Chuck Berry – Chuck

Posted on July 7, 2017 by aaamc

Formats: CD, Vinyl, MP3

Release date: June 9, 2017

Chuck Berry is, without question, the Father of Rock and Roll, and perhaps the most influential guitarist of the 20th century. After 40 years without a new release, he announced his new album, Chuck, on his 90th birthday. Unfortunately, he passed in March of 2017 before he could see the project come to fruition. Clocking in at a short 34 minutes, the album nevertheless packs a punch. The first pair of songs, “Wonderful Woman” and “Big Boys,” are arguably the best. They’re rock and roll to the core, and Berry shows from the start that he’s still got it. This energy is steady throughout the album, even on slower tracks like “You Go to My Head” and “Eyes of Man.”

Chuck is a family affair, featuring his children Charles Berry Jr. and Ingrid Berry as part of his backing band. His grandson, Chuck Berry III, is also featured as a guest on “Lady B. Goode,” which is a sequel to the 1958 hit “Johnny B. Goode.” Compared to the original, this version is a bit slower, but no less fun. Perhaps the most tender track on the album is the bluesy father-daughter duet “Darlin,” the video for which was released in time for Father’s Day:

Also featured on the album are guitarists Gary Clark Jr. (“Wonderful Woman”), Tom Morello, and Nathaniel Rateliff (“Big Boys”). These guest appearances are a testament to the influence that Berry has had not only on rock and roll, but on popular music more broadly. With his musicianship, signature guitar riffs, and his stance, Berry has influenced countless musicians. On this final album, Berry cements his legacy as musician, storyteller, and one of the greatest to ever do it.

Reviewed by Allie Martin

K’Valentine – Here For a Reason

Posted on May 2, 2017 by aaamc

Title: Here For a Reason

Artist: K’Valentine

Label: Javotti Media

Formats: CD, LP, MP3

Release Date: April 7, 2017

K’Valentine is one of the newest young rappers to come out of Chicago, whose music scene is currently on the map due to the efforts of rappers like Chance the Rapper, Vic Mensa, Noname, and BJ The Chicago Kid. Her debut album, Here for a Reason, is the result of putting the work in on her previous mixtape projects, which drew the attention of Talib Kweli. She first met Kweli backstage at a concert in Chicago, and he later produced her 2014 mixtape Million Dollar Baby. Continuing that collaboration, Kweli is one of many artists featured on the album, including BJ The Chicago Kid, Tweet, Kendra Ross, and Scotty ATL. These collaborations offer a lot, but Valentine still holds her own throughout the rest of the album.

K’Valentine’s background is in poetry, which definitely shows throughout her verses. Her career as both a poet and a rapper was informed by a chance backstage meeting with the late great Maya Angelou, who encouraged her to continue to write. At times, the album can seem minimalistic, but never simplistic. If anything, the stripped down production, particularly on “King,” help Valentine’s message to shine through.

With this debut album, Valentine joins a long line of hard hitting female MC’s that can also hold their own with the men. Her flow is versatile, her verses personal, and she moves easily between conscious and club rap. There’s something old school about her rhymes, and she shows an ability to be a rapper that can also create R&B jams. Here For a Reason provides a consistent sound, and gives the listener a good glimpse into the kind of MC K’Valentine is going to grow into.

Reviewed by Allie Martin

Columbia Nights – In All Things

Posted on May 2, 2017 by aaamc

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

Regina Carter – Ella: Accentuate the Positive

Posted on April 4, 2017 by aaamc

Title: Ella: Accentuate the Positive

Artist: Regina Carter

Label: Okeh/Sony Masterworks

Format: CD, MP3

Release Date: April 21, 2017

Jazz violinist Regina Carter’s newest album, Ella: Accentuate the Positive, is an ode to the music of Ella Fitzgerald in celebration of the 100^th anniversary of the singer’s birth. Featuring nine arrangements of Fitzgerald’s songs, this album puts Carter’s imagination on full display. This is not her first foray into Fitzgerald’s catalog, having recorded both “Oh, Lady Be Good” and “A-Tisket, A-Tasket” on previous albums. For this project, though, Carter goes deeper into Fitzgerald’s music, recording not only her well known tunes but also some lesser known songs, such as “Judy” and “I’ll Never Be Free.”

