senegalese and American musical traditions, as well as a demonstration of cross-cultural collaboration and mutual respect between band members who welcomed an immigrant to their community.

 

Reviewed by Brenda Nelson-Strauss

View review July 3rd, 2018

Little Freddy King
Title: Fried Rice & Chicken

Artist: Little Freddie King

Label: Orleans

Formats: CD, LP, Digital

Release date: April 6, 2018

 

 

Delta blues guitarist Little Freddie King has been a fixture on the New Orleans scene for decades, performing regularly at the NOLA Jazz and Heritage Festival as well as clubs in “the lowest bowels of the mighty Ninth Ward.” Though not as well-known as the other guitar slinging Freddie King from Texas, “Little Freddie” is still the real deal—a Mississippi-born bluesman who learned to play guitar on his daddy’s knee, claims Lightnin’ Hopkins as a cousin, and once toured Europe with Bo Diddley and John Lee Hooker.

In 1971, Harmonica Williams and Little Freddie King released Rock N Roll Blues on the obscure Ahura Mazda label. As one might guess, this limited pressing didn’t provide King with much exposure beyond his adopted hometown, and it’s difficult to find a copy these days. Over two decades later, the local Orleans Records label released two of King’s first solo projects, Swamp Boogie in 1997 and Sing Sang Sung in 2000.

Fried Rice & Chicken is a compilation featuring the best tracks from King’s two contrasting albums for Orleans. The first half, recorded in the studio from 1994-1995, features backing by Earl “Pass the Hatchet” Stanley and Robert Wilson on electric bass, Jason Sipher on upright bass, Kerry Brown and Bradley Wisham on drums, with Crazy Rick Allen on Wurlitzer electric piano and organ. While not exactly polished, the tracks are at least a half step up from King’s raw club performances. Notable tracks include the opening song “Cleos Back,” which some might recognize from the Tom Hanks movie Extremely Loud & Incredibly Close, and “Mean Little Woman” featured in the HBO series Treme. Yes, Little Freddie has been getting some good exposure since these songs were initially released.

The second half of the album was recorded live at the Dream Palace, a club on Frenchman Street in the Faubourg Marigny section of New Orleans. You might say this is the real Little Freddie King, offering up the raw gut bucket blues of Southern juke joints. On these tracks King is accompanied by his regular band at the time: Wacko Wade Wright on drums, Anthony Anderson on electric bass, and Bobby Lewis DiTullio on harmonica. Highlights include the title track “Sing Sang Sung,” a great instrumental showcasing King and DiTullio, and “Bad Chicken” featuring “squawking” guitar licks.

Though there are a number of different Freddie King compilations, Fried Rice & Chicken encapsulates the best of his Orleans Records output.

Reviewed by Brenda Nelson-Strauss

View review July 3rd, 2018

Reimagination Dozier
Title: Reimagination

Artist: Lamont Dozier

Label: Goldenlane Records

Format: CD

Release Date: June 6, 2018

 

 

The name Lamont Dozier, if heard, perhaps would bring little or no reaction to the general public. But, if one plays or hums many major tunes released by 1960s and 70s Motown artists, know that Dozier was part of the composers team behind these successful groups. Now you his name.

Lamont Dozier, along with the Holland Brothers, wrote the great tunes at Motown—Smokey, The Four Tops, The Temptations and yes, even The Supremes—all owe their success to these gentleman. Dozier, besides being one of the greatest songwriters ever, is a smooth singer and accomplished piano player. In the late 60’s, he left Motown and, along with the Holland Brothers, formed the label Hot Wax. After that, Dozier started recording solo material. His  classic tunes in the 70’s included hits such as, “Going Back To My Roots” and “Why Can’t We Be Lovers”. In the 80’s, Dozier teamed up with Phil Collins on the hit, “Two Hearts.”

Now, Dozier is back with a new release titled, Reimagination. This album is a collection of twelve tracks previously written for other artists while at Motown, but Dozier performs them in a way that will make you forget the original. Joining him for this collaboration is Graham Nash, Lee Ann Womack, Todd Rundgren, just to name a few in on the festivities.

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On the second track, “How Sweet It Is (To Be Loved By You), Dozier reworks the former classic with Gregory Porter. First, the song is done in acapella , then the song moves into a gospel offering—hand clapping, feet stomping, take it to the river sounds. Dozier uses the same approach on, “Reach Out I’ll Be There”.  One of the most underrated singers at Motown was Kim Weston. Her classic, “Take Me In Your Arms (Rock Me A Little While), gets a fresh, new makeover in the form of accoustic blues featuring Marc Cohen. Now that’s quite a Weston tribute.

