Calvin Richardson – All Or Nothing

Calvin Richardson

Title: All Or Nothing

Artist: Calvin Richardson

Label: Shanachie

Formats: CD, MP3

Release date: September 29, 2017

 

 

Calvin Richardson, aka “The Soul Prince,” grew up in North Carolina, honing his vocals on the local gospel circuit where he first met his longtime friends K-Ci & Jo Jo of Jodeci.  In the early ‘90s, Richardson’s urban contemporary vocal group Undacava was briefly signed to Tommy Boy Records during Monica Lynch’s tenure as president. He paid his dues in the game working with acts like Angie Stone, Raphael Saadiq and Charlie Wilson. In 2009, Richardson was chosen to record a tribute album to Bobby Womack, Facts of Life: The Soul of Bobby Womack, which was nominated for a Grammy. On a personal note, my ears took notice. If one is asked to pay homage to “the street poet” Mr. Womack, then you must be the real deal, right? Stay tuned for my answer.

Richardson’s new album, All or Nothing, is radio friendly. The title track opens things up with a bouncy flow and ‘80’s vibe: “I want you girl, I like your body.” Not exactly R. Kelly, and that’s a good thing. Joseph Pigee on keyboards is an added bonus. On “Treat Her Right,” Richardson digs deep and channels his inner Bobby Womack. He opens with a spoken intro directed to the audience, just as Womack did on so many of his songs: “Fellas, if you have a good woman, treat her right.” You can’t tell me Richardson didn’t have Womack in mind. Make her feel special. Ladies will love this tune.

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Now my answer. Is Richardson the real deal? I’ll play it safe and say he is very talented. It’s unfortunate he’s still flying under the radar.

All or Nothing is quality work from Richardson, who brings back the old school R&B vibe with his passionate vocals and songs that show just how you go about romancing the ladies.

Reviewed by Eddie Bowman

 

Bobby Byrd – Help For My Brothers, The Pre-Funk Singles 1963-1968

Bobby Byrd

Title: Help For My Brothers – The Pre Funk Singles 1963-1968

Artist: Bobby Byrd

Label: BGP

Format: CD

Release date: October 6, 2017

 

 

Bobby Byrd, hands down, is the perhaps the greatest sideman in the history of music. Now I may get killed with the “what about Mick/Keith, Bono/Edge, Chuck D/Flavor Flav” comments, all of which are valid points (though Chuck & Flav may be the best comparison in my opinion). But if the name Bobby Byrd isn’t jumping right at you, allow me to take this time to bring you up to speed.

Who else could go on a stage and hold their own with “the hardest working man in show business,” “Soul Brother # 1,” “The Godfather of Soul,” “Mr. Dynamite”? Ok, by now I think you know who I’m referring to. Yes, Bobby Byrd was James Brown’s right hand man for 20 years, one of the original Famous Flames, which explains my earlier comparison. Think “Sex Machine.” James said, “Get Up” and Bobby Byrd had the comeback, “Get on up.” In fact, James calls Bobby Byrd’s name to “take ’em to the bridge.” But before the “Sex Machine” era, and apart from the Famous Flames, Byrd released his own recordings. As all hip hop historians know, Eric B & Rakim sampled Byrd’s “I Know You Got Soul” (1971), and there are many others that used Byrd samples, including Jay-Z. But let’s go back a little further.

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This new CD compilation, Help For My Brothers: The Pre Funk Singles 1963-68, begins with the earliest singles released by Byrd on the Federal, Smash, and King labels. All were produced by James Brown, who also shared co-writing credits on many of the songs. To hear Bobby Byrd sing and be the front man might seem strange, but his voice is actually good. No screaming over lyrics. One of the earliest tracks, “I’m Just a Nobody,” has that 60’s vibe and the tempo is what was the norm during that period, a slow groove. Also included is his first solo hit, “Baby, Baby, Baby” with Anna King from 1964, as well as “We Are in Love” from 1965, an even bigger success.  Byrd takes a gamble with “Write Me A Letter,” perhaps the best track on the CD. His vocal presentation is not what one expects: rockabilly. Yes, rockabilly!

Bobby Byrd didn’t have James Brown’s stage showmanship, but his voice perhaps was a little better. Help For My Brothers, the first-ever compilation of Byrd’s earliest, lesser known singles, shows the evolution of his solo work. Byrd was more than JB’s sideman, and for that we will be forever grateful.

Reviewed by Eddie Bowman

Isaac Hayes – The Spirit of Memphis 1962-1976

Isaac Hayes

Title: The Spirit of Memphis 1962-1976

Artist: Isaac Hayes

Label: Craft Recordings

Format: 4-CD box set

Release date: September 22, 2017

 

 

The Spirit of Memphis 1962-1976 is a four-CD set documenting the multi-faceted musical career of the legendary Isaac Hayes, who would have turned 75 this year. Even in a city that has spawned many influential musicians, Hayes stands out as one of the most important artists to emerge from Memphis. As one of the most identifiable figures in soul music, his significance spans far beyond the city he called home. Hayes’s talents allowed him to fill a wide range of roles in the music business—session musician, songwriter, producer, and, of course, performer.

This four-disc set, produced by Joe McEwan, provides many splendid examples of the multiple aspects of Hayes’s musicianship. Arranged in “chapters,” each disc highlights a different facet of Hayes’s career. Disc One consists of songs for which he was the writer or producer. Most of these songs were performed by Stax Records legends such as Sam & Dave, Carla Thomas, Johnnie Taylor, William Bell, and Booker T & the MGs. The Sam & Dave tracks alone will open the eyes of many listeners who are completely unaware that Hayes co-wrote the hit songs “I Thank You” “Hold On! I’m a Comin’,” and “Soul Man,” arguably the epitomic example of a Stax song. Disc One opens with “Sassy,” an instrumental blues groove released by Floyd Newman; the song was Hayes’s first co-write credit for Stax, and also features Hayes on organ. This disc is full of great songs and effectively serves as a “best of” Stax. However, two of the most surprising tracks featured here came out on another great Memphis label—Hi Records. The surprise here, though, is not the label; rather it is the fact that they were recorded by Charlie Rich. It is likely that only the most knowledgeable Hayes fans are aware that he wrote songs for the country music singer.

