Dee Dee Bridgewater – Memphis, Yes I’m Ready

Posted on December 1, 2017 by aaamc

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

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

Posted on November 2, 2017 by aaamc

Title: Feel Good! 40 Years of Life Changing Music

Artist: Various

Label: Tyscot

Formats: CD, MP3

Release date: April 29, 2016

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

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

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

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

Reviewed by Brenda Nelson-Strauss

Courtney Pine – Black Notes From the Deep

Posted on November 2, 2017 by aaamc

Title: Black Notes From the Deep

Artist: Courtney Pine

Label: Freestyle

Formats: CD, LP, MP3

Release date: October 27, 2017

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

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

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

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

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

Reviewed by Brenda Nelson-Strauss

Mavis Staples – If All I Was Was Black

Posted on November 2, 2017 by aaamc

Title: If All I Was Was Black

Artist: Mavis Staples

Label: Anti-Records

Formats: CD, LP, MP3

Release Date: November 17, 2017

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

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

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

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

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

Reviewed by Amy Aiyegbusi

Talib Kweli – Radio Silence

Posted on November 2, 2017 by aaamc

Title: Radio Silence

Artist: Talib Kweli

Label: Javotti Media

Formats: CD, LP, MP3

Release date: November 17, 2017

Is it the current political atmosphere or possibly just time for the genre to once again acknowledge its roots? Whatever the reason, there is a conscious stream of artists dominating mainstream rap right now, and Talib Kweli is leading the way. Kweli is no stranger to the scene—his first collaborative group, Black Star, was formed with Mos Def in 1997—and to date, he has worked with artists Kanye West, Pharrell Williams, Just Blaze, the Beastie Boys and Kendrick Lamar. Kweli is featured on Dave Chappell’s Block Party, both as an actor and a soundtrack artist. In 2011 he founded his own label, Javotti Media, billed as “a platform for independent thinkers and doers.”* With an eye on social issues both past and present, Kweli offers us his take on 2017 with his latest, Radio Silence.

The album unlocks with “The Magic Hour,” a song that introduces the album’s concepts and purpose through magical lyricism. Opening with the ethereal sounds of strings and a choir, the tune carves its own place in the world of rap solely on these feature alone. Kweli’s opening line, “Last one to fall asleep, first one to wake up. No Doubt. It’s the Magic Hour,” layered on top of an upbeat piano riff sets the standard for the remainder of this Brooklyn phenom’s offerings. The song’s final chords fade away under Kweli’s assurance that “hip hop will flourish with nourishment and the proper care,” a parental line from one who has been there, done that, and knows how to make it last.

The philosophy continues to pour out of this rap statesman rhyme after rhyme. The second track, “Traveling Light,” thumps the pulpit of Kweli’s truth through musings about his own genesis towards the rap dimension. Unquestionably possessing a magical talent for deep lyricism, he brings Anderson .Paak’s smooth vocals into the track to compliment his message. “All of Us” unfastens the mood even further with its break-out sampling of a rally for justice. Jay Electronica of Roc Nation and powerhouse Yummy Bingham spin their consciousness right along Kweli, adding a multi-layered resonance reverberating past the very last strain of violin fade-out. The lead single, “Radio Silence,” is a blend of Kweli and Myka 9’s exceptional cypher savvy interspersed with Amber Coffman’s haunting refrains. Never one to ignore the heart strings for long, Kweli and BJ The Chicago Kid’s “The One I Love” reminds us that regardless of what’s going on, that one special person makes it all worthwhile.

Of all the offerings not explicated here—“Chips,” “Knockturnal,” “Let It Roll,” “Write at Home”—by far, the standout is “Heads Up Eyes Open.” Dedicated to late rap promoter Kenneth “Headqcouterz” Walker, this part testimonial/part inspirational melody features not only mind-bending truthfulness on topics such as police brutality and protest rights, but also functions as a call for honesty and faithfulness because “the picture is so much bigger than what we could even imagine.” Indeed. Talib Kweli’s vision is so much larger than what we typically conceptualize. This portfolio of political discourse keeps challenging and teaching long after the voices, piano riffs and handclaps fade away.

Radio Silence, through its proverbial introspections and uplifting retrospection, seamlessly moves its message through the airwaves of our minds. In Talib Kweli’s world, silence truly does speak louder than words.