Carter’s technique is flawless throughout the album, but highlights include her wide vibrato on “All My Life,” as well as her blues slides on “I’ll Chase the Blues Away.” One of the best takes on Ella’s work is on “I’ll Never Be Free.” Carter’s version becomes a gospel blues song, but the tone of her instrument still holds onto and exemplifies the clarity of Fitzgerald’s voice. In this way, Carter’s arrangements evoke a variety of genres, including jazz, blues, gospel, and R&B, to name a few. Two of the tracks on the album feature vocalists Miche Braden and Carla Cook, and Carter’s interaction with them, particularly on “Undecided,” is impressive. Other collaborators on the album include bassist Chris Lightcap, drummer Alvester Garnett, pianist Xavier Davis and guitarist Marvin Sewell.

Carter has a long history of drawing on influences in her personal life for her music. I’ll Be Seeing You: A Sentimental Journey (2006) features her mother’s favorite jazz standards, whereas in Southern Comfort (2014) she traces and interprets her own heritage through music. In Ella, Carter reimagines Fitzgerald’s catalog, retaining her spirit but giving her listeners a fresh take on old classics. The result is a stunning combination of range, with Carter expanding on the depth and creativity already so present in Fitzgerald’s work.

Reviewed by Allie Martin

Akua Dixon – Akua’s Dance

Posted on April 4, 2017 by aaamc

Title: Akua’s Dance

Artist: Akua Dixon

Label: Akua’s Music

Format: MP3

Release date: February 7, 2017

Jazz cellist, arranger, and composer Akua Dixon’s latest project, Akua’s Dance, is an album that does an excellent job of displaying her range as a musician. Dixon has enjoyed a varied career, from playing in the Apollo Theater pit band to arranging strings for Lauryn Hill to serving as the director of new music for jazz violinist Noel Pointer’s ensemble String Reunion. She is also well known for her collaborations with her sister, the late violinist Gayle Dixon—the two were in Quartette Indigo with fellow musicians Maxine Roach and John Blake, Jr. As far as the musicians featured on Akua’s Dance, this project is a departure from the string quartet and other string centered ensembles that Dixon has worked with in the past. Instead, this album features guitarists Freddie Bryant and Russell Malone, bassists Kenny Davis and Ron Lewis, and drummer Victor Lewis.

Highlights from the album include “Afrika! Afrika!” and “Orion’s Gait,” with these being the two songs where Dixon shines most brightly. She varies her technique depending on the mood she wants to evoke, going from a lilting, singing, tone in one moment to a crisp technique the next. Also particularly impressive is Dixon’s use of range throughout the album, continually bringing the cello to new heights. She even steps forward as a vocalist in “Throw it Away,” adding her voice to the rich ensemble. In addition to offering her own voice as an instrument, Dixon also switches between the cello and the bass violin on this album. The bass (or baritone) violin offers a more full bodied sound than the cello, particularly on “I Dream a Dream.”

On this album, Dixon utilizes tools and techniques from various traditions, from jazz to spirituals. As Dixon’s third solo album, it is quite the departure from her earlier work (including her 2015 self-titled release), but still shows the same dedication to the craft as a musician, composer, arranger, and all around artist.

Reviewed by Allie Martin

Measha Brueggergosman – Songs of Freedom

Posted on March 1, 2017 by aaamc

Title: Songs of Freedom

Artist: Measha Brueggergosman

Label: Outside Music

Formats: CD, MP3

Release date: January 13, 2017

Canadian opera singer Measha Brueggergosman is known for the versatility of both her voice and her career. As a classically trained soprano, she performs both operatic roles as well as those of a concert artist. Her latest project, Songs of Freedom, is a collection of spirituals that corresponds with Brueggergosman’s discovery of her family’s history in Canada. The album is much more than just a collection of spirituals, however—it is also part of a larger documentary project including a film, a 4-part TV series, mobile app and interactive website with narratives from both Brueggergosman and the owner of Chalet Studio, in which some of the spirituals were recorded. The documentary explores how she came to know these spirituals, and to learn about herself and her family history in the process.

The website for the Songs of Freedom project provides a number of complementary elements to the album. In addition to performance videos showing Brueggergosman and her collaborators, there are also essays written by Brueggergosman, the musicians with whom she worked, and scholars of African American music. These essays help to frame the project and provide a foundation on the importance of spirituals to the black musical tradition. Also featured on this website is a 360 degree performance video of Brueggergosman recording “Swing Low, Sweet Chariot,” one of the spirituals featured on the album. The 360 scope of the video provides an intimate portrait of how she explored these spirituals and eventually made them her own.

