Following are additional albums released during July 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Title: Nothing To Say
Artist: Alan Evans
Label: Vintage League Music
Formats: CD, LP, Digital
Release date: May 24, 2019
Don’t let the title fool you—Alan Evans has plenty to say on his solo debut album. Steeped in psychedelic rock and funk, Nothing To Say finds Evans stepping out from behind his drum kit and away from his acclaimed funk/jazz trio Soulive. The album’s ten original tracks were written, recorded, and produced over the past four years by Evans and released on his Vintage League Music label. In addition to laying down the drum tracks, the singer and multi-instrumentalist performs all vocals as well as guitar, bass, keys and percussion. Joining Evans on this outing are guitarists Danny Mayer and Ryan Hommel, who doubles on pedal steel, with Darby Wolf, Kris Yunker, Beau Sasser, and brother Neal Evans (Soulive) filling in on Moog, organ, piano and Mellotron. This keyboard centric mix is heavy on the organ, creating a soulful yet funky feel throughout, but includes enough stellar guitar solos to rock hard. Continue reading
Following are additional albums released during June 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Title: Transcending Toxic Times
Artist: The Last Poets
Formats: CD, MP3
Release date: May 10, 2019
The Last Poets are at it again with their latest album, Transcending Toxic Times. Released just a year after their 50th anniversary album, Understand What Black Is (2018), and a few months after Understanding What Dub Is (2019), this funk oriented album is fused with elements of jazz, R&B, rock and percussive rhythmic grooves. As with previous efforts, there are also socio-cultural messages that comment on the conditions of African American lived experiences. The album brings together the original members—Baba Donn Babatunde, Abiodun Oyewole and Umar Bin Hassanall—along with producer and bass guitarist Jamaaladeen Tacuma, for what is likely the “definitive Last Poets album.” Continue reading
Following are additional albums released during May 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during April 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during March 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during February 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during January 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Title: The One
Artist: Will Sessions & Amp Fiddler, featuring Dames Brown
Label: Session Sound
Formats: CD, MP3
Release date: October 26, 2018
Detroit-based group Will Sessions has made a name for themselves in the motor city. From their early beginnings, the octet released several albums influenced by R&B, hip-hop, funk, and jazz. In 2017, the group began collaborating with legendary funk singer and keyboardist Amp Fiddler, first on their Deluxe album track “In The Ride,” and later that year on their live recording Kindred. Like their previous releases The One includes Fiddler on lead vocals, along with the soulful and dynamic voices of vocal trio Dames Brown. Continue reading
Following are additional albums released during December 2018—some will be reviewed in future issues of Black Grooves. Continue reading
Christmas just isn’t Christmas without good music to really get you in the spirit! We’re featuring brief reviews of our favorite new holiday releases from PJ Morton, John Legend, Cece Winans, Aloe Blacc, Motown Gospel, and After 7. Our specially curated Black Grooves Christmas Spotify playlist features our favorite songs from these artists and more, providing the perfect soundtrack as you get together with friends and family to celebrate the holidays. Continue reading
This exploration of Cleveland’s Saru label, released earlier this year, is another fine addition to Numero’s Eccentric Soul series featuring lost gems from the ‘60s and ‘70s. Due to its fascinating connections to Ohio funk, the Saru compilation is also one of our favorites. Label owner Chuck Brown set up a management team that included Bobby Massey, one of the original members of the O’Jays, and Calvin Simon, an original member of the Parliaments with George Clinton, and later the Parliament-Funkadelic collective. These two influential staff members assembled talent for the backing bands and also produced and performed on many of the sessions. Continue reading
The coffee table book of the year for soul and funk music fans is without a doubt this oversize, hardcover volume featuring the early photographs of Bruce W. Talamon. Those who are familiar with SOUL newspaper will recognize some of these images. Started in L.A. in 1968 by Ken Jones and Regina Jones, SOUL was the first black-owned paper dedicated to R&B, soul and funk musicians. Talamon was hired in 1972 by Regina, who gave the young photographer his first steady gig, and before long he was shooting for national publications. From 1972-1982, Talamon captured R&B royalty in stunning detail—working up a sweat in concert, dancing on the stage of Soul Train, striking a pose during formal photo shoots, and enjoying quieter moments backstage and on the road. Continue reading
Welcome to the November 2018 issue of Black Grooves, sponsored by the Indiana University Archives of African American Music and Culture.
This month we’re featuring three new jazz releases including trumpeter Ambrose Akinmusire’s Origami Harvest, drummer Makaya McCraven’s Universal Beings, and the eponymous debut album from Christian McBride’s New Jawn.
