AAMAM: We Shall Overcome, Charleston! Part 19 of 30

Today I dedicate the song “We Shall Overcome” to the grieving family and friends of the victims of the Emanuel African Methodist Episcopal Church in Charleston, S.C.  What happened there was a horrible and sad event perpetrated by a lost and hate filled individual. I pray for the healing and the restoration of hope for the city as well.

The song “We Shall Overcome” has served as the hope-filled anthem of the Civil Right movement.  Its message contains a powerful sentiment of hope and redemption for those in crisis. The song was popularized by the civil rights activist and folk singer Pete Seeger who taught the song to just about everyone he met. The song “We Shall Overcome” was derived from gospel music composer Rev. Charles Albert Tindley’s song “I’ll Overcome Someday” written at the turn of the century.

Coincidently, research suggests “We Shall Overcome” was first sung in Charleston S.C. by churches and striking food and tobacco workers in the late 40s.  As such the song must continue to be sung in the city of Charleston. In fact all of our collective voices should sing in unison to usher in a feeling of hope all across America. Hope is what we need.

We shall overcome, Charleston!

The Power of AAMAM is real!

AAMAM: Miles Davis’ “So What” Is Perfect! Part 18 of 30

On March 2, 1959, Miles Davis recorded “So What” at Columbia 30^th Street Studio in New York, with legendary musicians Paul Chambers (bassist), Bill Evans (Pianist), John Coltrane (tenor saxophonist), Julian “Cannonball” Adderley (alto saxophonist), and Jimmy Cobb (Drummer). “So What” is the best song ever recorded on the best album ever recorded in the history of recording, Kind Of Blue. Kind Of Blue is consistently among the top 10 non debut jazz albums purchased every year since 1960. You have this album, right?!

“So What” is the supreme model for modal chord structure. “So What” is uncanny in that every solo is perfect—every note is in the right place. “So What” changed the sound of jazz for the entire decade of the 60s.

Sit back, turn it up, and listen. Happy AAMAM!

AAMAM: Do You Know “Rappers Delight?” Part 17 of 30.

L to R: Big Bank Hank (1956-2014), Master Gee, and Wonder Mike

In 1979, “Rappers Delight” was released by the rap group Sugar Hill Gang. The song was an instant success, which opened the door for rap music and hip hop culture to enter the main stream. Prior to its release, rap music was commonly created in the moment with DJs spinning records and providing musical spaces and back beats for budding MCs to rap over. It was rarely recorded and truly an underground genre.

“Rappers Delight” was the first rap song to top multiple music charts around the world.  It was also the first rap song recorded that extensively used samples to create a back beat and as such made the Sugar Hill Gang the first rap group to face a law suit for illegally sampling songs (The group sampled the band Chic’s song “Good Times” without permission–they ultimately gave credit to Chic). Furthermore, they were the first rap group to be bilked out of millions by their management. (See I Want My Name Back documentary)

Historically, the Sugar Hill Gang’s “Rappers Delight” utilized the African oral tradition of rhythmic storytelling over drum beats, which is the defining element of hip hop.

Take a listen to “Rappers Delight!” Some of you may remember all the lyrics and the rest of you can learn the lyrics for the first time here.

Enjoy AAMAM!

AAMAM: Queen Latifah Aint No Bitch! Part 16 of 30

Boldly confronting the misogynistic behavior of young men, Queen Latifah’s song “U.N.I.T.Y.”, in no certain terms demanded respect. Through her song, she became the once-and-for-all spokesperson for women weary of abuse, hurtful offensive behavior, violence, objectification, and slander.

Released in January 1994, on Queen Latifah’s Black Reign album, “U.N.I.T.Y.” was a no holds barred statement for respect. Latifah’s first words: “Who you calling a bitch?” set the tone for the song. With those lyrics, she instantly managed to grab the attention of the listener to forewarn them of the lyrical hostility that was about to ensue. She pointed out the maltreatment by men and in the end demanded respect.