Martha & The Vandellas has the honor of having two of their classics included on Reimagination. “Love Is Like A Heatwave” and “In My Lonely Room”.  “In My Lonely Room” happens to be, in my opinion, Dozier’s favorite track. He fools you in the beginning, starting the song by singing, “Love Is Here”, which is the opening of a Supremes track, but goes quickly into “In My Lonely Room”. WOW! The words after all these years really hit you in the feels.

Who but Dozier knows these tunes best? After all, he wrote them, so he can and does perform them the way he sees fit. Reimagination is pure gold, Motown fan or not. Thanks Lamont!

Reviewed by Eddie Bowman

View review July 3rd, 2018

Following are additional albums released during June 2018—some will be reviewed in future issues of Black Grooves.

Blues, Folk, Country
Angelique Francis: Kissed by the Blues (digital)
Charles Lloyd & The Marvels & Lucinda Williams:  Vanished Gardens (Capitol/Blue Note)
John Brim: Detroit to Chicago – Tough Blues of John Brim 1950-1956 (Jasmine)
Lonnie Johnson: Blues Stay Away From Me: Selected Singles 1947-1953 (Jasmine)
Various: Voices of Mississippi: Artists and Musicians Documented by William Ferris (Dust to Digital)
Various: Tribute – Celebration of Delmark’s 65th Anniversary (Delmark)
Various: Rough Guide to Hokum Blues (World Music Network)

Classical, Broadway
Audra McDonald/NewYork Philharmonic: Sing Happy (Decca Gold)
Gurrumul: Djarimirri (Child of the Rainbow) (Skinnyfish Music)
Kukuruz Quartet: Julius Eastman Piano Interpretations (Intakt)

Comedy, Spoken Word
Michael Brooks: Watch This   (Wasted Robot)

Funk, Rock, Pop, Electronic
Ashtani: Space, Fire, and Someone (Collective Clearing Frequencies)
Benin City: Last Night (Moshi Moshi)
Big Freedia: 3rd Ward Bounce EP (Asylum)
DJ Spooky: Presents Phantom Dancehall (VP)
Emilie Nana: The Reign of Obsolete Technology EP (BBE)
Magic Drum Orchestra: DNA of Rhythm (Tru Thoughts)
Yuno: Moodie (Sub Pop)

Gospel, Christian
Cortney Richardson: DO It Again (digital)
Cory Ard: The Blackout (digital)
Edwin Hawkins Singers: The Buddah Collection (Retroworld)
Fred Hammond: Best of (RCA Inspiration)
God’s Chosen: S/T (digital) (Dream)
Jasmine Murray: Fearless (Fair Trade)
Lecrae & Zaytoven: Let the Trap Say Amen (digital) (Reach)
Lexi: Just Listen (Motown Gospel)
Na-Tree-Sha: One Step Closer (digital) (WePush Worldwide)
Steven Malcolm: Second City Part 2 EP (Word Ent)
Theotis Taylor: Something Within Me (Big Legal Mess)
Wardlaw Brothers: Stand There (New Day Ent.)

International
Abra Cadabra: Feature Boy EP (No Problem)
Dumi RIGHT: Doing It the Right Way (pH Music)
Jupiter & Okwess: Kin Sonic  (Everloving)
Mike Nyoni & Born Free: My Own Thing (Now Again)
Nsimbi: S/T (Imara)
Pierre Sandwidi: Le Troubadour De La Savane, 1978/1982 (Born Bad)
Professor Rhythm: Professor 3 (Awesome Tapes From Africa)
Samba Toure:  Wande (Glitterbeat)
Various: Listen All Around – Golden Age of Central and East African Music (Dust to Digital)
Various: Disques Debs International An Island Story – Biguine, Afro Latin & Musique Antillaise 1960-1972 (Strut)

Jazz
Adam & Kizzie: Book Of Eedo Vol. 3: Threedo (Ropeadope)
Binker & Moses: Alive in the East (Gearbox)
Black Art Jazz Collective: Armor of Pride (Highnote)
Buster Williams: Audacity (Smoke Sessions)
Byron Miller: Gift Psychobass2 (Byron Miller Studio)
Cyrille Aimée: Live (Mack Ave.)
Dayramir Gonzalez: Grand Concourse (Machat)
Eddie Daniels: Heart of Brazil (Resonance)
Emanative: Earth (Jazzman)
Geoffrey Keezer ft. Gillian Margot: On My Way To You (DL Media)
Gregory Generet & Richard Johnson: Two of a Kind (Afar Music)
Hungry March Band: Running Through with the Sadness (Imaginator)
Javier Santiago: Phoenix (Ropeadope)
JD Allen: Love Stone (Savant)
John Coltrane: Both Directions at Once: The Lost Album     (Impulse!)
Justin Brown:  Nyeusi (digital) (Biophilia)
Kobie Watkins Grouptet: Movement (Origin)
Kris Brownlee: Breathe Night Sessions (Megawave)
Marcus Miller: Laid Black (Blue Note)
Mark Kavuma: Kavuna (Ubuntu Music)
Matthew Lux’s Communication Arts Quartet: Contra/Fact (Astral Spirits)
PJ Morgan: Transparency Project (1DMV Music Group)
R+R=NOW: Collagically Speaking (Blue Note)
Robert E. Person: Classic Covers (digital)
Shamie Royston: Beautiful Liar (Sunnyside)
Sullivan Fortner: Moments Preserved (Impulse!)
Tiffany Austin: Unbroken (Con Alma Music)
Tosin Aribisala: Afrika Rising (Ropeadope)
Water Seed: Say Yeah!! Live at the Blue Nile (Water Seed Music)