Musically, “Swing Low, Sweet Chariot” is definitely one of the highlights of the album, along with other slow tempo spirituals such as “I Surrender All.” These two especially allow Brueggergosman’s voice time to fill in spaces, rather than to be rushed. In this exploration of spirituals, she joins the company of other black operatic singers such as Jessye Norman and Kathleen Battle. Within the documentary series and the accompanying album, Measha Brueggergosman is doing important work to uncover her family’s history and also elevate the status of spirituals as repertoire.

Reviewed by Allie Martin

Shirley Davis & the Silverbacks – Black Rose

Posted on February 1, 2017 by aaamc

Title: Black Rose

Artist: Shirley Davis & the Silverbacks

Label: Tucxone Records

Formats: CD, LP, MP3

Release date: March 29, 2016

The recently formed Shirley Davis & the Silverbacks consists of an Australian born soul singer and the resident house band at Tucxone Records, a soul label based in Madrid, Spain. The combination of these two forces is pretty unstoppable on Black Rose, their first full length project. Recorded in under a month’s time, the album is a mix of funk and soul, hearkening back to the 1960s. In fact, their band leader, Edu Martinez, describes the band as working similarly to the classic soul labels of the ‘60s.

Before joining the Silverbacks, Shirley Davis was featured in prominent Australian groups Deep Street Soul and Grand Wazoo. She also collaborated with Japanese funk band Osaka Monorail and the late Marva Whitney. Her voice draws an obvious comparison to the late great Sharon Jones, but is also reminiscent of Gladys Knight at times, Macy Gray at others. Davis’s voice has a versatility and an individuality all its own, though, which shines throughout the album.

The groove established in the opening title track, “Black Rose,” continues throughout the album, but never becomes repetitive. One of the best arrangements comes in the final track, “Make My Day,” which makes excellent use of organ. “Pay for Your Love” is another highlight, a slowed down song with Davis utilizing more of her range than she does on other parts of the album. There is one instrumental track on the album, “Burial of a Dead Star.” Surprisingly, though, it was not a standout arrangement compared to the other songs.

Overall, Shirley Davis & the Silverbacks are an impressive combination, and Black Rose is a solid first project.

Reviewed by Allie Martin

Emeli Sandé – Long Live the Angels

Posted on February 1, 2017 by aaamc

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

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

Solange – A Seat At the Table

Posted on December 1, 2016 by aaamc

Title: A Seat at the Table

Artist: Solange

Label: Saint Records/Columbia

Formats: CD, LP, MP3

Release date: November 18, 2016

A Seat at the Table is Solange’s third full-length album, and debuted to wide critical acclaim as well as a great deal of commercial success, for good reason. The album is a force of nature, ethereal and almost delicate at times, yet tackles some of the heaviest aspects of black life today. She sings about the range of the black experience and black womanhood, from depression on “Cranes in the Sky” to the pivotal and still relevant decree, “Don’t Touch My Hair.” “F.U.B.U.” is a self-determination anthem bearing the name of the ‘90s clothing brand, and “Mad” explores the seemingly perpetual regulation of black anger and frustration.

Several key collaborators help to bring the album’s vision together, including Solange’s parents. Both provide important interludes, with her father discussing school integration in “Dad Was Mad” and Mama Tina outlining the importance of affirming one’s blackness in “Tina Taught Me.” Most of the other interludes are handled by Master P, who recounts his own stories about self-worth as a young rapper coming up in the music industry. The album was co-produced by Raphael Saddiq, whose laid back funk grooves provide the perfect setting for Solange’s vocals.

This album is all the hashtags one could hope for: it’s #woke, full of #blackexcellence and #blackgirlmagic. However, A Seat at the Table is more than just part of the Black Twitter news cycle. It has staying power, it shows how Solange has grown and settled into her artistry, and it sets an example of what political music can (and should) be in these trying times.