In honor of Bill Withers’ 80th birthday, two artists have released tributes to the legendary singer-songwriter: José James’ Lean On Me and Anthony David’s Hello Like Before: The Songs of Bill Withers. The late soul singer Charles Bradley is remembered on the posthumous release Black Velvet, while the late Ohio funk musician Roger Troutman is honored on Zapp VII Roger & Friends.
Broadway star Capathia Jenkins and composer Louis Rosen offer their new project Phenomenal Woman: The Maya Angelou Songs, while baritone Thomas Hampson’s Songs From Chicago features works by composers Florence Price, Margaret Bonds, and John Alden Carpenter—all based on poems by Langston Hughes. Gospel music releases include Brent Jones’ Open Your Mouth and Say Something and the Soweto Gospel Choir’s Freedom.
Alternative rock and blues projects include Blood Orange’s Negro Swan, Black Joe Lewis’ The Difference Between Me and You, and Cedric Burnside’s Benton County Relic. Rap albums include Masta Ace & Marco Polo’s A Breukelen Story, and the self-titled release from Ill Doots that blends funk, jazz and hip hop. Wrapping up this issue is the Burkina Faso group Baba Commandant & the Mandingo Band’s Siri Ba Kele and our list of October Black Music Releases of Note.
Zapp & Roger, an important funk band that emerged from Dayton, Ohio in 1977, brought the world hits like “More Bounce to the Ounce,” “Computer Love,” “Do Wa Ditty,” “So Ruff So Tuff” and a couple decades more of electrifying funk. The Zapp sound was iconic for the use of moog bass and synthesizers that provided multiple timbres, textures, patterns and hits; deep bass drum and hard hitting claps with just enough reverb to shake a stadium and keep the party going; and the unforgettable and legendary use of the talk box. The late funkateer Roger Troutmen, lead vocalist of Zapp & Roger, used a custom-made talk box—the Electro Harmonix “Golden Throat,” as well as a Moog “Minimoog” and, later in his career, a Yamaha DX100 FM synthesizer. Roger said, “Every time I would use the voice box, people would be dancing, until I use it and people would look up, and it seemed to [be] hypnotizing them in a way.” This funk all-star group consisted of Lester Troutman, Sr. (drums), Terry “Zapp” Troutman (talkbox, keyboards, bass), Bart Thomas (talkbox, vocals, keyboards, bass), Dale DeGroat (musical direction, keyboards, vocals), Thomas Troutman (keyboards, vocals), Riccardo Bray (guitar) and Anthony Arrington (sax). Continue reading
Jazz releases include mezzo soprano Alicia Hall Moran’s genre blending classical/jazz project Here Today, Judith Lorick’s Second Time Around with the Eric Reed Trio, drummer Tosin Aribisala’s Áfríkà Rising, and two Grant Green compilations from Resonance Records—Slick! Live at Oil Can Harry’s and Funk in France: From Paris to Antibes 1969-1970.
For this month’s gospel music selections were looking in our own backyard with releases from two Indianapolis-based artists—Judah Band’s sophomore album Gone Fishin’ and Tyscot Records’ own Bishop Leonard Scott’s praise and worship album Jesus Love Legacy. R&B/soul releases include Unstoppable by Candi Staton and Free Me from Burundian soul singer J.P. Bimeni & The Black Belts.
Albums with a Caribbean tie include legendary reggae group Black Uhuru’s new release As the World Turns, the collaboration of reggae musician Winston McAnuff and French accordionist Fixi on Big Brothers, French-Guadeloupian trio Delgres’ debut album Mo Jodi, Snarky Puppy spin-off group Bokanté with the Metropole Orkest on What Heat (featuring Guadeloupian vocalist Malika Tirolien), plus Bokanté member and lap/pedal steel guitarist Roosevelt Collier’s ‘dirty funk’ solo debut Exit 16.
Wrapping up this issue is the Screamin’ Jay Hawkins compilation, Are YOU one of Jay’s Kids? – The Complete Bizzare Sessions 1990-1994, and our list of September 2018 Black Music Releases of Note.
