Welcome to the October 2018 Issue

This month we’re rolling out a new and improved website and mobile version of Black Grooves!

Our featured releases include soulful songstress Macy Gray’s new album Ruby, the Prince acoustic compilation Piano & a Microphone 1983, and avant-garde artist Lonnie Holley’s third release, MITH.

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.

Macy Gray – Ruby

 

Title: Ruby
Artist: Macy Gray
Label: Artistry Music
Formats: CD, LP, Digital
Release date: September 21, 2018

 

Macy Gray recently gifted us with her tenth studio album, Ruby. Unlike her previous release, Stripped—an album that included a number of covers and a remake of her hit song “I Try”—Ruby features twelve new original tracks from Gray. When asked by Rolling Stone to describe the general soundscape or style of the album, Gray explained: “Sonically, it is beautiful. It has all sorts of [fusions]. There are a lot of live instruments. We mixed it with samples… But, it is very different. At the same time, it is excellent ear candy. . .very pop…[but] gritty and grimy and dirty. [The record] will be super R&B. You know, with my stuff, there is always a jazz element. That is what I grew up on. I can’t wait for everybody to hear it. I love it.”  Continue reading

Candi Staton – Unstoppable

 

Title: Unstoppable
Artist: Candi Staton
Label: Beracah/Thirty Tiger
Formats: CD, LP, Digital
Release Date: August 24, 2018

 

With the recent death of the “queen of soul” Aretha Franklin, soul music links to the legendary town and famed studio, Muscle Shoals, perhaps now fall on the shoulders of one Candi Staton. The Alabama native, best known for her remake of Tammy Wynette’s “Stand By Your Man” and “Young Hearts Run Free” (1976) is still going hard at age 78. Her latest release, Unstoppable, marks Staton’s 30th album and gives us ten tracks of what Staton does well. Continue reading

J.P. Bimeni & The Black Belts – Free Me

 

Title: Free Me
Artist: J.P. Bimeni & The Black Belts
Label: Tucxone
Format: CD, LP, Digital
Release Date: October 26, 2018

 

Burundian-born J.P. Bimeni is no stranger to tragedy; a descendent of the Burundian royal family, he was forced to flee his native country at age 15 during the 1993 civil war. After surviving the mass murder of his classmates, a gun shot in the chest, and poisoning by doctors, Bimeni was miraculously able to escape to the UK as a refugee. Despite the horrific events that he lived as a teenager, Bimeni has channeled his experiences with life and loss into his debut album Free Me Continue reading

The Right Time- Ural Thomas & The Pain

Ural ThomasTitle: The Right Time

Artist: Ural Thomas & The Pain

Label: Tender Loving Empire

Formats: CD, LP, Digital

Release date: September 28, 2018

 

We’ve covered a number of artists over the past decide whose careers were revived later in life, including the late, great Charles Bradley. A similar artist who recently entered our radar is soul singer Ural Thomas, a Louisiana-born preacher’s son who opened for the likes of James Brown, Otis Redding, and Stevie Wonder back in the day. Continue reading

Water Seed – Say Yeah!! Live at the Blue Nile

Water Seed

Title: Say Yeah!! Live at the Blue Nile

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

The Suffers – Everything Here

suffers

 

Title: Everything Here

Artist: The Suffers

Label: Shanachie

Format: CD, LP, Digital

Release Date: July 13, 2018

 

The Suffers are a multi-faceted, musically diverse group hailing from the Gulf Coast, and just in case there’s any doubt, the first track, “Intro (A Headnod to Houston)” sets us on the right path. Their musical style, however, is less straight-forward. Soul? Jazz? Neo-blues? Retro R&B? The group, comprised of eight highly-talented individuals from multiple artistic backgrounds, can be classed as all of these and more. As lead vocalist Kam Franklin states, “We make music for all people.” Houston marks the album in more ways than one, as area rappers Paul Wall and Bun B. cameo on more than one track, and many songs express love for the city and its inhabitants. The Suffers exploded onto the scene in 2015 and 2016 with their EP Make Some Room and their self-titled debut album, and their newest offering, Everything Here, is a fitting follow-up.

