Mama What’s a Cosmopolitan?: If You Got Funk You Got Style!

Imagine you and your significant other getting dressed in your finest evening wear.  Watch, necklace, bracelet, and earrings adorned.  You’re going out tonight!  You head to your car, drive downtown, and enter the premier concert hall of the city.  Everyone is excited and dressed to the nines! This must be the philharmonic’s opening night!  This is a highbrow event!  Together you find your seats just before the lights dim.  In anticipation, you hold your breath.  Your wait is brief.  Suddenly the stage lights shine to reveal the assemblage of . . . wait for it . . .wait for it  . . . Parliament/Funkadelic and a rambunctious funk mob on stage.  They begin to tear shit up (musically speaking of course). You look at your significant other and gleefully discover you are both sporting the same quintessential funk face.  You throw your hand up forming the righteous universal funk symbol and rock out.  Imagine that!

Goin out tonight!
By Joshua Aaron Photography

The night was seemingly set up for a sophisticated event.  Your attire and the venue location suggested as much.  The atmosphere was ripe to embrace a stiff collar crowd.  This was not classical music.  With P-Funk on stage were you truly going to engage in a so-called “highbrow” event?  Of course, you were!  Funk music is everything classical music is and more.

Classical music has certainly achieved, in over three hundred years, a position in our society of reverence and honor.  Its widely known composers Bach, Mozart, and Beethoven are pedestalistic gods and known as such in and out of the genre.  Most often intellectuals and the cultured are drawn to classical music.  Statistics reveal the college-educated and affluent are largely attracted to the genre.  They—“the sophisticated”—not only enjoy and indulge in the accouterments of classical music but it also defines them.  The richly appointed hallowed concert halls, tailored suits, designer cocktail gowns, and opening nights cater to their refined and even snobbish worldly taste.  Classical music is indeed a highbrow phenomenon.  However, it has a younger sibling that mirrors its every move and defines its very own high brow flare.

Sly And The Family Stone. Cosmopolitan at its finest!

Funk music has certainly achieved, in over fifty years, a position in our society of reverence and honor.  It’s widely known progenitors Brown, Clinton, and Stone are pedestalistic gods and known as such in and out of the genre.  While the ‘sophisticated’ who chiefly consume only classical music and little of anything else the rooted funk music consumer is attracted to classical and beyond.  Jazz, r&b, blues, gospel, soul, swing, rock, and metal are often devoured by the funk listener.  Funk music, like classical music, also holds the attention of intellectuals, the cultured, educated, and affluent.  Moreover, it also draws to it the enlightened, the academic, literate, and articulate.  In this way the funk music listener is beyond sophisticated, rather they are ‘Cosmopolitan’—the sharing of all things wrapped in the ONE!  Funk music can be heard in the richly appointed hallowed concert halls as well as in stadiums, arenas, street festivals, parks, backlots, and garages.

Conversely, funk music is defined by the listener.  Unlike classical, which is static in terms of its response to current affairs and its inability to create a space for active audience response during a performance, funk music is qualified by its attention to current affairs and welcomes the immediate response of the audience (call and response).

Clinton in a suit!
By: Marcy Guiragossin

In the end, you can go to a funk music concert in your tailored suit and designer evening gown.  You can listen to EWF at the Chandler, (Sup, L.A.). You can funk out and follow along with intellectuals like Brown and Vincent in the front row as they raise their hand with the righteous universal funk symbol and chant:

If you got funk, you got style

You’re funkin’ and you’re styling all the while

When you got funk, you got class

You’re out on the floor movin’ your ass . . .

Yeah, funk music is everything classical music is and more. Take a listen.

AAMAM: Screamin’ The Gospel! Part 28 of 30

blind

Archie Brownlee is on the far right. (1936-1960)

The Five Blind Boys Of Mississippi were no doubt one of the greatest, if not THE greatest singing group in gospel music.  Noted for their strong harmonies and hard gospel singing style the group delivered deeply emotional and spiritual Christian messages in song. Helping to catapult the group, which had its beginnings in the Piney Woods School for the blind near Jackson, Mississippi, was lead vocalist Archie Brownlee.  His vocal presence was commanding and felt immensely in every song.  Brownlee became famous for his ability to release an intense guttural scream in song.  In a spiritual sense he was attempting to connect with the Angels and God in heaven.

Vocals like Brownlee’s were, for the most part, unprecedented in recorded gospel music of the era, rather, vocals like his were most familiar within the walls of the Black church.  Many of Five Blind Boys Of Mississippi’s contemporaries heavily borrowed from their hard gospel harmonic singing style and the guttural screams of Brownlee.  Pop artist such as James Brown, Little Richard, and Sam Cooke, who have their roots in gospel music, cited The Five Blind Boys Of Mississippi and Archie Brown as influential in their craft.