Title: Áfríkà Rising
Artist: Tosin Aribisala
Formats: CD, Digital
Release date: June 22, 2018
Nigerian composer, vocalist and percussionist Tosin Aribisala has very wide-ranging musical interests that cross multiple genres. As a young boy his initiation to music came via his father’s record collection, where he found inspiration in albums by jazz drummer Art Blakely and the “master drummer of Afrobeat” Tony Allen. Following his passion in Nigeria had its limitations, however, since neither American jazz nor drum sets were not popular in the country at that time. After relocating to the U.S., Tosin made a name for himself as a versatile percussionist who can add that “special something”—namely the complex polyrhythms of African grooves—via his drum set. Those who have benefited from his talents include musicians ranging from Taj Mahal and Spyro Gyra to Fatoumata Diawara and Femi Kuti, a testament to his ability to bridge the music of two continents. Continue reading
Artist: Water Seed
Label: Water Seed Music Group
Formats: CD, Digital
Release date: June 22, 2018
Water Seed, a New Orleans-based group under the leadership of drummer Lou Hill, drew attention with their May 2017 debut album, We Are Stars, which reached the Billboard Top 20. Three months later, on August 19, 2017, their high-energy and brilliant performance at the Blue Nile in New Orleans was recorded and has now been released as the band’s first live album, Say Yeah!!.
Water Seed’s success has lead them to perform on prominent stages such as the New Orleans Jazz and Heritage Festival, the Apollo Theater, and a three-month residency in Russia. Their compositions blend funk, R&B, fusion, and soul genres into an amalgam of sound and groove that reflect not only the musical mission of the group, but also the musical environment that is New Orleans.
Say Yeah!! includes songs from their debut album, including the fan favorites “Open Sesame,” “Work It Out,” “Brand New Day,” and “Funktimus Prime.” Now, while each track is musically exhilarating and dynamic, the highlight of this live set is the impeccable musicianship and artistic acumen of the entire ensemble (Lou Hill, J Sharp, Cinese Love, Shaleyah and Berkley). The vocal harmonies are blended perfectly, the brass lines are clean and precise, and the grooves in the rhythm section are flawlessly executed. In addition to the superb performance, listeners are treated to the call-and-response interactions between the band and audience members, which according to Hill inspired the title Say Yeah!!.
Besides the soulful and foot-stomping grooves, this album captures the spontaneity and pure artistic expressions of a well-rehearsed ensemble. Say Yeah!! is truly a magnificent demonstration of maturity and musicality.
Review by Jamaal Baptiste
Title: RNB Vol. 1
Artist: Chanti Darling
Label: Tender Loving Empire
Formats: CD, LP, Digital
Release Date: August 3, 2018
Old meets new in Chanti Darling’s debut album, RNB Vol. 1, as the Portland, Oregon based trio seamlessly blends the traditional sounds of disco, funk, and R&B with modern house music to create a sound that captivates listeners. While Chanti Darling may come off as a band that simply produces songs best-suited for the dancefloor, the group’s underlying goal is to bring back the sounds of ‘80s R&B that they were raised on. According to frontman and performance artist Chanticleer Trü, “RNB ain’t no joke,” and that attitude shows in their 10-track album.
Though Chanti Darling is passionate about reviving ‘80s R&B, they still capture the energy of electronic music and also feature contemporary messages in their lyrics. “Casual,” the second track on the album featuring fellow Portland native and hip-hop artist The Last Artful, Dodgr, speaks on the complicated dynamics of new relationships. Trü’s smooth vocals are layered on top of an entrancing electronic melody, a recurring theme for the rest of the tracks on the album.
If there’s one thing to be said about Chanti Darling, it’s that they are creating a sound all their own, and listeners are loving it. Voted Portland’s “Best New Band” by Willamette Week, the group is getting noticed for their blend of electronic beats and old school R&B vocals.
Reviewed by Chloe McCormick
Title: Medicaid Fraud Dogg
Label: C Kunspyruhzy
Release Date: May 22, 2018
May saw a semi-surprise release of a new album from George Clinton’s legendary Parliament, the group’s first in 38 years. The expansive, 23-song Medicaid Fraud Dogg clocks in at an hour and forty-six minutes, and every second is imminently listenable.
While the group keeps groove at the center of its music, this ain’t your parents’ Parliament. This iteration of Parliament is not staffed by the regulars that longtime listeners might expect, such as Bootsy Collins and the late Bernie Worrell (though Fred Wesley does make an appearance on trombone on “Type Two”), but by a group of young gun musicians that prominently features Clinton’s grandson, vocalist Tracey “Tra’zae” Lewis-Clinton. This line-up does not hamper the group’s groove, but it does change it.