The short album introduction leads into the first full-length track, “I Think I Love You.” The song has a rocking rhythm that quickly captures your mind, encouraging you to sit back, relax and let the music take control. The melody line is simple and repetitive, and exactly what you didn’t know you needed, with the beautiful lullabying of Franklin’s crooning settling your soul. Bun B’s cameo in “Bernard’s Interlude (feat. Bun B.) has a mellow, Barry White-esque tone, furthering the mood of relaxation and contemplation. Further down the list, “You Only Call” shines a spotlight on the sporadic moments every relationship—familial, personal or otherwise—can suffer in its quest to work out. “Sure to Remain” completes relational upsides as well, dealing us another round of sweet melody nestled down in a funky, electro-piano and percussion feather bed.

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In keeping with their inclusive promise, the group also offers up-tempo melodies. The title-track, “Everything Here,” is a sweet-spot mixture of all the group has to give, including Franklin’s disclosure that “Everything here, everything here/ reminds me of you.” The track “All I Want To Do” showcases Franklin’s expert songwriting abilities in the band’s jazz instrumentals and her own melodic virtuosity. “Do Whatever” cements the Suffers as message deliverers of rounded choice and acceptance, while the closing track, “Won’t Be Here Tomorrow,” urges us to appreciate the now, as things can change at the blink of an eye and the drop of an instrument.

Everything Here’s bold statements about life, love and home in tandem with their interdisciplinary musical style do indeed uphold the album’s declaration. The Suffers have everything in our musical world to offer to all in their artistic world willing to listen.

Reviewed by Amy Aiyegbusi

Love Unlimited Orchestra – 20th Century Singles (1973-1979)

Love Unlimited Orchestra
Title: 20th Century Singles (1973- 1979)

Artist: Love Unlimited Orchestra

Label: Mercury/20th Century

Formats: CD, LP

Release Date: June 15, 2018

 

 

There’s something about luscious string instruments that bring out the best that music has to offer. Know thy history. When the Drifters shifted from Clyde McPhatter to Ben E. King, they ushered in a new sound with string instruments. The Sound of Philadelphia was also string heavy with the help of the Salsoul Orchestra. When Barry White made his debut, some thought, “Who is this Isaac Hayes sound alike?” Ah, not so fast to judge.  Radio jocks used to refer to White as ‘the maestro.’ What’s a maestro? A master in art. A composer, conductor or music teacher.

Barry White was indeed all that and beyond. After he unveiled his female trio, Love Unlimited, he was the brains behind a forty piece orchestra called, what else, the Love Unlimited Orchestra. Besides backing up White and his trio, other famous artists got their breaks from LUO including Kenny G, Lee Ritenour, Wah Wah Watson, and Ray Parker Jr.

Now, 20th Century Records has just released a two disc “best of” compilation from LUO, spanning the years 1973 to 1979.

Disc one opens up with “Love’s Theme.” Why not! It was their biggest hit and put them on the map. Barry White’s fingers are all over just about every single. “Rhapsody in White” starts off like “Love’s Theme” but then fools you—it’s way more upbeat. “Barry’s Theme,” named after guess who, is LUO paying homage to the maestro. White appears vocally on “Baby Blues,” giving us that often imitated delivery.

Disc two gets into disco. “Brazilian Love Song” makes one want to do the hustle. Speaking of Isaac Hayes, LUO also covers the “Theme from Shaft,” but their version is a little more up tempo, and Barry White has no cameo like Hayes on the original.

Love Unlimited Orchestra’s 20th Century Singles (1973 -1979) is for the lover. It’s close your eyes and relax music. However you choose to listen, it’s great to see LUO’s work get more attention.

Reviewed by Eddie Bowman

 

Fantastic Negrito – Please Don’t Be Dead

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

Bettye Lavette – Things Have Changed

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

The Stanley Clarke Band – The Message

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

Serpentwithfeet – Soil

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

AHI – In Our Time

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

 

Priscilla Renea – Coloured

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

Javen – Grace

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

Lamont Dozier – Reimagination

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

Shirley Davis & the Silverbacks – Wishes & Wants

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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:

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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

Deva Mahal – Run Deep

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Title: Run Deep

Artist: Deva Mahal

Label: Motéma Music 

Formats: CD, LP, Digital

Release Date: March 23, 2018

 

Robust talent runs generationally, especially when you’re the offspring of blues icon Taj Mahal and dancer/artist Inshirah Mahal, as proven with Deva Mahal’s debut album, Run Deep. Forging her own sound as part blues, part indie-rock and all soul, Mahal gives her listeners one of the edgiest, most emotionally drawn voices in the industry today.