Disc Two features singles released by Isaac Hayes on the Volt and Enterprise labels, tracing his transition from writer/producer to soul singer/performer. These include the Shaft theme song, which for many people is the definitive Isaac Hayes recording. However, this disc also showcases many relatively unknown gems such as his cover of Al Green’s “Let’s Stay Together.” One of the standout tracks is an instrumental blues titled “Blue Groove” released by Sir Isaac and the Do-Dads. The extent to which Hayes was a good blues player and arranger is overlooked, and this track serves as an example of these skills. Another standout track, “Rolling Down a Mountainside” recorded live at Wattstax, also demonstrates just how good Hayes was as a producer and arranger. The disc concludes with two radio spots that capture an important moment in the marketing of black albums, as legendary deejay Jack “The Rapper” Gibson plugs tracks from The Isaac Hayes Movement album that exceeded normal airplay length.

Disc Three, Cover Man, features Hayes’ performing songs that were written by other people. These cover songs include an outstanding version of T-Bone Walker’s “Stormy Monday.” Hayes’s cover of this blues standard is appropriate because although written by Walker, it was popularized in 1961 by Memphis musician Bobby “Blue” Bland. Another fitting track is a medley of “Just Want to Make Love to You” and “Rock Me Baby,” a blues standard popularized by B. B. King. This medley features Hayes alone on piano and vocals, serving as a vehicle to present Hayes in his purest form to the listener. Rounding out this disc are several previously unreleased tracks recorded live at the 1972 Operation PUSH Black Expo in Chicago.

The final CD, Jam Master, consists of only seven tracks, some backed by the Bar-Kays and/or the Movement. As the title suggests, however, most of these tracks feature extended jams, representing the lushest arrangements and productions on the four-disc set. Two of these tracks, including the previously unreleased “Black Militant’s Place,” were recorded for Shaft so any fans of that soundtrack will love this disc. The previously unreleased instrumental version of “Ain’t No Sunshine” by Bill Withers is a highlight and arguably one of the most interesting pieces of the entire collection. Wah-wah guitar, strings, and driving repetitive bass lines are just a few of the devices that are characteristic of the grooves for these jams.

Collectively, this compilation of Isaac Hayes’s music will be welcome to any fan of Stax Records. However, the variety of music on this four-CD set makes it pleasing and palatable to just about anyone, and could very well convert uninitiated listeners into an ardent fans of soul music and Isaac Hayes. In addition, students of arranging or music technology and production would be doing themselves a tremendous disservice by not giving this set in-depth study. It should also be noted that the 60-page hardcover booklet features an essay by author Robert Gordon as well as interviews with artists and some great photographs from the Stax Records heyday, making this a must-have addition to the collection of any budding musicologist with an interest in American music. The final added bonus is a 7-inch vinyl replica of Hayes’s first release on the Youngstown label, featuring the singles “C.C. Rider” and “Laura, We’re On Our Last Go-Round.”

The Spirit of Memphis should be considered one of the best box sets to be released in years, and it is about time that the contributions of Isaac Hayes are beginning to be recognized through a compilation of this nature.

Reviewed by Joel Roberts

Johnny Mathis – The Voice of Romance-Columbia Original Album Collection

Johnny MathisTitle: The Voice of Romance- Columbia Original Album Collection

Artist: Johnny Mathis

Label: Legacy

Format: 68-CD Box Set

Release date:  December 8, 2017

 

Sony Legacy has released a number of Johnny Mathis compilations over the past decade, including The Complete Global Albums Collection in 2014 and The Singles for his 80th birthday the following year. But if you’re interested in a complete career retrospective with plenty of tempting bonus material and you have a large budget, look no further than this year’s mega box set, The Voice of Romance: The Columbia Original Album Collection. Weighing in at 68 CDs and currently listed for $428, this set features 62 of the singer’s albums, including 25 albums that have never been released on CD in the U.S.

Also included are 40 previously unreleased songs and two never-before-heard LPs: the unreleased I Love My Lady recorded in 1981 with Chic’s Nile Rodgers and Bernard Edwards, and The Island, a 1989 collaboration with Sergio Mendes. Mathis, who has been recording for Columbia since his self-titled 1956 debut, assisted with the curation of The Voice of Romance, which concludes with his most recent album, Johnny Mathis Sings the Great New American Songbook.

Reviewed by Brenda Nelson-Strauss

Various – Jesus Rocked the Jukebox: Small Group Black Gospel (1951-1965)

Jesus Rocked the Jukebox
Title: Jesus Rocked the Jukebox: Small Group Black Gospel (1951-1965)

Artist: Various

Label: Craft

Formats: 2-CD, 3-LP gatefold, MP3

Release date: September 15, 2017

 

Over the decades, black gospel music has had a profound influence on popular music, a fact that remains as relevant today as in the 1950s. But the reverse is also true. Jesus Rocked the Jukebox, a new compilation from Craft (Concord’s reissue label), explores the blurring of boundaries between genres by focusing on the seminal period from 1951-1965. During this era many gospel artists began crossing over into secular music, unleashing their improvisational gospel-inflected vocals in a manner that demanded the creation of a new genre: soul. At the same time, other gospel singers who remained firmly rooted in the church didn’t hesitate to liven up their music with harmonic and rhythmic elements drawn from jazz, blues, R&B, and early rock ‘n’ roll. This reciprocal relationship between black sacred and secular music is illustrated throughout Jesus Rocked the Jukebox, primarily through the recordings of well-known gospel quartets. Gospel historian Robert Marovich explores this synergy in greater detail in the accompanying booklet.