Medicaid Fraud Dogg contains some classic P-Funk grooves on tracks like on “69” and “Insurance Man,” but much of the album is far more influenced by contemporary hip hop. In fact, it seems like this album reflects Clinton’s listening to artists who previously listened to him. “Backwoods” is a trap-inflected song that listeners would probably be more likely to hear at a club in Atlanta than on an intergalactic voyage. “Loodie Poo Da Pimp” shows Clinton’s influence filtered through Snoop Dogg, then Kendrick Lamar, then back to Clinton. The album’s best moments embrace not having to sound like Parliament but choosing to sound like Parliament. “I’m Gon Make You Sick of Me” is an old-school deep-in-the-groove Parliament track, featuring Scarface (as ‘Dr. Feelgood’) rapping, while “Antisocial Media” is a deconstructive interlude that flirts with free jazz musical textures to express postmodern angst. Both songs feature classic elements of the P-funk playbook filtered through the past 30 years.
Will Medicaid Fraud Dogg satisfy listeners who long to collect every deep cut from Parliament’s 1970s heyday? Probably not—but the album would likely be pretty boring if it were simply a regurgitation of the group’s classics. Rather, it represents a reinvention of George Clinton, an artist who is learning from those he influenced and creating some great new sounds while doing it. This album succeeds precisely because of Parliament’s flexibility and the malleability of the group’s format—Medicaid Fraud Dogg demonstrates that it is possible to teach an old Dogg (in this case, the group of musicians bearing the name Parliament) new tricks.
Reviewed by Matthew Alley
Title: Wishes & Wants
Artist: Shirley Davis & the Silverbacks
Label: Tucxone Records
Formats: CD, Vinyl, Digital
Release Date: May 25, 2018
Shirley Davis’ path to becoming lead vocalist of Shirley Davis & the Silverbacks has been anything but ordinary—from working at London’s Wembley Arena as a young teen to becoming one of the top soul and funk vocalists in Australia to singing on a cruise ship. Her musical journey continued after a chance encounter at a Sharon Jones concert in 2014; Davis was invited by Alberto “Tuco” Peces and Genesis Candela from Tucxone Records to come to Madrid and record an album. Davis was introduced to the Silverbacks in the studio and the connection between them was immediate.
Two years after releasing their acclaimed debut album, Black Rose, that put them on the modern soul and funk map, Shirley Davis & the Silverbacks are back with Wishes & Wants. The 9-track album includes everything from emotional ballads like “Treat Me Better” to more upbeat, funky tracks like “Kisses,” but each song has in common the strong soul that Shirley Davis always delivers. And while Davis’ soulful voice is always mesmerizing, the Silverbacks deserve recognition for their ability to match the power and energy conveyed by their lead singer. The band’s musical skill is highlighted in tracks such as “Nightlife,” in which the funky groove laid down by the organ, horns, guitar, and drums beautifully pairs with the vocals. Following is the official video single for the equally funky title track:
While their first album may have hinted that Shirley Davis and the Silverbacks deserve a spot among the contemporary soul and funk greats, Wishes & Wants proves that they deserve to stay. And according to Shirley Davis, this isn’t the last you’ll see of her: “This is what I believe I will do for the rest of my life. I am meant to be the soul diva of Europe.”
Reviewed by Chloe McCormick
Artist: Starchild & the New Romantic
Label: Motor Mouth Media
Formats: CD, LP, Digital
Release Date: February 23, 2018
After years of providing artists such as Solange and Dev Hynes (aka Blood Orange) with quality choreography and guitar riffs, Bryndon Cook has stepped out on his own under the moniker Starchild & the New Romantic with his debut album, Language. This 14-track offering takes its listeners on a ‘90s-inspired groove cruise, guided by what he calls is his self-made motto, “my sensitivity is my strength.”
Hailing from Maryland, Cook has always been a student of black music’s rich lineages that intersect with pop. Challenging binaries of old/new, religious/secular, and black/white, his music is both bold and mercurial, defining perspective and identity while calling for action. The title track weaves out of the speakers and around the mind with Cook crooning the language of lost chances and second glances. The short and tender single, “Hangin’ On,” echoes early-80s Prince in both instrumental sound and its resulting mood: Fell asleep last night / Thinking about you. Saw you in my sleep, chased you till morning came. My mama said “follow your dreams” / Well I guess you were my warning / Now I’ve let myself go / Hope you’re still holdin’ on.
Other tracks, such as “Black Diamond,” “Doubts” and “Boys Choir” speak to the root of the record itself—a mystical contemplation of the boyhood community to which Cook finally feels he is ready to bare his soul. Lyrical and emotional, poignant with just a smidge of regret, Language writes on the heart all that Cook was, is and will always be—a star in his own right, romanticizing his way into the minds of all who pause to listen.