The first track, “Can’t Call it Love,” opens with a riveting guitar riff and empowering lyrics: I’m feeling new like an old-school instrumental / I’m getting in the mood / And feeling sentimental, which can be taken as both commentary on one’s new found infatuation and Mahal’s coming into her own. The entire album features innovative instrumentality and Mahal’s varied vocalization styles. For example, the closing track, “Take a Giant Step,” showcases her sultry pop sound as she reinterprets this standard by Carole King and Gerry Goffin (a song her father has also recorded).

The focal track of the album, both vocally and visually, is the offering “Snakes.” Mahal’s vocals jump right off the album from the first moment she begins singing, but the visualizations of the video are pure genius—black and white coloring, shadow dancing and the animation of a swamp monster, said to have been inspired by her favorite childhood “girl power” book, Liza Lou and the Yeller Belly Swamp by Mercer Mayer.

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Mahal has definitely come out from under her parent’s shadow with this artistic debut. From the first note to the last few strains, this artist’s soulful and funky melodies will have you running deep into the magical world of Deva Mahal, breathlessly awaiting her next move.

Reviewed by Amy Aiyegbusi

Don Braden – Earth Wind and Wonder

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Title: Earth Wind and Wonder

Artist: Don Braden

Label: Creative Perspective Music

Formats: CD

Release date: May 4, 2018

 

Growing up in Louisville, Kentucky in the 1970s, world-renowned straight ahead jazz saxophonist Don Braden fell in love with the music of Earth, Wind & Fire and Stevie Wonder. According to Braden, “This is the music that first imprinted my teenage brain…and captured my heart.” Now, although this album pays tribute to these great artists and their musical legacy, Earth Wind and Wonder also demonstrates Braden’s versatility and his creativity as a performer and arranger, while re-introducing his audience to the positive messages of strength, love and joy within the music of EWF and Stevie.

This collection of songs includes notable hits such as “Fantasy,” “Higher Ground,” “Can’t Hide Love,” “Getaway” and “Don’t You Worry ‘Bout A Thing,” among others. Also featured are two original compositions by Braden—“The Elements” and “The Wonder of You”—that complement the overarching EWF and Wonder theme of the album. Braden recorded the album over a period of four years (summer 2014, fall 2017, and early spring 2018) with instrumentalists such as Brandon McCune (piano), Joris Teepe (bass), Cecil Brooks III (drums), Art Hirahara (piano), Kenny Davis (bass), Jeremy Warren (drums), and Kahlil Kwame Bell (percussion).

Opening with a medium-up swing rendition of “Fantasy,” Braden uses EWF’s original harmony in his introduction, but soon transitions into his own interpretation filled with re-harmonization and rhythmic figures. We are later treated to “The Wonder of You,” where Braden channels the compositional spirit of Stevie Wonder’s music into a smooth and light bossa-funk groove coupled with jazz harmony and a memorable melody.

Performing new arrangements of Earth, Wind & Fire and Stevie Wonder’s notable hits is certainly not an easy task. However, Braden accomplishes this mission with his superb renditions, while staying true to the essence of their artistry. Earth Wind and Wonder is truly an artistic expression that will capture the hearts and minds of its listeners.

Reviewed by Jamaal Baptiste

 

 

Reggie Quinerly – Words to Love

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Title: Words To Love

Artist: Reggie Quinerly

Label: Redefinition Music

Formats: CD, Digital

Release Date: April 20, 2018

 

 

Raised in Houston, Texas, drummer Reggie Quinerly attended Houston’s High School of the Performing and Visual Art. He’s just one of the many successful musicians who graduated from this school, including renowned jazz artists like Eric Harland, Chris Dave, and Robert Glasper. Quinerly continues to grow and evolve as an artist, as demonstrated by his 2012 debut album, Music Inspired by Freedmantown, and his second release, Invictus, in 2015. On both albums, Quinerly featured vocalists on at least one or two tracks, which is somewhat common for jazz instrumentalists.