One of the first things a listener will notice is the sequencing of the tracks. Compilers Fred Jasper and Mason Williams dispensed with the more typical chronological order in favor of overall effect. Thus the opening track actually begins at the end of the era. After all, how could you not begin this set with “People Don’t Sing Like They Used To Sing.” Cut in 1965 by The Original Blind Boys, the song might be considered traditional in today’s terms, but the rocking piano and guitar accompaniment clearly signal a departure from earlier gospel quartet styles.

Over the course of the 40-track compilation there are many similar examples, some drawn from the likes of the Staple Singers and Soul Stirrers, while others were plucked from lesser known recordings. For example, the Silver Quintette from Gary, Indiana is featured on the rocking 1956 Vee-Jay track “Father Don’t Leave” featuring Joe Henderson on bass, while a 1963 version of “Heavenly Father” by Brooklyn’s Patterson Singers is styled after a ‘60s girl-group ballad. The Highway QC’s “God Has Promised,” featuring Johnny Taylor on lead, mimics the urban harmony groups of the era. Several tracks are devoted to the famous Swan Silvertones, including “How I Got Over” from 1954 featuring Claude Jeter—one of the great gospel tenors whose falsetto clearly influenced many later soul and pop singers.

As Marovich states in the liner notes, “Every perspiration-drenched performance by a soul singer, every shouting improvisation from a rock-and-roll vocalist, every melismatic run delivered by contestants on a TV singing competition, evokes the exuberance of black preachers, church singers and church musicians in the throes of the spirit.” Jesus Rocked the Jukebox unearths the gospel roots of American popular music, exposing countless gems in all of their splendor to be explored and appreciated by modern audiences.

Reviewed by Brenda Nelson-Strauss

Cheryl Fortune – Simply Cheryl

Cheryl Fortune
Title: Simply Cheryl

Artist: Cheryl Fortune

Label: Tyscot

Formats: CD, MP3

Release date: October 13, 2017

 

 

Well known in the gospel community for her cutting-edge songwriting and heartfelt vocals, Houston native Cheryl Fortune inspires and amazes with her debut album, Simply Cheryl for Tyscot Records. Prior to the launch of her solo career, Cheryl served as a vocal arranger and background vocalist with Grammy nominated artist James Fortune & FIYA in addition to co-penning several of the group’s hit songs, which have graced the top ten on Billboard gospel charts. Along with her work with FIYA, she has served as songwriter and guest vocalist on projects associated with numerous other national gospel artists such as Kirk Franklin, Shirley Caesar, Isaac Carree and Bishop T.D. Jakes. Clearly a veteran in her own right, it was simply a matter of time before she would grace us with this solo offering.

Simply Cheryl is anchored by the hit single “Fighters,” a song inspired by a Mother’s Day card from the singer’s 13 year-old daughter affirming Fortune’s kindness, love, strength and resilience (i.e. fight) during specific challenging moments of the artist’s life. “Fighters” links Fortune, a domestic violence survivor, in affirmation with listeners who have also experienced similar life circumstances:  “We’re fighters never gonna give up… I’ll take your hand and you’ll take mine, we’ll conquer this think they call life…” Couched in a hard-hitting drum line instrumentation created by producer Lucius B. Hoskins, “Fighters” also reflects broader social impact, as an adopted theme song of encouragement for people recovering from the devastation of Hurricane Harvey.  However, in the words of Fortune during a recent interview, this project is not “victim music.”  Rather, the album’s songs are sacred expressions of triumph created and shared by one who has persevered in spite of life-changing obstacles.

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Other notable tracks such as “4 A Night” and “Figure It Out” (both produced by Terence Vaughn), like the entire project, are rooted in ‘80s and ‘90s R&B music traditions. While listeners will surely recognize definitive rhythmic grooves, guitar melodic lines, synth bass lines and horn stabs, harmonic progressions, and talk boxes, among other textures linked with R&B sensations such as Bobby Brown, Keith Sweat and Mint Condition to name a few iconic artists, the gospel message of encouragement, hope and resilience remains at the forefront of the album.

Simply Cheryl is a spectacular album that will leave you eagerly waiting to see what else Cheryl Fortune has in store. For those seeking to experience a powerful inspirational message saturated in timeless grooves, Simply Cheryl is for you!

Reviewed by Jared Griffin and Tyron Cooper

Dee Dee Bridgewater – Memphis, Yes I’m Ready

Dee Dee Bridgewater
Title: Memphis, Yes I’m Ready

Artist: Dee Dee Bridgewater

Label: Okeh

Formats: CD, LP, MP3

Release Date: September 15, 2017

 

 

Dee Dee Bridgewater, a jazz singer in the same vein as Nancy Wilson, Ella Fitzgerald, Sarah Vaughn and Abby Lincoln, has done it all. She has even appeared on Broadway, earning the respect of peers and critics in a career that has spanned decades. It takes confidence and knowledge of self when an artist decides to step out of their comfort zone, which Bridgewater does on her new release, Memphis, Yes I’m Ready. The 13 track album features Bridgewater singing covers of blues, R&B and gospel classics from the ‘60s with backing by the album’s co-producer, Kirk Whalum, and the Stax Academy Choir.

 

 

Bridgewater was born in Memphis, so this project was a homecoming, to say the least—or in the words of the great Sam Cooke, “Bring It On Home.” That she does. Now for the highlights. If you listen very close to “I Can’t Get Next To You,” you’ll hear Bridgewater paying homage to the Al Green version of the song, not the Temptations. Green after all brought the Memphis sound into the ‘70s and Bridgewater is a Memphis gal, so why not. The horns and vocal delivery are downright scary in their precision and intensity.