Take a listen to the Five Blind Boys Of Mississippi and the screams of Archie Brownlee.

Enjoy AAMAM!

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

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

Mahalia-JacksonSometimes 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: Oh Happy Day! Beyond The Walls Of The Black Church. Part 6 of 30

Edwin_Hawkins_Singers

Edwin Hawkins Singers singing “Oh Happy Day” 1970.

Those whom are intimately familiar with the music of the Black church are compelled to rejoice upon hearing the rhythmic chord progressions of “Oh Happy Day.”  The song relays the joyous moment after having one’s sins washed away—a baptism by water.  “Oh Happy Day” reiterates faith and hope the Black church has in the redemptive power of Jesus Christ.

The song “Oh Happy Day” stems from an 18th century hymn. It was rearranged by contemporary gospel musician and singer, Edwin Hawkins. The song was sung by the Edwin Hawkins Singers and released on the album Let Us Go Into The House Of The Lord in 1968 and became a huge hit in 1969.  Its rhythmic groove, which was similar to popular soul music of the era, allowed it to easily cross over onto the soul and urban charts of the day.  Not only was it a spiritually rejuvenating song but also one, which appealed to a pop audience.  Hawkins’ song went on to sell upward of two million copies.

“Oh Happy Day” set the foundation of contemporary gospel music with its pop rhythm and blues bounce that pushed and challenged the boundaries of gospel music of the late 60s.  Today contemporary gospel music expands in such a way that continues to set new bench marks and push gospel music boundaries.  As well, today, “Oh Happy Day” has found its place among the traditional standards of great gospel songs.

Oh happy day, AAMAM!

Completing Selma to Montgomery: The Power of Song!

 

 

King and Marchers singing (photo by Matt Herron)

King and Marchers sing on their way to Montgomery  (photo by Matt Herron)

This week marks the 50th anniversary of the beginning and completion of the historic voting rights march from the sleepy town of Selma, Alabama to the state capital of Montgomery. Just a few weeks earlier in March 1965 several failed attempts to conduct a march led by Dr. King and civil rights groups were stalled by Alabama’s governor, George Wallace. Wallace fought to maintain a segregated society. He used State Police, who joined forces with a hostile citizenry, to violently strike down the mass of folks marching for their voting rights. One of those failed attempts was known as “Bloody Sunday,” which took place on March 7th. This event was gracefully depicted in the film Selma and nationally remembered with great ceremony earlier this month in 2015.

In the days following “Bloody Sunday,” Dr. King, the SCLC, and SNCC assembled an unprecedented troop of national supporters from a wide variety of clergy, civil rights groups, and laymen. Together they pressured President Johnson to introduce the Voting Rights Act to Congress, which he did so on March 17th. At this point, with voting rights legislation moving forward, Dr. King and his national supporters were Federally sanctioned to begin and complete the march with full protection by the Alabama National Guardsmen and the FBI (courtesy of LBJ).

The Selma to Montgomery march began its great 54 mile stride to completion on March 21, 1965. The marchers were driven by the urgency of the situation and to complete

(Photo by Matt Herron)

(Photo by Matt Herron)

what they started so they covered 10 to 12 miles a day. They slept the cold nights in the yards and fields of sympathetic citizens on the route to Montgomery. But more succinctly, what drove them and carried them step by step for mile after mile was music.

The march from Selma to Montgomery was not a quiet one.  It was filled with hums and moans and Negro Spirituals familiar in the Black church. Melodic singing voices soared over the sound of moving bodies and the shuffling of shoes on the road.  Hand claps, repeating choruses, solo voices, and call and response filled the air with an electric rhythm that maintained the movement and spirit of the March.  Song was a present and palpable force during the long march.

Photo by Spider Martin

(Photo by Spider Martin)

It lifted spirits in moments of doubt; it joined folks from all walks of life in support of a common goal. Music permeated and propelled their march from Selma to Montgomery.

On the fourth of five days of marching, everyone gathered just outside the city limits of Montgomery on the campus of The City of St. Jude High School to rest one more night before marching to the Capital of Montgomery in the morning. With the cooperation of Dr. King, singer and actor Harry Belafonte organized a grand rally to continue to motivate and uplift the marchers who were nearing the end of their journey.