For his third album, Words To Love, Quinerly composed music and lyrics for each track, creating an album entirely of songs. Enlisting up and coming male and female jazz vocalists to help him get his message across, Quinerly showcases the talents of Chicago-born Milton Suggs and Brooklyn’s own Melanie Charles. The two vocalists trade off song for song, telling a story of the many facets of love. They are backed by a renowned rhythm section including Orrin Evans on piano, Ben Wolfe on bass, and of course, Quinerly on drums. Also, four tracks on the album feature the well-known alto saxophone player, Jaleel Shaw.

It’s clear when you listen to Quinerly that he’s a straight ahead jazzer. The album includes a very nice mixture of modern jazz song forms and melodies with an obvious nod to older styles like hard bop, which can be found in Quinerly’s harmonic choices as well as the rhythmic feels he chooses to employ. Also, Quinerly’s education and influence from great jazz drummers, like Max Roach and Tony Williams, can be clearly heard. This is especially apparent in certain songs on the album like “Love’s Ferris Wheel,” sung by Charles, which is meant to be a nod to songwriters like Cole Porter or Rogers & Hart, even including a rubato verse prior to the 32-bar chorus. Quinerly lays down a great drum solo on this tune, but for an album lead by a drummer it would’ve been nice to include more opportunities for him to show off. Also, at times Words to Love can feel a little stagnant, since almost every tune is either slow to mid-tempo. A couple of faster tunes or just another high energy drum solo could’ve helped to give the album some shape.

Quinerly was inspired to create Words to Love because of his increased interest in jazz singers, specifically Lou Rawls. After hearing Rawls’ 1966 recording of “A Shadow of Your Smile,” he became enamored with jazz vocals, adding singers like Ella Fitzgerald and Betty Carter to his playlist.

Quinerly also wanted to explore love and all of its varieties and chose to open the album with his tune “Until I Met You,” pertaining to the search for love and falling in love. Shortly after is “Still Frames,” which speaks about the love of memories and times past. Then, of course, there is the gorgeous title track, “Words to Love,” which is easily the most moving song on the album. Charles’ light yet present vocals float over the combo, leading into a wonderful alto saxophone solo by Jaleel Shaw, before they come together, intertwine and share the space of the song as they enter into the final verse.

Words to Love has a very classic hard bop feel created by Quinerly’s straight ahead approach to composition. Though perhaps not as adventurous as his previous albums, Words To Love is an amazing album that keeps the traditions of jazz alive.

Reviewed by Jared Griffin

 

Bumpus – Way Down Deep

Bumpus
Title: Way Down Deep

Artist: Bumpus

Label: Bumpus

Release Date: March 21, 2018

Formats: Digital

 

 

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

Sy Smith – Sometimes a Rose Will Grow in Concrete

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Title: Sometimes a Rose Will Grow in Concrete

Artist: Sy Smith

Label: Psyko

Formats: CD (via Bandcamp), Digital

Release date: February 16, 2018

 

 

Long hailed as the hardest working artist in underground soul, Sy Smith’s fifth album, Sometimes a Rose Will Grow in Concrete, proves once again she is a force to be reckoned with in both the underground and outer-ground music scene. This release is the first album completely written and produced by this multitalented musician, featuring her slick synth bass playing and lithe piano keying along with her incomparable soprano voice and signature vocal arrangements.

Smith’s voice shines through on this album, as she employs various techniques that she is known for and some she seems to honor straight out of 1990s R&B. The title song, “Sometimes a Rose will Grow in Concrete,” teases us with a small sample of her amazing whistle register, bringing it out at the end of the song as a parting gift. Lyrically, this song speaks to the current time, as its inclusion of lyrics such as “Sometimes we get no answers but still the questions will remain…sometimes a rose will grow in concrete, sometimes a caged bird will sing” reflects an activist tone regarding American society. Carrying a strong pen, Smith reveals victories won and battles still being fought as she provides a powerful, if haunting, ode to people who come through the harshest of trials and still bloom as beautifully as roses.