Reviewed by Amy Aiyegbusi
Title: Way Down Deep
Release Date: March 21, 2018
Veteran Chicago soul band Bumpus returned in a big way this March, with its first release since 2007. The band was a funk tour de force in the 2000s, but faced some personnel changes in the early 2010s that sidelined new recording projects. The group still has performed locally over the past few years, and the band’s new lineup and infectious live energy is effectively captured on its Way Down Deep EP.
Bumpus is perhaps most well-known for its killer, high-energy live show, with one of the region’s funkiest rhythm sections and a horn line to match. However, Way Down Deep showcases the band’s vocalists, James Johnston, Ava Fain and Tina Howell, whose layered, soulful voices drive the 6-song set. The band’s bread and butter is tightly knit guitar-driven funk tunes like the self-assured “Step Sure or Step Aside,” a challenge to “suckas” that is propelled by an active bass groove and soulful Hammond organ. The EP’s highlight is the 2-part “Way Down Deep.” Part 1 is a solid lovin’ song infused with horn hits and funky drumming, but the song’s bridge gradually morphs into the spaced-out P-Funk territory that characterizes Part 2, with phased out vocals and instruments as well as an extended What’s Going On – style saxophone solo over gradually fading backing vocals.
It is a great benefit to Chicago’s music scene that Bumpus is back and bumpin’. Hopefully, Way Down Deep will usher in another decade of solid grooves and soulful songwriting.
Reviewed by Matthew Alley
Title: World Wide Funk
Artist: Bootsy Collins
Label: Mascot Records
Release date: October 27, 2017
Formats: CD, LP, Digital
Last October the world was blessed with the latest project by legendary funk bassist, vocalist, and composer Bootsy Collins. World Wide Funk contains all of the elements Collins is most known for as an artist: funky grooves, excellent playing, and a whimsical sense of humor (evidenced by the assertion on the introductory track that Bootsy was born “a long, long time ago…deep below the Ohio river—before anyone ever heard of Ohio”).
It is difficult to overstate the impact that Collins has had on generations of musicians through his work as a bassist with James Brown and Parliament-Funkadelic, as well as on his own prolific solo recordings. The sheer variety and skill of his collaborators on World Wide Funk hints at the otherwise inestimable breadth of his influence. Nearly every track on the record features a guest artist, from the shredding styles of the KFC chicken container-donning guitarist Buckethead (“Worldwide Funk” and “Illusions”) to golden-era hip hoppers Doug E. Fresh and Big Daddy Kane (“Worldwide Funk” and “Hot Saucer,” respectively) to young gun bassist Alissia Benveniste (“Bass-Rigged System” and “Thera-P”). There are also features by musicians who may be considered “usual suspects” on a collaboration-based album by a musician of Collins’s stature, such as bassists Victor Wooten and Stanley Clarke (“Bass-Rigged-System”) and guitarist Eric Gales and drummer Dennis Chambers (“Come Back Bootsy”).
As one would expect from the Star Child, the M.O. of World Wide Funk is “One Nation Under a Groove”—grooves are now, as they have always been, the meat and potatoes of Collins’s style. Whether offering virtuoso musicians opportunities to stretch out as on “Come Back Bootsy” and “Bass-Rigged System,” or providing a steady groove to rap or party over as on “Pusherman” and “Ladies Nite,” rhythm is the name of the game. Even the more sentimental songs like the ‘90s R&B-Tinged “Heaven Yes” and the Jimi Hendrix-inspired, synth-based “Salute to Bernie”—a tribute to Collins’s late bandmate Bernie Worrell (who is featured on the track)—groove hard. While guest artists occasionally veer into social themes (as on “Pusherman” and “Illusions”), they do so over immensely danceable tracks without the navel-gazing and preaching to the choir that is often the currency of social commentary in pop music. Overall, however, World Wide Funk imagines a reality in which every listener is part of one big party at which some of the sharpest musicians of the day (and in some instances, of all time) are having a jam session.
Generations of bassists have tried to emulate Bootsy Collins’s style, chops, and taste, and this album is essential listening for musicians who want to learn how to really groove. It’s also great party music. It is no accident that Collins’s bass lines are the most sampled in all of hip hop and dance music, and this album certainly provides a new batch of infectious riffs to bump. Bootsy has been the funkiest bassist around since the ‘60s and he still is. Creating lines that range from funky slapping to deep-in-the-pocket grooves, it is doubtless that Bootsy will continue to find new listeners who have an appreciation for rhythm and low end. Bootsy Collins’s classic albums still sound fresh today, and World Wide Funk is destined to join them in the future.
Reviewed by Matthew Alley