When Bridgewater says “Yeah, this is for the King,” it’s not the “King” some of you may be thinking of, but rather B.B. King. His signature track, “The Thrill Is Gone,” gets the female perspective from Bridgewater as she sings, “You will be sorry someday.” Clap your hands and tap that foot. Now, speaking of another “King,” Bridgewater covers two of Elvis Presley’s classics. First up is “Don’t Be Cruel.” Who needs the Jordanaires on backing vocals when you can strip this song to its core and make it sound completely new?  “Hound Dog,” as most everyone knows, was originally recorded by Big Mama Thornton, but Elvis had the bigger hit. Bridgewater again steers away from original and makes it a storytelling tune, one that I can now understand.

You can’t go home without taking one for the church, right? Bridgewater closes the album with Thomas Dorsey’s “(Take My Hand) Precious Lord.” This is a song that can bring tears to the eyes, especially since one usually hears it at home-going ceremonies. Testify, Sister Dee Dee!

Memphis, Yes I’m Ready is Bridgewater’s homecoming 101. You better be ready!

Reviewed by Eddie Bowman

 

 

Whitney Houston – I Wish You Love: More From The Bodyguard

Whitney Houston

Title: I Wish You Love: More From The Bodyguard

Artist: Whitney Houston

Label: Legacy Recordings

Formats: CD, LP, MP3

Release Date: November 17, 2017

 

In honor of the 25th anniversary of The Bodyguard, the film starring Whitney Houston and Kevin Costner, Legacy Recordings has released I Wish You Love: More From The Bodyguard. The compilation, released in cooperation with The Estate of Whitney E. Houston, brings together a variety of live and studio recordings, many of which are previously unreleased or unavailable.

Included in this collection are live recordings from Houston’s The Bodyguard World Tour (1993-1995), as well as alternate versions of tracks from The Bodyguard film. Highlights include the never-before-heard a capella version of “Jesus Loves Me” and a live recording of the rarely-performed “Run To You” from The Bodyguard World Tour. The iconic Houston hit song “I Will Always Love You,” one of the best-selling singles of all time, is represented in two versions: one from the original film soundtrack, and an extended rendition performed live on tour.

I Wish You Love: More From The Bodyguard not only celebrates the 25th anniversary of the film, but is also a fitting commemoration of Houston, who recorded the soundtrack at the pinnacle of her career. There’s a good reason The Bodyguard is the top-selling soundtrack album of all-time, and it’s apparent every time Ms. Houston stands in front of the mic. That voice! Though sadly she is no longer with us, this compilation album is a testament to the success of The Bodyguard and Whitney Houston’s lasting legacy, both on screen and on stage.

Reviewed by Chloe McCormick

 

More Box Sets – Wilson Pickett, Dinah Washington, Various Artists

Wilson Pickett
Title: Complete Atlantic Albums Collection

Artist: Wilson Pickett

Label: Rhino

Format: 10-CD Box Set, MP3

Release date: December 1, 2017

 

 

This new box set from Rhino UK appears to be a fairly straightforward reissue of Wilson Pickett’s albums for Atlantic, drawing primarily upon versions remastered in 2007. The albums include: In the Midnight Hour (1965), The Exciting Wilson Pickett (1966), The Wicked Pickett (1967), The Sound of Wilson Pickett (1967), I’m In Love (1968), The Midnight Mover (1968), Hey Jude (1969), Right On (1970), Wilson Pickett in Philadelphia (1970), and Don’t Knock My Love (1971).  A nice set if you don’t already own any of Pickett’s albums, but there is no bonus material to entice fans and collectors.

 

Dinah Washington
Title: Divine Miss Dinah Washington

Artist: Dinah Washington

Label: Verve

Formats: 5-CD Box set, 5-LP Box set

Release date: December 15, 2017

 

Verve is releasing a 5-disc set, available on both CD and vinyl, of classic Dinah Washington albums from the 1950s.  Though Washington could sing in many styles, including blues, R&B, gospel and pop, the focus here is primarily on her vocal jazz repertoire recorded for the EmArcy label. This is another straightforward reissue project, most likely attractive to those who wish to own pristine 180 gm. vinyl copies of these albums. Among the five discs are two arranged by Quincy Jones—For Those In Love (1955) and The Swingin’ Miss D—and two featuring American songbook standards—After Hours With Miss D (1954) and Dinah Jams (1954). The final album, What a Diff’rence a Day Makes (1959) released by Mercury, was arranged by Indiana native Belford Hendricks in a pop-oriented rhythm and blues style.

 

peace_love_and_fishing_cover
Title: Blue Note Review Vol. One – Peace, Love & Fishing

Artist: Various

Label: Blue Note

Formats: 5-CD Box set, 5-LP Box set

Release date: December 15, 2017

 

Curated by Blue Note president Don Was, the limited edition Blue Note Review Peace, Love & Fishing is the inaugural offering of a bi-annual “luxury subscription box set” designed to appeal to jazz collectors with deep pockets.  Volume One includes a double LP containing new and unreleased recordings by the likes of the Wayne Shorter Quartet, Dr. Lonnie Smith, Gregory Porter, Kandace Springs, Terence Blanchard, and Derrick Hodge—plus a vinyl reissue of the previously out-of-print 1963 Step Lightly album by trumpeter Blue Mitchell. Also included are items that can be shared with other members of the family: artist lithographs, a silk scarf, turntable mat, and the self-published Notables jazz zine. Only registered subscription members are eligible to receive the set; each volume of Blue Note Review costs $200, including shipping to the US or Canada.

Reviewed by Brenda Nelson-Strauss

 

 

Florida Soul: From Ray Charles to KC and the Sunshine Band

Florida Soul

Title: Florida Soul: From Ray Charles to KC and the Sunshine Band

Author: John Capouya

Publisher: University Press of Florida

Formats: Hardcover (408 pages), Kindle

Release date: September 26, 2017

 

 

Though the state of Florida doesn’t immediately come to mind as a hotbed of soul music, journalist John Capouya attempts to correct this oversight with his new book Florida Soul: From Ray Charles to KC and the Sunshine Band. Using his “antennae for passionate vocals and funky sounds with Florida origins,” he delves into the period from 1945-1980, when Florida produced “some of the most electric, emotive soul music this country has ever heard.” Capouya attributes this flourishing scene in part to the fact that Florida, along with Texas, was the “densest and richest segment of the chitlin’ circuit,” bringing all of the major African American artists through the state.