Sammy Davis, Jr. sings the National Anthem at the Stars for Freedom rally. (photo by Robert Abbot sengstacke)

Sammy Davis, Jr. sings the National Anthem at the Stars for Freedom rally. (photo by Robert Abbot Sengstacke)

Belafonte organized the Stars for Freedom rally.  The rally was a musical showcase of stars which included the likes of Tony Bennett, Pete Seeger, Sammy Davis, Jr., Odetta Holmes, singing group Peter, Paul and Mary, Nina Simone, and many others.  The stars sang about hope, freedom, love, and the Savior. Music washed over the crowd filling them with joy and a sense of accomplishment. The marchers rejoiced in song until 2am.

Nina Simone sings! (photo by Robert Abbot Sengstacke)

Nina Simone sings! (photo by Robert Abbot Sengstacke)

Odetta Holmes and Belafonte sing of hope (photo by Robert Abbot Sengstacke)

Odetta Holmes and Belafonte sing of hope (photo by Robert Abbot Sengstacke)

King and wife Coretta enjoy the songs! (photo by Spider Martin)

King and wife Coretta enjoy the songs! (photo by Spider Martin)

On March 25, 1965 the Marchers completed their five day 54 mile trek to the state capital in Montgomery. They marched right up to the capital building singing “we shall overcome.” And they did.

After a few false starts, the gathering of like minded freedom fighters, the turnaround of a President, and the promise of a safe passage the March from Selma to Montgomery was completed all the while inspired and supported by music.

Belafonte, Leon Bibb, and Joan Baez sing on the capital steps in  Montgomery (photo by Matt Herron)

Belafonte, Leon Bibb, and Joan Baez sing on the capital steps in Montgomery (photo by Matt Herron)

Your Sunday iPod Add: Valerie June and Organic Moonshine Roots Music

val 1When Tennessee born, guitarist, singer, and songwriter Valerie June is asked about the type of music she plays she simply responds by saying “it’s Organic Moonshine Roots Music!” Of course it is! Valerie June writes and records music reminiscent of the serendipitous Seeger family re-discovery, Elizabeth Cotton. Cotton was indeed one of the many progenitors of turn of early century guitar based root blues and gospel music of the South. June easily fits in that genre with a little soul, country and R&B added in the mix. Her latest and first studio produced album Pushin’ Against A Stone (2013) is a grand example of her stated style of music–Organic Moonshine Roots Music (OMRM). Co-Produced by Dan Auerbach of the awesome Black Keys and features legendary artist Booker T. Jones (Booker T. & The M.G.’s), this album is entirely grooving down a decidedly different road–a respite excursion from any terrestrial radio today. For me, it hits the spot on my quest of listening to good music this year!

June’s album features the song “You Can’t Be Told”. This is a bold and catchy mid tempo song that will make one hum its chorus long after the song has ended. It begins with a crunchy and gritty guitar riff as well as handclaps that keep the listener (well the indoctrinated listener) rooted in raw Southern gospel. val 2This establishes the chorus. You are instantly hooked! Junes voice, piercing and shinny, slides in to the verse to sustain the songs momentum. She soon takes a guitar solo that is skillful and compelling. This joint is rockin’!

Also not to be missed on June’s album are “Workin’ Woman Blues” and “Somebody To Love”. Yes I’m enjoying Valerie June’s OMRM! Add Valerie June’s “You Can’t Be Told” to your iPod and you will thank me later!

 

Check out June’s video for “You Can’t Be Told” and an awesome interview below:

I, Too, Sing America!

Welcome to Black Music Month (BMM) on Justsoulyouknow.  All month long I will be posting photos that are both historic and iconic as well as cool and awesome.  Every other day or so, I will feature an amazing photo then give a little detail about that photo or the individuals contained in the photo.  I intend to connect you to the amazing history of Black Music as well as demonstrate why Black Music maters.

Patti wasn't the first to kick off her shoes and sing a verse

Patti wasn’t the first to kick off her shoes and sing a verse!

First up is this amazing photo of Mahalia Jackson and Dean Martin sharing a good hearty laugh together.  Life Magazine’s Allen Grant took this photo on Oct 1, 1958 during rehearsals for Bing Crosby’s new T.V. show called The Bing Crosby Show: Presented by Oldsmobile.  During the time of this photo Mahalia Jackson was at the top of her game.  She had just recorded her latest gospel album titled Live at Newport ’58, where she was part of the first ever Gospel Showcase of the Newport show.  Her album was released in early ’59 and would later be consistently touted as one of the greatest live gospel albums ever recorded.  Jackson was riding high on her new found fame as a singer/actor on the silver screen as well.  Her performance in the film St Louis Blues, where she beautifully sang and acted, garnered great reviews from critics.  Her appearance on the Bing Crosby’s show, which brought her image directly into the living rooms of America, was risky and bold.  America was in the midst of an epic battle, which involved African Americans attempt to gain inclusion in American society while powerful whites labored to hold onto a segregated America.  Jackson’s appearance threatened the national sponsorship of the show because America had yet to fully embrace an integrated performance on TV.  However, as history has informed us, it was in part though the power of Black music that the civil rights struggle changed minds and freed a nation.