Reviewed by Allie Martin

Miss Sharon Jones – Documentary and OST Album

Posted on December 1, 2016 by aaamc

Title: Miss Sharon Jones

Label: Anchor Bay

Format: DVD, Streaming

Release date: November 1, 2016

Title: Miss Sharon Jones, Original Motion Picture Soundtrack
Label: Daptone
Format: CD, LP, MP3
Release date: August 19, 2016

Of the many musical titans to have passed on in 2016, Sharon Jones was one of the best. With a one of a kind voice and an undeniable stage presence, Jones made her career as a soul singer captivating audiences all over the world. Miss Sharon Jones (2015), directed by Barbara Kopple, details both her battle with pancreatic cancer and her triumphant comeback with her backing band The Dap-Kings. In addition to the documentary, Daptone released the original soundtrack album featuring Jones’s music, with several of the tracks coming from her landmark 2007 album with the Dap-Kings, 100 Days 100 Nights. Other tracks include “Longer and Stronger,” from the 2010 soundtrack For Colored Girls, as well as “I’m Still Here,” an exclusive track for the documentary and also the last song released by Jones before her passing. Overall, Miss Sharon Jones and the accompanying soundtrack album serve as a fitting send off to a musical icon.

Reviewed by Allie Martin

Samora Pinderhughes – The Transformations Suite

Posted on November 1, 2016 by aaamc

Title: The Transformations Suite

Artist: Samora Pinderhughes

Label: Gray Area

Format: Digital (MP3, FLAC, etc.)

Release date: October 12, 2016

Although originally composed in 2011, The Transformations Suite is one in a long list of artistic projects related to and inspired by the Black Lives Matter Movement. BLM has pushed many artists to engage with questions of civil rights, police brutality, and black humanity, and Samora Pinderhughes is a leading voice in this conversation. The 24-year-old Juilliard trained pianist and composer is already a very accomplished musician, with a number of high profile collaborators. Pinderhughes is the musical director for Ava Duvernay and Ryan Coogler’s Blackout for Human Rights, a Sundance film festival fellow, and recently premiered a song inspired by the death of Sandra Bland at the Kennedy Center with Lalah Hathaway. His sister, Elena Pinderhughes, is also a successful musician in her own right, currently collaborating with Common as both singer and flutist, and featured in his most recent Tiny Desk concert at the White House as well as on his upcoming album. In fact, the two perform together in The Transformations Suite, with Elena being featured heavily on “Cycles.”

The Transformations Suite is tone poem with five movements: transformation, history, cycles, momentum (parts 1 and 2), and ascension. It features a combination of jazz and spoken word (with texts by Saul Williams and Tupac Shakur), and draws on all facets of the African-American musical tradition, from spirituals to hip-hop. Highlights include “Cycles,” which features a motif that will haunt you even after the movement is over. Another favorite is “Momentum (Part 2),” which questions the status quo and refuses to be silenced.

The Transformations Suite is an ambitious, extraordinarily timely composition, coming on the heels of another summer filled with police brutality. The music becomes a space of both collective mourning and healing, and also imagines a space of possibility in which we get free.

Reviewed by Allie Martin

Timothy Bloom – The Beginning

Posted on November 1, 2016 by aaamc

Title: The Beginning

Artist: Timothy Bloom

Label: Beyond the Sky Music

Formats: CD, MP3

Release date: September 23, 2016

Timothy Bloom’s latest project, The Beginning, is the first in a trilogy of albums called “The Life.” Bloom is perhaps best known for his 2011 hit with V. Bozeman, “Til the End of Time,” a stunning ballad that introduced him as a force in R&B. More than just a gifted singer, though, Bloom is also an accomplished songwriter and producer as well, having written for artists such as Ne-Yo, Chris Brown, and Smokey Robinson.

Musically, the EP doesn’t fit into just one category, with Bloom’s capable voice traversing across genres and decades. The opener, “Work It Out,” sounds like a ’70s R&B hit. Immediately following is “Adam and Eve,” which hearkens back to the pace and style of Prince. After that, “Me and Myself” swings into jazz. Even within this assortment of musical styles, Bloom stays true to his gospel roots, particularly on “Howl at the Moon.” He grew up listening to and singing gospel music in the South, and it shows. Although the EP clocks in at 23 minutes, Bloom features a lot of collaborators. Perhaps the best comes not from a vocalist but the French harmonica player, Frederic Yonnet. They pair up on “Sweet Angel,” with Yonnet featured throughout.

Overall, The Beginning is a solid EP, and listeners can look forward to not only this project but the two EPs to follow.