Each of the 20 chapters is dedicated to a particular artist or producer, some famous and others lesser known, but all contributing an interesting story: Ray Charles (“the catalyst of the entire soul explosion came from Greenville, FL”); Sam Moore (“from Miami’s Overtown neighborhood”); sax players Ernie Calhoun and Noble “Thin Man” Watts; Lavell Kamma and the 100 Hour Counts (“one of Florida’s longest-running soul groups”), the singing duo James & Bobby Purify (one chapter each); vocalists Helen Smith, Frankie Gearing, Jackie Moore, and Timmy Thomas (his 1972 anthem “Why Can’t We Live Together” is sampled in Drake’s “Hotline Bling); Latimore (who first recorded for Henry Stone), Wayne Cochran (“the white James Brown”); white soul singer Linda Lyndell; producer Papa Don Schroeder, and of course KC and the Sunshine Band. Other chapters are dedicated to the state’s most famous label owners—Henry Stone and T.K. Productions (which rightly receives two chapters) and Willie Clarke and Deep City Records—plus a chapter explaining how “The Twist Came from Tampa.” Along the way many other artists are mentioned, along with other Florida labels such as Jayville, Tener, Marlin, Leo, Alston, D & B, Glades, and Bound Sound.

Florida Soul is an engaging and informative read, placing an emphasis on the stories behind the singers and the songs gleaned from historical research as well as interviews with surviving musicians, singers, producers, deejays, and other industry personnel. The book is an important resource on a music scene that’s never been fully documented within a single volume, adding greatly to our understanding of American music and, in particular, the soul, R&B, disco and funk grooves emanating from the Sunshine State in waves the spread across the nation.

Reviewed by Brenda Nelson-Strauss

 

Trouble in The Streets – Electro Tribe

trouble in the streets
Title: Electro Tribe

Artist: Trouble in The Streets

Label: Orb Recording

Formats: CD, MP3

Release Date: October 6, 2017

 

 

Austin, Texas based Trouble in The Streets’ debut album is like nothing you’ve heard before; in fact, they feel that their music is so unique that they’ve given it its own name—Electro Tribe. This signature sound is a mixture of electronic music, hip-hop, rock, and R&B with an international twist. The band pulls inspiration for their unique sound from acts like Rage Against the Machine, Beats Antique, and Hiatus Kaiyote as well as their own diverse musical backgrounds.

Though it may sound complicated, Trouble in The Streets is able to blend all of these sounds and styles into four cohesive and high-energy tracks on their EP, Electro Tribe. The first track, “Pyramid Scheme,” featuring Grammy Award winning guitarist Beto Martinez, includes retro-synth chord progressions, hard-hitting bass and drum arrangements, and Nnedi Agbaroji’s mesmerizing vocals.

From the passionate “Never Doubt the Worm” to the hopeful and emotional “Sop Me Up Like a Biscuit,” each track on the album is distinct yet still retains the band’s signature electro sound that will leave you wanting more from this up-and-coming trio.

Reviewed by Chloe McCormick

 

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

 

 

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

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

 

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

Billy Ocean

Album: Here You Are: The Music of My Life

Artist:  Billy Ocean

Label: Legacy Recordings

Formats: CD, MP3

Release date: July 21, 2017

 

 

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

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

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

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

Reviewed by Amy Aiyegbusi

 

 

 

 

 

 

Phil Perry – Breathless

Phil Perry Breathless
Album: Breathless

Artist:  Phil Perry

Label: Shanachie

Formats: CD, MP3

Release date: February 24, 2017

 

 

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

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

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

Reviewed by Eddie Bowman

SZA – Ctrl

SZA Ctrl
Title: Ctrl

Artist: SZA

Label: Top Dawg Entertainment/RCA

Formats: CD, MP3

Release date: June 9, 2017

 

When RZA, leader of the iconic east coast group Wu-Tang Clan, endorses an upcoming album, rap fans from all directions are bound to take notice. On May 24, SZA found herself in the driver’s seat of anticipation alley when her album announcement date dropped in the form of a voiceover message overlaid onto SZA visuals via Top Dawg #TDE’s Twitter. Fans of the New Jersey singer responded to Ctrl with unbridled respect, resulting in a #3 spot on Billboard 200 Chart a mere 10 days after its June 9th release. Signed to Top Dawg Entertainment in 2013, Ctrl is SZA’s debut studio album featuring fellow Top Dawg artists Kendrick Lamaar and Isaiah Rashad in addition to The Y’s James Fauntleroy. Classed as an R&B and Neo Soul artist, SZA continues to dominate, garnering to date over 49 million album streams and more than 24 thousand CD purchases.

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Bringing her own style of bluesy vocals to the table, SZA both croons and rasps out her heart-felt regret of long-gone-wrong in almost every song on the album. The collection’s opening track, “Supermodel,” models to the letter the back-and-forth emotions of a recent breakup, alternatively threatening revenge—“I’ve been secretly banging your homeboy”—while pleadingly begging for another chance—“I could be your supermodel if you believe, if you see it in me.”

Travis Scott picks up the story with his opening lines on “Love Galore,” seducing with his mellow “I need, I need” that almost has us believing things will work out as SZA answers with “Long as we got, Love, Love, Love.” But as the track unfolds, the relationship portrayed unravels to a thin, forgotten thread. “Doves in the Wind” showcases SZA’s vocal expertise as she melodically jumps from note to note to effortless ease, finding her own voice of self-empowerment and determination within the “sorry about your luck” lyricism.

While the rest of the album features many moments where SZA’s dreamy voice soothes regardless of the song pockets of regret, two solo tracks—“Drew Barrymore” and “20 Something” —provide a deep, introspective look into the mind of someone who’s not only wondering what went wrong, but also what can still go right. The tempos are winding, the poetics are heart-rending, and the reminiscence lingers long after SZA’s voice drifts off with the final notes.