Check out the result of their rehearsal below:

Scandal: I Know Why Bey Lip-Synched!

Beyonce Lip SynchingOk, it’s been over a week since Beyonce sang the Star Spangled Banner on the Capital steps in celebration of the historical second inauguration of President Barack Obama.  The following day of the event it was revealed that she lip-synched her performance on such a momentous occasion, which set off a firestorm of commentary and opinions that ranged from it being the best performance of her life to so what!  Well, the following is my commentary and opinion of her performance and most likely not the last public discharge on the happening before Beyonce’s next performance: the Superbowl Halftime Show.

So what is it that I have to say that has not already been said?  Well I hope to put into context the reason Beyonce decided to lip sync the tune and the reason we were all talking about it.

First let me say that to me her performance was not surprising.  During her live performance, I thought it was just good.  It wasn’t spectacular or all that! Just good. I’ve heard better. The next day, when I heard she might have lip-synched her performance I thought, “Ok, I’m not surprised.”  Please understand the Star Spangled Banner is a relatively easy song to sing.  I can sing it (albeit it may not be pleasing to your ears).  Its melody, which has it’s origins in an 1800 century English social club was composed no doubt while inebriated, is catchy and memorable which is why you can hum along when you forget Francis Scott Key’s words, which he scribed almost a century later.  Although it is an easy song to sing, what makes its performance special lies in the ability of the singer.  Here is the reason why shower singers or alone-in-the-car singers like me will never be asked to sing the song in public.  The song’s simple melody provides plenty of space for the gifted singer to seemingly perform vocal miracles at will.  Not many can do this.  Able gifted singers are free to explore the boundaries of their gift with this song. The ability to perform at this level is what makes it an amazing anthem and exciting to listen to, especially when sung by someone who is indeed capable.  Enter Bey.

Let me be clear here, I’m not hating on her, she is simply neither capable nor gifted enough to perform the song in a spectacular manner.  And for that matter a lot of folks are not either.  Bey’s vocal prowess is limited.  She lacks the range and power needed to create a memorable performance.  A few articles, penned in her defense last week, announced she was one of the greatest singers of all time.  Ha, this is laughable.  Her mentors are still around, right?  She possesses nowhere near the vocal talent of Patti, Chaka, Gladys, Anita, and certainly not Aretha.  These truly gifted singers at Bey’s age were unrivaled in their talent.  Bey, to no fault of her own, does not have what it takes in terms of her physical voice to match any performance of her mentors.

Aretha at 30 around Bey's age.

Aretha at around Bey’s age, 30.

Even in comparison to her contemporaries such as Ledisi, Jennifer Hudson, Alicia Keys and I’ll throw in the untouchable and seasoned Rachelle Ferrell just to f**k with the curve, she falls extremely short of the mark.

What Bey did was not unprecedented. That day the choir, not the soloist, lip-synched to a prerecorded track.  Also in 2009, the cellist Yo-Yo Ma and the violinist Itzhak Perlman “string-synched” their performance because string instruments are notoriously temperamental in cold weather.  They did this because they had no physical control over their instrument . . . like Bey.

Ok knowing this about her lack of ability, it’s great she did in fact lip sync her performance.  Can you imagine what it might have sounded like?

So, why was this a scandal if others have in essence faked their performance as well?  It’s the expectation created by the event.  We the people expect the best when it comes to such events like the Presidential inauguration.  For decades the best and most significant/impact-ful singers, poets, writers, and politicians were gathered together to help set the tone of the up coming Presidency.  With this type of talent we the people expect the best.  Bey’s lip synching performance was not the best for the American people.  Of course her fans beg to differ or simply shrug it off and say, “so!”  Along with the fact that most Americans hold high expectations of all portions of the inauguration we also expected the best from Bey, which would have been a live, sincere, and authentic performance.  However, when it comes to the singing talent of Bey, I feel most of the world has been duped into believing what she is not.  I believe we have confused her ability to entertain with the ability to sing.  These are two very different things.  Let’s not get it twisted, Bey is not a singer and never has been a singer.  As mentioned, she is not physically capable of sangin’.  What I mean by this is I doubt she can belt out any tune in my living room sans a mic with enough power, conviction, skill, or emotion to move me.  Please realize this, I refer to my vocal luminaries to guide me in the direction of a person who is truly gifted in voice. [a few of my vocal luminaries in terms of women are of course Patti, Chaka, Aretha, Rachelle, but also Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Mahalia Jackson, Whitney Houston, and again Jennifer Hudson . . .] I recognize and embrace those singers who match my vocal luminaries and move me.  I will never embrace anyone who falls short of this high bar as a singer.  Why would I accept anything less or mediocre?  Bey can indeed hold a tune, but so can many others.  Bey is mediocre.  Rather than a singer I define her as an extremely successful entertainer.  She possesses many abilities to entertain her fans and even me.  An entertainer does it all to appeal to a mass audience.  She can hold a tune, dance, and act.  Bey is an entertainer! I like entertainers; I like being entertained.  Ben Vereen and Sammy Davis, Jr. were entertainers who were also in the top ten of the list in all those categories that define an entertainer.  They could sing, dance, and act on a high level.