Smith’s continuing penchant for go-go is present in this album with the song, “Now and Later.” The funk-inspired beat interspersed with a cool rhythm-and-blues sound reflects back to Smith’s genesis in DC with her former go-go band “In Tyme.”  “Camelot,” one of the smoothest contemporary R&B ballads, reinvigorates that 1990s Janet Jackson-esque sound, complete with multiple background vocals, string instrumentals and long-winded notes held and released over and again in differing registers.

Providing us with never-ending, smooth stylings that both echo yesterday’s R&B and set the standards for contemporary soul, Sy Smith’s Sometimes a Rose Will Grow in Concrete proves that Smith herself is that enduring rose whose presence grows sweeter and stronger with each new release.

Reviewed by Amy Aiyegbusi

Stax Singles Vol. 4: Rarities & The Best of the Rest

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Title: Stax Singles Vol. 4 – Rarities & The Best of the Rest

Artist: Various

Label: Stax/Craft Recordings

Formats: 6-CD set, Digital

Release date: February 9, 2018

 

From the early days of the CD era, there has been a constant stream of reissues from the legendary Stax/Volt catalog. Three volumes (28 CDs total) of The Complete Stax/Volt Singles plus artist-specific box sets, plus a pile of compilation CDs and box sets. Not to mention the many individual album reissues, which often included extra singles and other tracks not on the original LPs. What is left in the vaults to compile into this new 6-CD box, issued in conjunction with Concord Music Group’s celebration of the 60th anniversary of Stax’s founding?

It turns out, not 6 discs worth of compelling music, but there are many interesting obscure gems lurking among a bunch of tunes that were forgotten for a reason. The set is also padded with familiar material such as Booker T. & The M.G.’s cuts already issued on the artists’ own box set, and slightly edited single versions of Big Star hits.

The set has a scattershot focus, which actually works to its benefit by offering interesting music to several audiences. Discs 1-3 are B sides of singles included in the first three massive “Complete Singles” boxes (which, it turns out, contain mostly A sides and not “complete” singles by the definition of both sides of a record). Compiled by Rob Bowman, author of Soulsville, U.S.A.: The Story of Stax Records and co-producer of the first three sets, these discs probably contain the fewest of what the casual listener might consider dull duds. For the deep-diver, some of the sides are obscure enough to be sourced from dubs of scratchy old 45’s, meaning the master tapes are missing.

To Concord’s credit, they offer a detailed listing of the set’s contents, so consumers can decide for themselves if there is enough interesting material to justify the purchase price. If the music compels you, the physical product is recommended because the 76-page booklet provides much detail and context, plus some nice artist photos from the old Stax promotional files.

Which brings us to the other half of the box. Discs 4-6 cover Stax’s attempts to diversify its catalog from its southern-soul target market. The material is mined from sub-labels: Enterprise (pop and country), Hip (pop and rock), Ardent (rock), and the gospel imprints Chalice and The Gospel Truth. The booklet offers very detailed information about these labels, which will be of interest to the deep-divers and completists. In general, these efforts were not financially successful for Stax, but some of the music (particularly the Ardent albums released by Big Star) turned out to be widely influential and critically acclaimed.

Stax’s pop and country releases were obviously a mixed bag. If the “best” is collected here, there was a lot of dreck in the catalog. The rock offerings are more interesting, including the more rock-ish and psychedelic pop songs. The Memphis music scene of the 1960s and ‘70s had a unique take on rock, with both soul flavorings and a “garage” feel. It’s exciting and doesn’t sound manufactured. Likewise with the best of Stax’s pop productions—they don’t sound as plastic and disposable as much of the competing material that was churned out of NYC, L.A. and Detroit.

The best of the back three discs is #6, covering the gospel labels. In general, the arrangements and performances hue toward Stax’s soul sound and feel, of great benefit to Sunday’s music. The gospel passion is turned up a notch in the caldron of backbeat soul, creating great impact. It might have been a better idea to peel off this material into a separate Stax gospel compilation.