Ctrl does exactly what RZA promises—drama is cut loose and karma is claimed—resulting in the utmost respect for SZA’s control of what promises to be a long career to come.

Reviewed by Amy Aiyegbusi

Anita Wilson – Sunday Song

Sunday Song Anita Wilson
Title: Sunday Song

Artist: Anita Wilson

Label: EONE

Format: CD, MP3

Release Date: July 14, 2017

 

 

Anita Wilson has been a rising star in gospel music since her 2013 debut album, Worship Soul.   Wilson has established herself as an artist who is adept at blending traditional gospel with old school R&B and soul sounds to create new and fresh music for contemporary listeners. Her latest project Sunday Song continues in this vein, featuring newly composed selections as well as several covers. Donald Lawrence’s ensemble The Company, Wilson’s former group, provides the background vocals on the album. While many of these tunes will be great for Sunday church worship, Wilson emphasizes that this album is meant to foster spiritual engagement beyond religious walls. She states, “God is everywhere we are, we can always have a Sunday song in our hearts.”*

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One of the opening songs of the album is the single, “I’ve Seen Him Work.” This inspirational selection channels the sounds of R&B dance tunes (e.g. Luther Vandross**) and gospel choir songs of the 1980s. Rhythmic piano and bass establish a groove, which is joined by punctuating horns and drums showcasing a jaunty back beat, making this a fun and danceable track. The lyrics encourage listeners to maintain faith in God because “He’s in control” and He is “working it out.”

Wilson continues to draw on musical influences from yesteryear with the selection “Don’t Have to Travel Far.” This beautiful ballad is a worship-filled love song to God. It opens with strings, drums, and soft, repeated piano chords under girding the tender melody performed on an electric guitar. Purposefully, the accompaniment is reminiscent of 1970s R&B ballads like the Stylistic’s “You Make Me Feel Brand New.” Wilson celebrates her relationship with God with The Company supporting her sweetly: “Don’t have to travel far/ to be right where you are./You are constantly in my heart./ There’s no place I’d rather be/ than in your company,/ you mean more than life to me.”

Sunday Song’s traditional gospel and gospel covers are also especially noteworthy. “The New Church Medley” is string of both old and newly composed up-tempo call and response congregational songs which all ramp up to the popular church tune, “Great Things/I’ll Say Yes to My Lord.” For this heavy hitting number, Wilson is joined by singer Tommie White and vocal powerhouse Yolanda Adams who passionately improvise during the vamp. In a different light, Wilson has also transformed some gospel favorites like Richard Smallwood’s anthem “Total Praise.” She eschews a conventional, stately performance featuring dark, bold vocal production (with heavy vibrato) and string orchestration for a paired down contemporary praise and worship style. Wilson reworks the melody and softens the accompaniment transforming the chorus of “Total Praise” into a contemplative yet earnest meditation on faith.

Sunday Song is a wonderful summer treat for gospel lovers everywhere. It’s a wonderful blend of older secular styles, traditional gospel music, with timeless lyrics that are sure to inspire listeners to sing, dance, and have faith.

*Quote taken from an on-air interview with Detroit, MI radio personality Randi Myles.

**Wilson suggested the music of Luther Vandross influenced the creation of this song in an on-air interview with radio personality Erica Campbell.

Reviewed by Raynetta Wiggins

Various 60’s R&B artists – More From the Other Side of the Trax: 45rpm Rarities 1960-1968

Other Side of the Trax
Title: More From the Other Side of The Trax: 45rpm Rarities 1960-1968

Artist: Various 60’s R&B artists

Label: Kent Soul/Ace Records

Formats: CD

Release date: April 14, 2017

 

 

More From The Other Side Of The Trax: Stax-Volt 45rpm rarities is the second volume of its kind from the Kent Soul imprint.  This new compilation offers entry points for both the novice and hardcore collector, bringing together selections that have not been together in any capacity on CD up until this time.

For the novice, this is a mix of great tracks from early ‘60s rhythm and blues vein, as beginners may be familiar with artists such as Rufus Thomas and the Mar-Keys, both featured in multiple tracks.  For dedicated fans, the collection offers numerous B-sides from the Stax “Blue” period (so named for the color of the label on the 45s during this period) that surprisingly were not present on the Complete Stax Volt Singles volume released in the 1990s.

Highlights of the arrangement include Rufus Thomas’ cover of Billie Holiday’s “Fine and Mellow,” which illustrates Thomas’ proficiency as a jack of all trades.  This track finds the artist, better known for his funky workouts, clearly in a blues mode but still giving a fantastic performance. The Mar-Keys, best known for their instrumental hit, “Last Night,” appear with a great set of tracks including “Grab This Thing Part 2”, which is as funky as they come.

William Bell, who is currently experiencing a renaissance in popularity, appears with a few tracks, as well. “Whatcha Gonna Do” hints at where Stax would go during its “Yellow” period with a funky soul orientation. Carla Thomas’ “Puppet” shows that contrary to popular belief, Stax was very much interested in pop appeal, as its string arrangement adds drama and “sweetening” to a great vocal performance by Ms. Thomas. Lesser-known early Stax acts such as Barbara and the Browns appear the tracks “I Don’t Want Trouble” and “You Make a Strong Girl Weak,” respectively sounding more like traditional rhythm and blues than the soul sound for which Stax would become known. On “Never Let You Go” by Carla & Rufus Thomas, you can almost hear the fun the father/daugher duo had performing together.

Rounded out with liner notes for each group written by Tony Rounce, More From The Other Side Of The Trax sheds some light on some great singles that have remained unavailable outside of their original vinyl release until now.