Latifah’s delivery or rather her lyrical flow was rhythmic and relentless, which served to further condemn guilty men. It is one thing to be merely told off, but to be told off with lyrical artistry is another thing.

In terms of her video below, Latifah’s gritty facial frown expression created an indelible image of her anger with the careless disrespect made by men.

Queen Latifah won a Grammy award for best solo performance solidifying the collective sentiment of women in the mid 90s.

That’s hip hop for ya—continuously reporting the current pulse to the masses.

Continue to enjoy your AAMAM!

AAMAM: Jimi Hendrix Feels The Star Spangled Banner. Part 15 of 30

By 1969, rock guitarist Jimi Hendricks had release 3 full length albums: Are You Experienced (May 1967), Axis: Bold As Love (December 1967), and Electric Ladyland (October 1968). He completed an almost 3 year world tour; musically riffed his way into being known as the best rock guitarist of the era, and parted ways with the Jimi Hendrix Experienced band.

In 1969, Hendrix was a bonafied rock star.  When he signed on to perform at the Woodstock Music & Art Fair—the most famous music fest of all time and one in which changed the history of rock music on a grand scale—he requested to be the last performer at the festival.  Hedrix was scheduled to perform on Sunday at midnight.  But because of rain delays and an unorganized schedule, He did not perform until 9:00 am on Monday morning.  When he finally made it to the stage, the waning crowd erupted in cheer.  He played a full two hour set. Toward the end of his set Hendrix played what is today the most recognizable and impassioned rendition of the Star Spangled Banner in history.

Without words, Hendrix conjured up missile strikes and explosions in his riffs and most importantly the emotion and majesty of what it feels like and what it means to be American.  However, Hendrix went beyond the patriotic zeal in his riffs—He also captured the pain and sadness of what it is to be American in a time of war.  The youth of America, whom were also the Woodstock audience, agonized and protested the very thought of war in an era of where in which they as citizens were about the business of promoting peace and love.

Jimi Hendrix’s Woodstock performance of the Star Spangled Banner carried with it all the anguish and raw emotion that is so present in African American music. This music always tells the emotional story of the Black presence here in America.  Hendrix carried on the tradition.

Happy AAMAM!

AAMAM: Mahalia Jackson Sings His Eye Is On The Sparrow. Part 14 0f 30

Sometimes when it comes to listening to spirituals the less said the better. Just listen and be free!

For those of you who know the music of the Black church and are listening to her be warned you might just stand up where you are, wave to heaven, and catch the quicken! Nuff said!

AAMAM: Remembering B.B. King! Part 13 of 30

Thirty days ago today we lost a blues legend B.B. King.  Since his passing we have been reminded of his surely earned accolades; revisited our favorite song of his; watched his live performances on YouTube; wondered what will become of his guitars; marveled at his longevity; tuned into his life celebration and home going ceremony; and are currently watching the aftermath of his passing among his family—those who loved him the most and have experience his love—are struggling to find reason and understanding of his death.

As time marches on, we remember B.B. King in so many ways.  I have a special and fond memory of King in a recording studio.  I was lucky enough to have had the privilege of watching him record a song.  As luck would have it, my good friend Alma Ramirez, who has work in the production end of the music business with many notables, was project coordinator on B.B. King’s 37^th studio album Let the Good Times Roll: The Music of Louis Jordan.  Knowing I was a fan she invited to come and witness King in action. Once I arrived, I quickly found out that King wasn’t the only legend in the studio.  There I witnessed King in conversation with Dr. John, drummer Earl Palmer, and saxophonist Hank Crawford! Needless to say I was floored. I watched them interact for a while. In time they moved to their places—Dr. John slid behind a piano, Palmer climbed behind his drum set, and Crawford disappeared behind a sound partition were his sax and an expensive mic awaited his presence. Before you knew it there was a quiet count in and they began to record the Louis Jordan song “Jack, You’re Dead”. I was amazing and I watched it all happen before my eyes.