Reviewed by Allie Martin

André Cymone – Black Man in America

Posted on October 3, 2016 by aaamc

Title: Black Man in America

Artist: André Cymone

Label: Bandcamp

Format: MP3

Release date: September 30, 2016

André Cymone is perhaps best known for his friendship and collaboration with Prince, a relationship that has been brought back into the spotlight since Prince’s death in April 2016. They grew up together in Minneapolis, and Prince even lived with Cymone and his family for a period of time. In high school, they formed the band Grand Central, along with Morris Day. Their collaboration continued well into their careers, with Prince penning one of Cymone’s 1985 hits, “The Dance Electric.” Cymone then took a 27 year hiatus from releasing new music, and in in 2014 dropped his last album, The Stone.

Cymone’s latest project, Black Man in America, is a short EP but it packs a punch nonetheless. The album is overtly political in nature, with the first lyrics we hear being “No Justice, No Peace!” The opening track, after which the EP is named, argues that unless you’re living it, you don’t know what it’s like to be a black man in America. The second describes a “Hot Night in the Neighborhood,” which takes on violence and police brutality.

The third track, “Black Lives Matter,” is where Cymone’s politics get a bit uncertain. Musically, the song is an acoustic, intimate, plea for humanity and black lives. However, towards the end of the song, Cymone includes the phrase “All Lives Matter,” which has been decried by many organizers as a way of derailing the movement, and an unwillingness to stand up for black lives when it really counts. Here, perhaps, it just signals Cymone’s optimism. The final song is a cover of Leonard Cohen’s “Hallelujah.” Far from the slow Jeff Buckley version that is perhaps best known, Cymone’s cover is fast and uplifting—a fitting conclusion to a project calling for radical change and peace.

Reviewed by Allie Martin

Lady Wray – Queen Alone

Posted on October 3, 2016 by aaamc

Title: Queen Alone

Artist: Lady Wray

Label: Big Crown Records

Format: CD, LP

Release Date: September 23, 2016

Queen Alone is Lady Wray’s first album on Big Crown Records, but it is far from her first foray into the music industry. Beginning her career as Nicole Wray, she was first a protégé of Missy Elliott in 1998 with a hit single, “Make it Hot.” She was also part of a ‘90s R&B cohort featuring Elliott, Aaliyah, Timbaland, and Ginuwine.

Compared to her earlier music, Queen Alone comes as a reinvention of sorts for Wray. Between her first album and this new release, she participated in a number of different projects, including a group with British soul singer Terri Walker and collaborations with the Black Keys. Throughout the ups and downs of her career, Wray’s voice has both evolved and maintained its power and charm. Her timbre is similar to Fantasia Barrino, but also has a levity reminiscent of early Brandy.

Musically, the album has a retro vibe, a throwback to soul and R&B of the 1960s and ‘70s. Standouts include “Make Me Over,” a ballad that allows Wray to showcases her raspy runs, as well as “Underneath My Feet.” Overall, the transformation of Wray’s sound is a welcome one. She has come a long way from her days as Missy Elliott’s protégé, and seems to have found her place at Big Crown Records.

Reviewed by Allie Martin

Tarica June – Stream of Consciousness Vol. 1.5

Posted on October 3, 2016 by aaamc

Title: Stream of Consciousness Vol. 1.5

Artist: Tarica June

Label: Bandcamp

Format: MP3

Release Date: March 1, 2016

Tarica June’s latest EP, Stream of Consciousness Volume 1.5, takes on a wide range of topics, from gentrification to life as a millennial. This is the third release from the lawyer and rapper, preceded by Moonlight (2010) and Stream of Consciousness Volume 1 (2014). Born and raised in Washington D.C., June is carving out her place in a hip-hop community that includes a diverse array of artists, such as Wale, Fat Trel, Shy Glizzy, and of course a host of go-go musicians as well.

Over the course of the EP’s five songs, June displays versatility and leans toward introspection, focusing on her craft, her grind, and her potential to make it as an independent artist. Like other popular rappers today, namely Chance the Rapper, she rejects the necessity of a label, instead releasing her music online. Her flow is similar to New York rapper Nitty Scott, MC and Chicago’s Noname. There are also hints of influence from an older generation of rappers, such as Queen Latifah.

The most popular track on the album by far is “But Anyway,” which is an assessment of a rapidly gentrifying DC. As a third generation resident, she reminisces on the days of “Chocolate City,” referencing Marion Barry’s summer youth employment program, DC’s Metro system, as well as heavier topics such as mass incarceration and the displacement that gentrification is causing. The video, which features June strolling around key sites in DC, went viral in March. Currently working on her first full-length album, the city is excited to see what comes next from Tarica June.