Reviewed by Levon Williams

Stokley – Introducing Stokley

Stokley
Title: Introducing Stokley

Artist: Stokley

Label: Concord

Formats: CD, MP3

Release date: June 23, 2017

 

 

Introducing Stokley by Stokley Williams is an interesting record, and I mean that in most complimentary way possible.  Williams, well known to R&B fans for the past twenty plus years as the lead singer of the band Mint Condition, steps out on Introducing Stokley to chart his own course. It would have been very easy for Williams to tread the tried and true path of Mint Condition (who are one of the best bands to come out of the 1990s along with Tony! Toni! Toné!), but instead Williams brings forth an offering which is simultaneously approachable and eclectic.

The album’s opener and lead single “Level” finds Williams embracing a modern R&B feel with hip-hop leanings.  The track is rhythmic and bangs with hard 808 drums that compliment Williams’ always excellent singing surprisingly well.

On “Think of U” Stokley’s voice, which sounds somewhat reminiscent of Stevie Wonder, is on full display. Williams has always been a strong vocalist and he doesn’t hold back on his solo debut. “Art In Motion” serves as kind of a bridge between electronic and acoustic music, with an appearance by Robert Glasper on keyboards.  The song’s breakdown is especially interesting as all the elements mix together.

“Victoria” is probably the most “experimental” track on the album, playing into Williams’ flair for drama as a man pleading for a woman’s presence.  The musical backing for the song includes elements of jazz, R&B and African influences, all held together by Stokley’s vocals which he enjoys playing around with throughout the track. “U&I” is a duet with Estelle which works very well as a modern adaptation of the great male/female duos like Donny Hathaway & Roberta Flack or Jerry Butler & Thelma Houston.  “Forecast” sees Williams’ incorporating an ever so slight hard rock element as he laments the difficult outlook on a not-so-good relationship.  The album’s closer, “Wheels Up,” is an uplifting (pun intended) track about not letting others rain on your parade.  Williams, who is also a talented percussionist, lends some steel drum to this track.

With Introducing Stokley, the artist achieves the difficult task of engaging fans of his work with Mint Condition while making this solo effort truly his own.

Reviewed by Levon Williams

 

Columbia Nights – In All Things

Columbia Nights
Title: In All Things

Artist: Columbia Nights

Label: Record Breakin Music

Formats: CD, LP, MP3

Release Date: March 24, 2017 (CD & LP)

 

Washington, D.C. has always had a vibrant music scene, especially given its “Chocolate City” status. This scene, however, has typically been dominated by go-go music and at times, hardcore punk. Intent on breaking new ground, the D.C. band Columbia Nights is a “soultronic production group” comprised of John E. Daise, Jason Edwards and Hayling Price. The trio combines their numerous soul, funk, and R&B influences with their love of electronic music, and the result is harmonious to say the least. In All Things is their first full length album, following 2012’s EP Dawn | Dusk. There is definitely a sense of growth between the EP and this album.  The production is more lush on In All Things, and takes the listener further inside the sonic worlds that Columbia Nights constructs.

There are a number of interesting collaborators featured on the album—such as Diggs Duke, violinist Vaughan Octavia, and singer B.Jamelle, among others—who seek to highlight some of the group’s musical influences. The band’s collaboration with Aaron Abernathy on “Coming Home” is particularly compelling, and sounds like it could be a track off of D’Angelo’s album Black Messiah (2015).  The instrumentation on songs like “Glide” and “Cerulean” are also particularly impressive.

It is not an overstatement to describe In All Things as cosmic, both in scope and in sound.  The album moves seamlessly from groove to groove and vibe to vibe, offering a wide variety of sounds but never sounding at odds with itself. In All Things is a journey from start to finish, and a well-constructed one at that.  The album is a great first effort from Columbia Nights, who are representing the D.C. soul scene well.

Reviewed by Allie Martin

José James – Love In A Time of Madness

Jose James
Title: Love In A Time of Madness

Artist: José James

Label: Blue Note Records

Formats: CD, LP, MP3

Release date: February 24, 2017

 

José James has always been known for blending jazz together with hip-hop, but on his latest album Love In A Time of Madness, he takes it to a whole new level. Always one to try something new and daring, the album is a modern spin on the classic R&B themes of love, lust, and longing.

Skilled vocal sampling, a slow hip-hop rhythm, and heavy bass lead into James’ smooth voice on the first single for the album, “Always There.” Sensually singing about his devotion to his woman, James’ style is reminiscent of modern R&B stars such as Miguel or Usher, and could easily be heard on the radio:

Originally meant to be an album dealing with both love and “societal madness—a response to the systemic and often physical violence perpetrated on U.S. citizens of color,” James felt that the madness side of the album was spiraling out of control. Overwhelmed by the daily acts of violence, he decided to focus on the love part, creating an album of healing which provides a temporary respite from the madness.

This idea that love can be felt even in a time of despair can be heard on songs such as “Let It Fall,” which features Mali Music. Slow and melancholy, James and Mali Music sing,

“No one really likes when the rain comes because that’s the same time that the pain comes crashing down And that’s the same way that your love comes pouring down.”

This juxtaposition of rain as bringing both the realization of pain and a sign of new growth expertly shifts from soft jazz-infused vocals to a deep hip-hop beat with a drop around the three-minute mark.

Though many songs (“You Know I Know,” “Last Night”) are heavily electronic, the album also features a live band that adds flair to James’ brand of contemporary R&B and showcases his jazz influences. With Takeshi Ohbayashi on keys, Solomon Dorsey on bass and vocals, and Nate Smith on drums, “To Be With You,” a rhythmic jazz ballad, and “I’m Yours,” an intimate, gospel-infused declaration of commitment and love featuring Oleta Adams, particularly benefit from this live instrumentation.

The upbeat “Live Your Fantasy” brings the funk to the album, and certainly fulfills James’ hope to make the listener want to dance through the night. “Ladies Man” continues this vibe, as James tests out his falsetto in a George Clinton-esque psychedelic track. Despite these many styles, the music is all grounded in James’ velvet voice, making In A Time of Madness feel cohesive. It is clear that genre is fluid for José James, and there’s no telling what he will take on next.