Reviewed by Amy Aiyegbusi

Chicago Afrobeat Project – What Goes Up

Posted on November 2, 2017 by aaamc

Title: What Goes Up

Artist: Chicago Afrobeat Project

Label: Self-released

Format: MP3

Release date: September 29, 2017

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

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

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

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

Reviewed by Matthew Alley

Antibalas – Where The Gods Are In Peace

Posted on November 2, 2017 by aaamc

Artist: Antibalas

Label: Daptone

Title: Where The Gods Are In Peace

Release Date: September 15, 2017

Format: CD, Vinyl, Mp3

Raise your hand up high if you know & are into the Brooklyn band, Antibalas. Not bad, not bad—I see a few hands and a fist or two. Now, for those who aren’t hip, let me explain exactly who Antibalas is. The group formed in 1998 with Martin Perna at the front. The word antibalas is Spanish for “bulletproof”, which lends credence to their long-lasting career in the afrobeat world—19 years and still going strong. Antibalas plays afrobeat music, paying homage to the king of afrobeat himself, Fela Kuti. Listen very carefully—you may hear Eddie Palmeri piano stylings and personally, I think I hear another echoes of another band hailing from Brooklyn, Mandrill.

Where The Gods Are In Peace could be considered a head scratcher because it’s so short. It showcases only five tracks, but in reality, it feels like ten, perhaps fifteen. To only have five tracks and still packing a serious blow is true testament to what this band is all about. Take the track “Goldrush”. It opens up with early 1970’s rock FM and fast as you can FELA, BAM! The mood shifts into afrobeat, advanced version. Brilliant! They have you thinking one thing, but accomplish another.

Antibalas is very well-schooled in pulling off feats such as this. “Tombstone”, believe it or not, is the third, fourth and fifth track–a 3-part finale that will blow your mind. Zap Mama, the beauty from Belgium, lends her vocals on all three tracks. What can one say? Makes you wish more acts took risks like Antibalas, but they would be asking too much. Antibalas is one of a kind, folks.

Where The Gods Are In Peace. Enjoy it for what it is—an amazingly powerful punch in just a five step gig. Next time, I expect to see more hands raised when asked, “Who knows about Antibalas?” Don’t disappoint me.

Reviewed by Eddie Bowman

Lloyd Price – This Is Rock and Roll

Posted on November 2, 2017 by aaamc

Title: This Is Rock and Roll

Artist: Lloyd Price

Label: Double L Records

Formats: CD, MP3

Release Date: September 22, 2017

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

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

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

Reviewed by Chloe McCormick

Big Boi – Boomiverse

Posted on September 1, 2017 by aaamc

Title: Boomiverse

Artist: Big Boi

Label: Epic

Formats: CD, MP3, Vinyl

Release date: June 16, 2017

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

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

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

Reviewed by Amy Aiyegbusi

Chargaux – Meditations of a G

Posted on February 1, 2017 by aaamc

Title: Meditations of a G

Artist: Chargaux

Label: Chargaux Records

Format: MP3

Release date: September 29, 2016

Chargaux consists of violinist Jasmin “Charly” Charles and violist Margaux Whitney, who met by chance when Margaux saw Charly playing violin on a Boston street corner. The next day, they were playing together on the street corner and have been collaborators ever since. The two have worked with a variety of high profile artists, providing the solo at the end of Kendrick Lamar’s “Bitch Don’t Kill My Vibe” as well as the strings on J.Cole’s past two albums, 2014 Forest Hills Drive (2014) and 4 Your Eyez Only (2016). More than just string players, though, the two also sing, paint, compose, and are all around performance artists, as seen from their installation performances in New York City.

Meditations of a G is eclectic and more experimental than 2014’s Gallerina Suites and Broke and Baroque. The duo plays homage to their classically trained roots, opening the EP with the sounds of a tuning orchestra on “First Chair.” From there, the project spreads into a minimalist direction, and could sit comfortably between projects like Solange’s A Seat at the Table (2016) or FKA Twigs LP1 (2014). Although much of the album has an effortless groove about it, one can still hear the intricacy and complexity of the production, particularly in the more elaborate string arrangements, found on songs like “Sosha Media” and “Tie Your Fukn Shoes.” There is a welcome amount of humor throughout the EP, especially in “Trap Yoga,” an interlude consisting of the two narrating a yoga class, complete with reimagined trap poses over a pizzicato groove.

Chargaux has many strengths, one of which being their ability to transform the textures of their instruments, creating a different soundscape within each song. Overall, this is a beautiful project, showcasing the growth of Charly and Margaux as instrumentalists, producers, singers, and overall artists.

Reviewed by Allie Martin