For the hardcore Stax fans, and for listeners deeply into American soul music of the ‘60s and ‘70s, there will be enough material in this set, plus the booklet text, to justify its place in your collection. For others, the appeal will depend on your curiosity and willingness to wade through a wide variety of artists, styles and genres.

Reviewed by Tom Fine

Bootsy Collins – World Wide Funk

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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

Meshell Ndegeocello – Ventriloquism

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Title: Ventriloquism

Artist: Meshell Ndegeocello

Label: Naive Pop

Formats: CD, LP, digital

Release date: March 16, 2018

 

Meshell Ndegeocello has produced widely divergent albums over the course of her career, each offering captivating sonic explorations. This is also true of her new release, Ventriloquism, a collection of cover songs completely reworked to reflect Ndegeocello’s incomparable eclecticism and fluid movement across genres. She explains:

“Early on in my career, I was told to make the same kind of album again and again, and when I didn’t do that, I lost support. There isn’t much diversity within genres, which are ghettoizing themselves, and I liked the idea of turning hits I loved into something even just a little less familiar or formulaic. It was an opportunity to pay a new kind of tribute.”

Joining her on this exploration are several longtime musical partners and colleagues: guitarist Chris Bruce, drummer Abraham Rounds, and keyboardist Jebin Bruni. The project was engineered by S. Husky Huskolds, and mixed and mastered by Pete Min.

As with her Pour Une Âme Souveraine (2012), dedicated to Nina Simone, Ndegeocello’s new album features songs by musicians who have inspired her over the years, with a particular bent toward 1980s classics. Opening with Lisa Lisa & Cult Jam’s 1985 dance hit, “I Wonder If I Take You Home,” Ndegeocello follows the general style of the original, but softens the vocals, blurs the beats, and augments the electronic effects resulting in a spacey, otherworldy interpretation. Al B. Sure’s “Nite and Day” is slowed down to a dreamy, sensuous ballad that fades out on a distorted guitar riff. On her cover of TLC’s signature song, “Waterfalls,” she uses instrumental fills instead of attempting to replace the rapped verse by Lisa “Left Eye” Lopes. Likewise, in her newly released video for the song, she takes a more metaphorical slant to the subject matter of people tragically affected by drugs and HIV, instead of the more explicit approach in the award-winning TLC video.

Ndegeocello’s gorgeous cover of Prince’s “Sometimes it Snows in April” was the first single off the album. Released via Rolling Stone on January 12, she explained in the accompanying article, “I’ve made so much because of [Prince]. I still can’t believe he’s not on the planet and this was as close to closure as I’d get.” Emotionally laden with throaty vocals, whispered reminiscences and off-kilter harmonies, Ndegeocello’s tribute is arguably the most poignant cover version of the song to date. As she shifts into the final couplet, “all good things they say never last, and love is love until it’s past,” sung over stripped down instrumentals, it’s as though we’re hearing a voice from beyond mourning a life tragically cut short. Farewell, Prince.

On George Clinton’s “Atomic Dog,” Ndegeocello tones down the funk and the theatrics, placing more emphasis on the instrumentals through overlapping, layered guitars. Janet Jackson’s “Funny How Time Flies (When You’re Having Fun)” leaves Quiet Storm territory, taking on a darker, more foreboding character with distorted bass, cello and electronic effects. This gloomy soundscape is broken by the Force MDs “Tender Love,” which is given a lighter, folksier treatment with harmonica fills and strummed guitars.

Taking on another iconic female vocalist, Ndegeocello’s rendition of Tina Turner’s “Private Dancer” works extremely well as a slow ballad backed by guitars and piano, and the tempo is a much better fit for the melancholy yet wistful lyrics. The album closes with Sade’s “Smooth Operator.” Stripped of its Latin rhythms and turned on its side, the song takes on a percussive, bottom heavy electronica sound, with virtuosic dueling bass and guitar replacing the sax solo on the original.

On Ventriloquism, Ndegeocello unleashes her extraordinary creativity, reimagining classic songs of the ‘80s and ‘90s in new and unexpected ways. In doing so, she also demonstrates her independence from an industry that too often tries to pigeonhole black artists and black music.

Reviewed by Brenda Nelson-Strauss