AAMAM: The End Is For The Grown And Sexy! Part 30 of 30

Ok people we have come to the end of African American Music Appreciation Month or some of you may know it as Black Music Month (check out part 1 of 30 for more info). It’s been great. We started it off with James Brown and the relevance of his voice in a new era, listened to Milles Davis’ greatest recording ever, acknowledged the death of Ornette Coleman and how he change the sound of jazz, celebrated the life of BB King and my experience with him, we dedicated “We Shall Overcome” to the citizens of Charleston and the tragedy that took place there, and we jammed to the greatest hip hop group ever, the Fugees “Mona Lisa can I get a date on Friday and if you’re busy I wouldn’t mine taking Saturdaaaay aaaay  aaay  round up the posse fugee coming round the way . . .!” That was just to name a few of the great music experienced over the past 29 days. It’s ok to go back and check out what you missed.

AAMAM is a great time to celebrate the power of black music and the swaying force it has in black culture. It’s also a great time to remember those unique and soulful artist who created it and listen to their messages they addressed in American life as black artist.

So in the end, lets just listen to some thing nice and sweet! No troubling issues about society or a cultural point to be made. Just a nice and easy up tempo contemporary song about enduring love. Justsoulyouknow dedicates this song to AAMAM!

Take a listen to soul crooner Kem and my girl Chrisette Michele work it out on the duet “If It’s Love.” Grab your significant other, pick a part and sing along. Careful, this is for the grown and sexy! Ha!

Peace!

AAMAM: When The Glory Comes! Part 29 of 30

Glory, the theme song to the 2014 film Selma, about the march for voting rights that began in Selma, Alabama and ended in the state capital of Montgomery. The song, written by rapper Common and singer John Legend, which garnered and Oscar, recalled images of the march and reminded the listener of the struggles that happened not too long ago. Glory also, sadly, sent a message that those struggles long ago still exist today as it made reference to Ferguson, Missouri.

Moreover, Glory continues to speak to the struggles of our time. New verses that include Baltimore and Charleston can easily find their place in between the choruses of this song.

The struggle continues.

Remember. Step up. Press on.

“Now the war is not over

Victory isn’t won

But we’ll fight on to the finish

Then when it’s all done

We’ll cry Glory!

We’ll cry Glory!”

AAMAM is glorious!

 

 

AAMAM: Thank You For Being 100, Sly! Part 22 of 30

The close out of the ‘60s era ended with the release of a song that examined the experience of trying to fit in to a society that struggled to accept individuality to say the least. Sly And The Family Stone released “Thank You (Falettinme Be Mice Elf Agin)” in December 1969.

“Thank You (Falettinme Be Mice Elf Agin)” became a hit and remained high on the music charts for the first half of 1970. Sly And The Family Stone was famous for pushing social and cultural messages through their songs.  They forced the listener to bop their head, snap their fingers, and stomp their feet to the most current social concerns of that era. “Thank You (Falettinme Be Mice Elf Agin)” was indeed such a song. Filled with personal experiences from Sly, the song created an image of a person struggling with overzealous authority, the awkwardness of high society, and the price to be paid for being different all the while being both thankful and  resentful for the experience as ones true self.  If you can get past the funkiest of grooves provided by the band (take note of Larry Graham’s ground breaking thumb slapping technique) the message in the lyrics are loud and clear.

Just to mention–upon listening to the first verse, one will notice a seemingly prophetic image of Trayvon Martin and George Zimmerman take shape:

Lookin’ at the devil, grinnin’ at his gun. Fingers start shakin’, I begin to run. Bullets start chasin’, I begin to stop. We begin to wrestle, I was on the top.

However, this is not prophetic in the least; this type of imagery has been a constant in American society before Sly’s era, during Sly’s era, and sad to say, certainly since Sly’s era.

Take a listen.

Authentically AAMAM!

AAMAM: Curtis, Your Future Is So Very Bright! Part 21 of 30

Curtis Mayfield. (1942-1999)

The year1970 witnessed the released of Curtis Mayfield’s album Curtis. On it Mayfield acutely addressed the social climate of urban America.  Facing forward with the ‘60s in his rearview mirror, Mayfield’s Curtis headed down a highway of new musicality robust in optimism—new found humanity for a people in search of their just rewards for a battle well fought.

Mayfield’s Curtis musically ushered in a bright new future with its uplifting lyrics and music, which could be heard on his single “Move On Up.”  Tom Maginnis, music reviewer for Allmuisic .com, best describes the texture of “Move On Up” as he says,

The optimistic atmosphere can be heard from the very opening joyous horn riff, signaling a kind of feel-good fanfare as the song’s brisk rhythm is quickly sustained by a grooving percussion section of congas, Don Simmons’ rollicking drum kit, and a steady strum of clean electric guitar. Mayfield uses a variety of horn and string riffs as an ingenious call and response device to his silky smooth vocal performance at various points throughout the song’s intricate arrangement of a multitude of instruments. The overall effect is one of a unstoppable wave of positive sound, rolling forward, moving on up, as Mayfield offers words of encouragement, of progress through hard work and perseverance.

With that being said, have a listen!

You have a bright future with AAMAM!

AAMAM: Digable Planets Are Cool Like Dat! Part 20 of 30

Were you “cool like dat” in the early ‘90s? Digable Planets was. They hit the hip hop scene like no other rap group of the era. Combining elements of cool jazz and richly dense, positive, and melodic lyrics they established new boundaries for hip hop music.

Digable Planets, founded by Ishmael “Butterfly” Butler, Mary Ann “Ladybug Mecca” Vieira, and Craig “Doodlebug” Irving, carried with them new and bold ideas for hip hop into the recording studio.  Luckily, recording their hit single “Rebirth Of Slick (Cool Like Dat)” on their first album Reachin’ (A New Refutation Of Time And Space [1993]), the group was afforded the grand opportunity to work solo in terms of producing their single as well as their entire album. As such, they were able to explore the parameters of their ideas and ultimately solidify their distinctive sound. Their unique ground breaking crossover hit “Rebirth Of Slick (Cool Like Dat)” became part of the groundswell of positive hip hop of the ‘90s, later known as the Golden Age of hip hop.

“Rebirth Of Slick (Cool Like Dat)” ultimately won a Grammy for best rap performance in 1994.

Yeah, AAMAM is cool like dat, too!

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!