Reviewed by Allie Martin

Scott Tixier – Cosmic Adventure

Posted on September 1, 2016 by aaamc

Scott Tixier
Title: Cosmic Adventure

Artist: Scott Tixier

Label: Sunnyside Records

Formats: CD, MP3

Release Date: September 9, 2016

Cosmic Adventure marks the second album from French jazz violinist Scott Tixier. Born in France, and trained in both classical and jazz violin, Tixier relocated to New York City in 2008 and has been busy in the jazz scene there every since. His performance resume is quite diverse, from Stevie Wonder’s Songs in the Key of Life Tour to being featured on the soundtrack of the Keanu Reeves film John Wick. On Cosmic Adventure, Tixier shines not only as performer, but as a composer as well; all of the originals on the album are penned by him, except for “Mr. Tix,” a composition by French harmonica player Yvonnick Prene.

One of the major highlights of the album is the interplay between Tixier and Prene, who has a featured role on the album. The combination of violin and harmonica is initially a somewhat unusual pairing but these two make it work, with one of their best outings being “100,000 Hours.” In the final song, though, it is the interplay between Tixier and tenor saxophonist Chris Potter that shines through, as they beam themselves to Mars at the speed of light. Energy is great from the other players as well: Justin Brown (drums), Glenn Zaleski (piano), and Luques Curtis (bass).

Influence comes from many places on this album, in particular a heavy Latin influence. Percussionist Pedro Martinez provides congas for the first two tracks, “Maze Walker” and “Dig It,” and his presence is felt widely. Tixier also utilizes his French influences, most notably through acknowledging the work of Jean-Luc Ponty. As the most eminent jazz violinist not only in France but arguably in the world, Ponty’s presence is felt throughout the album. Even the album’s title, Cosmic Adventure, hearkens back to Ponty’s 1978 release Cosmic Messenger. The other French influence on the album is the famous jazz guitarist Django Reinhardt, whose composition “Troublant Bolero” is featured. The only other standard on the album is Erroll Garner’s “Misty,” which features a stunning extended pizzicato section. This is one of Tixier’s strengths: using the wide vocabulary of the violin to fit the needs of his improvisational jazz expressions. His careful use of vibrato, pizzicato, and other extended techniques keeps the listener at the edge of their seat, waiting to hear what he’ll do next.

In Cosmic Adventure, Tixier is able to place the cosmos on a spectrum, shifting from one mood to the next, and from intricate details to grandiose melodies without missing a beat.

Reviewed by Allie Martin

Macy Gray – Stripped

Posted on September 1, 2016 by aaamc

Title: Stripped

Artist: Macy Gray

Label: Chesky Records

Formats: CD, Digital

Release Date: September 9, 2016

Macy Gray’s latest studio album, Stripped, displays the comfort of a veteran and the willingness to explore new territory at the same time. Recorded in just two days in a Brooklyn church, the album’s 10 tracks are a combination of covers, originals, and new arrangements of Macy Gray songs.

https://www.youtube.com/watch?v=7D28ssy4c0o

One such arrangement is “I Try,” Gray’s hit from her 1999 debut album On How Life Is. This new arrangement allows for some flexibility that’s missing from the original, especially rhythmically. The musicians featured on the record—Ari Hoenig (drums), Daryl Johns (bass), Russell Malone (guitar), and Wallace Roney (trumpet), provide Gray a freedom that allows her voice to function like the jazz instrument it has remained all these years.

Gray’s rasp allows the album’s covers to shine as though they were her own. She turns Metallica’s “Nothing Else Matters” into a convincing jazz tune, with the help of star solos from Roney and Malone. Her cover of Bob Marley’s “Redemption Song” is relatively straightforward, yet haunting.

Besides Gray’s vocals, the other standout aspect of this project is the production quality. Produced by Chesky Records for their binaural recording series, this album comes to life in a pair of headphones. This method of recording attempts to put the listener in the room with the musicians, which is ideal for the intimacy of the small jazz ensemble on this album.

Stripped is well paced, with grooves that complement each other, and a performance from Macy Gray that highlights her songwriting, vulnerability, and command of a voice that sets her apart from her contemporaries.

Reviewed by Allie Martin