To watch legends work out their craft in the studio is a rarity for most of us and to have seen King lead Dr. John, Palmer, and Crawford is something I will never forget. Thanks Alma!

Listen to what I had the great luck to see!

Enjoy AAMAM!

AAMAM: Nina Simone. Pushing The Ironic Show Tune! Part 12 of 30

1933-2003

In 1963, in America, the Civil Rights movement was in full bloom. It was led by leaders whom held social sway with the oppressed. Collectively, leaders and oppressed, pushed an urgent agenda of freedom forward. Conversely, there were forces, which pushed back against the agenda of freedom.

On June 12, 1963, NAACP field officer, activist, husband, and father Medgar Wiley Evers was gunned down in the driveway of his Jackson, Mississippi home by the Ku Klux Klan who led the charge of pushing back against the agenda of freedom. Sympathetic Americans were outraged.

One outraged in particular was singer, pianist, and social activist Nina Simone. In response to the killing of Evers and the relentless brutality in the state against the oppressed, she penned, arguably her most famous protest song, “Mississippi Goddam!” In true and total frustration with the violent push-backs by white Southerners, she responded in her most natural way—in song! “Mississippi Goddam!” allowed her as well as her oppressed listening audience to vent their emotions in tune. However, juxtaposed to the song’s angry rant, Simone purposely recorded the song in an ironic cheerful show tune (like) style. Why? Because she could. (and I believe she wanted to hoodwink the white Southerners into tapping their feet while listening to her song.)

Take a listen to Simone’s angry response wrapped in a cheerful package. Watch your feet!

Happy AAMAM!

AAMAM: Ornette Coleman, RIP! Part 11 of 30

Today the world has lost an extraordinary musician, philosopher, guard, teacher, and man! Today, avant garde saxophonist Ornette Coleman died—may he Rest In Peace and love.

Always the innovator in musical thought and sonic structure, he pushed the bounds of what defined the jazz genre. In scientific terms, to be so bold, he manifested punctuated equilibrium and performed cladogenesis within the jazz genre. His distinct musical approach was an immediate change from the standard and created new ways for jazz to be or exist.

Coleman led the way for new jazz to come.

His album The Shape Of Jazz To Come set a new bench mark in music. It was well ahead of its time in many respects and was received with confusion and caused sonic discomfort to those unwilling to release their strongly held jazz sensibilities.  Today Coleman’s iconic album is embraced as the go-to standard of study for musicians looking to expand their musical vocabulary.

Have a great avant garde AAMAM (day)

Get a glimpse into Coleman’s forward thinking mind by listening to what set the world on its ass in 1959!

AAMAM: Donny Hathaway, Immutable Sadness and Freedom! Part 10 of 30

Music has the power to rectify the internal struggles of the mind. Its various rhythms, beats, and chord progressions speak to the soul in a remarkable way. Among many things, it soothes and brings about feelings of hope. The song “Someday We’ll All Be Free” is just such a song. The song was written with love and care by song writer Edward Howard to encourage good friend and troubled soul maestro Donny Hathaway in his sadness that was seemingly immutable.

Hathaway recorded the song and upon listening to the final play back cried out uncontrollably in joy. It is what he needed to hear. For a brief moment Hathaway was moved beyond his sadness to great joy and hope. This is the power of music.

However, for Hathaway, he needed a continual stream of encouragement to keep him barred from his sadness. “Someday We’ll All Be Free” although powerful in its message, was one of the last songs he recorded. Hathaway’s sadness thrived in silence and consumed him in 1979.

Moreover, “Someday We’ll All Be Free” became the mighty, but quiet anthem to the later days Civil Rights movement and the Black Power struggle with its overwhelming message of hope in the midst of the battle for equality.

Enjoy AAMAM!