Davis acting his ass off in the film "A Man Called Adam"

Davis acting his ass off in the film “A Man Called Adam” click here

Unlike Vereen and Davis, I believe Bey being mediocre in all of these is still able to dupe the American public into thinking she is a singer on a high level.  She is not the best singer, she is not the best dancer, and she is not the best actor by any stretch of the imagination.  Today’s entertainer does it all and is categorized wrongly as a singer.  And it is because of this wrongly placed moniker Bey, an entertainer, was chosen and expected to do the work of a singer at the Presidential inauguration.  I believe this was made a scandal because we expected Bey to be that amazing singer and she failed us.

Furthermore, I believe Bey knows she can’t sing on that level.  According to all the reports and articles, Bey at the last minute decided to lip sync her performance.  Why?  Was she nervous? Did she forget the words?  I think not! She has sung the Star Spangled Banner many times before both live and lip-synched.  I believe she did not feel capable of creating a memorable performance with her knowingly limited skill.  I can imagine her saying to H.O.V.A., “I know I’m not going to be able to sing anything better than what I did in the studio yesterday not to mention I have not practiced with the Marine Band.”  She lacked the ability and with this lacked the confidence to even try.  In so many words she had no guts, no courage, no gumption . . . in essence no Balls!  This is completely expected when you don’t believe in your own talent.  Bey demonstrated pure fear.  Any stellar singer worth anything would have marched out on the steps of the Capital and did the damn thang!  Four years ago Aretha Franklin sang her ass off in colder weather and very little warm up time.  In an interview about her spectacular performance she commented that she wished she had more time to warm up because her performance would have been better . . .  Balls!  Oh and she also commented she wanted to give this historical occasion an atmosphere of authenticity.  However when you are unsure of you own instrument or lack the ability you will fold like a wet noodle.  Luckily Bey recorded a stand in the day before and tagged out of the task.

With all this being said I feel Bey’s credibility, as a singer is unchanged in my mind. I didn’t expect her to do anything more.  Hell, if anything it should have been better, after all, she recorded in near perfect conditions in a studio the day before.  In the end, I hope you can understand the context of Bey’s performance or lack there of.  She is a physically limited singer, which she is fully aware of who lacks the self-confidence to perform on the grandest of stages all while an audience who has been duped into believing she is a singer who can create something amazing!

Oh, the scandal!

This coming Sunday when you are watching the Superbowl Halftime Show remember you are watching an entertainer and not a singer, so don’t expect to be amazed much by her vocal performance.  However you will be greatly entertained.

Your Sunday iPod Add: Funkin’ For Fun

Ok, I had something else cued up for this Sunday’s iPod add, but when I heard “Funkin’ For Fun” earlier today I had to pass it along.  This is one of my favorite songs off Parliament’s The Clones of Dr. Funkenstein(1976) album.  What makes this song so special to me are the vocals of Glen Goins.

Glen Goins and George Clinton circa 1976-77

He has the most powerful soulful gospel vocals I’ve ever heard.  He is featured on the entire album along with Garry Shider and together they are amazing (you ain’t heard nothing like it).  Goins guttural crescendos, screams, and hollers do it for me.  Goins voice easily creates a space, which hovers just outside the realm early turn of the century gospel music.  If you changed the lyrics, which give assurances to ones mother that everything is all right, the song might as well be a gospel song.  However, this song is not gospel it is full fledge Funk!  Sadly, Goins passed away in 1978 from Hodgkins Lymphoma at the age of 24. (RIP)

Anyway add this song to your iPod and you will thank me later.

Below is a live version of the song, however for a better experience of the song I suggest you take listen to the album version for more detail of Glen’s voice and the perfectly place version of the Beatles’ lyric “coo coo ca choo!”