Latin
Cuban Beats All Stars: Levantate (Timba)
Dos Santos: Logos (International Anthem)
Harold Lopez-Nussa: Un Día Cualquiera (Mack Ave.)

R&B, Soul
Ali Shaheed Muhammad & Adrian Younge: The Midnight Hour (Linear Labs)
Danie Ocean Band: Love Won’t Let Me Fail (Winding Way)
Dee Brown: Remembering You (Innervision)
Jorja Smith: Lost & Found (FAMM)
Kadhja Bonet: Childqueen (Fat Possum)
Kenny Latimore: Never Too Busy: The Anthology (Soulmusic)
Kirkland Project: We Shall Overcome (digital)
Love Unlimited: Singles 1972-75 (Mercury)
Love Unlimited Orchestra: 20th Century Records Singles 1973-79 (Mercury)
Neyo: Good Man (Motown)
Pat Powell: About Time (digital) (Bamboozle Music)
The Beginning of the End: Funky Nassau: Definitive Collection (Strut)
Tower of Power: Soul Side of Town  (Artistry Music)
Vicktor Taiwò: Joy Comes in Spirit (Innovative Leisure)

Rap, Hip Hop
Canibus: Full Spectrum Dominance (ThatsHipHop)
03 Greedo: God Level (Alamo)
Allan Kingdom: Peanut Butter Prince (digital) (First Gen.)
Cool-Aid: BRWN (Akashik )
Black Thought: Streams of Thought, Vol. 1 (digital) (Human Re Sources)
Bump J: I Don’t Feel Rehabilitated (Goon Squad Ent.)
Chief Keef: Ottopsy EP (digital) (RBC)
Dizzy Wright: Don’t Tell Me It Can’t Be Done (digital EP)
DJ Harrison: Stashboxxx (Ropeadope)
Drake: Scorpion (digital) (Republic)
E-40: Gift of Gab (digital)
Eligh: Last House on the Block (Empire)
Freddie Gibbs: Freddie (digital) (Empire)
Freeway: Think Free (digital) (Roc Nation)
Gorillaz: The Now Now (Parlophone)
Gunplay: Active (digital)(Empire)
IAMDDB: Flight Mode Vol. 4 (digital) (Union IV)
Stalin: Tears of Joy 2 (Livewire)
Jacquees: 4275 (digital) (Cash Money)
Jay Rock: Redemption (Top Dawg/Interscope)
Jedi Mind Tricks: The Bridge & the Abyss (Enemy Soil)
Kanye West: Ye (digital) (Def Jam)
Kanye West & Kid Cudi: Kids See Ghosts (digital)  (Def Jam)
Lil Scrappy: Confident (X-Ray)
Locksmith & Apollo Brown:  No Question (Mello Music Group)
Michael Christmas: Role Model (Fool’s Gold)
Migos & DJ Smoke: Migology (Wagram)
Mo Cash: Closest Man 2 God (digital)
Nas: Nasir (digital)
nobigdyl: Solar (Capital Christian)
Phresher: PH (digital) (Empire)
Ras Kass: Van Gogh (digital)
Rico Nasty: Nasty (digital)(Atlantic)
Slum Village: Lost Scrolls 2 (Ne’Astra Music Group)
The Carters: Everything Is Love (digital) (Tidal)
Trae That Truth: 48 Hours Later (ABN)
Various: Superfly (Soundtrack) (Epic)
Various: Uncle Drew (Soundtrack) (RCA)
Various: Boombox 3: Early Independent Hip Hop, Electro & Disco Rap (Soul jazz)
Various: Don’t Get Caught (Soundtrack)(Shot)
Various: Jermaine Dupri Presents So So Def 25 (Sony)
Waka Flocka Flame: Salute Me Or Shoot Me 4 (Bricksquad)
Youngboy Never Broke Again: Until Death Call My Name: Reloaded (digital)

Reggae
Alborosie: Unbreakable: Alborosie Meets The Wailers United (VP)
Culture: Remembering Joseph Hill (VPAL Music)
Jah9: Field Trip (digital) (VP)
Rebelution: Free Rein (Easy Star)

View review July 3rd, 2018

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