Reviewed by Anna Polovick

Nate Smith – KINFOLK: Postcards from Everywhere

Nate Smitjh
Title: KINFOLK: Postcards from Everywhere

Artist: Nate Smith

Label: Ropeadope Records

Formats: CD, MP3

Release date: February 3, 2017

 

Nate Smith’s debut album, KINFOLK: Postcards from Everywhere, is an invigorating collection of both instrumental and lyrical music blending jazz, R&B, and hip-hop into an interpretive showcase of his Black American experience. Smith’s career spans from teaching music to performing and recording with accomplished musicians such as Dave Holland, Chris Potter, and Ravi Coltrane, among others. Both bandleader and drummer, Smith celebrates the collaborative art produced on this album with his “kindred spirits,” the featured KINFOLK musicians.

The album slowly eases in with “Intro: Wish You Were Here,” a 30-second whisper-like pause before he kicks off with the rhythmically syncopated tune, “Skip Step.” “Bounce: Parts I & II” follows, highlighting the tight horn section’s unison melody. At periodic interludes, Smith incorporates partial recordings of his mother and father speaking about their family migratory experiences across the United States. “Retold” is a comforting tune with a sweeping melody, both reminiscent and nostalgic, which Smith describes as sounding “like someone telling a love story from start to finish.”

https://www.youtube.com/watch?v=U8hjco9bKFU

Smith is joined on this album principally by keyboardist Kris Bowers, guitarist Jeremy Most, alto and soprano saxophonist Jaleel Shaw, and electric bassist Fima Ephron. Singer and lyricist Amma Whatt and back-up singer Michael Mayo provide captivating vocals amid the dominating instrumental tunes, rendering the spirit of the Black Lives Matter movement on “Disenchantment: The Weight” and “Morning and Allison.” Several recorded guests are also featured on KINFOLK including saxophonist Chris Potter, bassist Dave Holland, guitarists Lionel Loueke and Adam Rogers, and vocalist Gretchen Parlato singing “Pages.” The final track, “Home Free,” is dedicated to the memory of his paternal grandfather. It opens with a somber yet bright string section as the band gently adds peaceful layers of sound forming a soothing conclusion.

KINFOLK: Postcards from Everywhere is a visual album, in the sense that Smith’s music evokes images of childhood, identity, nostalgia, and family, while each song creatively balances improvisation with steady melodic and rhythmic themes. With this debut, Smith and his collaborators have crafted an excellent work of art.

Reviewed by Jennie Williams

Emeli Sandé – Long Live the Angels

Emeli Sande
Title: Long Live the Angels

Artist: Emeli Sandé

Label: Capitol Records

Formats: CD, LP, MP3

Release date: November 11, 2016

 

Emeli Sandé’s second full length album, Long Live the Angels, comes four years after her 2012 debut, Our Version of Events.  The Scottish singer-songwriter goes further on this album than she did on her first, with a heavier gospel music influence, more penetrating songwriting, and a voice that is equal parts desperation and determination, the voice of someone who has been through something.

“Breathing Underwater” is quite possibly the best song on the album. From the intimacy of the songwriting (“I believe in miracles ‘cause it’s a miracle I’m here”) to the swelling of the choir in the final chorus, the song is an anthem about making it through the impossible.  Other such anthems on the album include “Sweet Architect” and “Every Piece of Me.”  For as many anthems as there are, though, this is a very intimate album with production that allows Sandé’s voice to shine through rather than be overpowered.

There are few features on the album, but they carry a lot of weight: the elusive Jay Electronica offers a verse detailing his journey through love (“Love is like a garden, love is like a death sentence Love is like a pardon, I’m free again and ready”). On “Tenderly,” Sandé is joined by her father, Joel Sandé, and The Serenje Choir.

The album is over an hour long, but doesn’t overstay its welcome. Sandé is a poet, detailing her heartbreak over the last four years, but ultimately emerging triumphant.

Reviewed by Allie Martin

John Lee Hooker – The Modern, Chess & VeeJay Singles Collection, 1949-62

john-lee-hooker
Title: The Modern, Chess & VeeJay Singles Collection, 1949-62

Artist: John Lee Hooker

Label: Acrobat

Format: 4-CD set

Release date: October 7, 2016

 
Though there are countless compilations of the recordings of legendary Delta blues guitarist John Lee Hooker, this 101-track 4-CD collection from Acrobat compiles all of his singles released on the Modern, Chess and VeeJay labels from 1949 to 1962. Sequenced chronologically, disc one begins with “Sally May,” recorded in Detroit with producer Bernard Besman and released in 1949 on Joe Bihari’s Modern label out of Los Angeles. Hooker’s second release produced the indelible classic “”Boogie Chillen,” followed by more hits in his R&B arsenal: “Crawlin’ King Snake,” “Hobo Blues, “Hoogie Boogie,” plus “Rock and Roll” from 1950. The disc concludes with some of his early sides for Chicago’s Chess Records.

Disc two picks up with “High Priced Woman” on Chess and concludes with his 1953 release on the Modern label, “Too Much Boogie.” Most of the Modern releases on this disc were produced by Bihari, who flew to Detroit to work directly with Hooker. Though disc three is still dominated by Hooker’s releases for Bihari, we’re introduced to the VeeJay period, which carries through to the end of disc four. Hooker signed with the Chicago-based VeeJay label in 1955, which produced a number of career highlights including his classic 1962 song “Boom,” with backing provided by session musicians with experience in Motown’s studio. The set concludes with additional songs recorded during that session, coming to an optimistic close with a reworking of his 1952 song “New Leaf.”

Though this set has nothing new to offer, it presents a nice introduction to Hooker’s work, mixing his blues and R&B sides. Liner notes are provided by Paul Watts, and the booklet includes complete discographical and session information.

Reviewed by Brenda Nelson-Strauss