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: Public Enemy’s Rhetoric! Part 27 of 30

“1989 the number another summer

Sound of the funky drummer . . . ”

If you know the rest of these lyrics to this song then you are the an esteemed hip hop head or you were there when legendary rap group Public Enemy dropped the song that summer of ’89 on the soundtrack to director Spike Lee’s controversial film Do The Right Thing (also released almost a year later on the album Fear Of A Black Planet).

Public Enemy wrote the song to unify Black urban youth and to encourage them to speak out against oppression and the injustices that mirrored the inequities of the Civil Rights Movement, a little more than 20 years earlier.  Rapper Chuck D’s voice is hard to ignore—it demanded attention as he enlightened his listening audience on then current cultural and political situation of Black urban youth while he also encouraged them to resist oppressive powers in the summer of 1989.

To a certain extent Fight The Power is apropos in its message of encouragement today. Constant encouragement to fight an oppressive power structure is a good thing and required not just for Black urban youth but for all Americans.

AAMAM fights the power!

AAMAM: The Fugees! Part 24 of 30

Fugees! Straight up, no filter, one of the baddest hip hop groups on the planet. Yeah, I said it!

The Fugees (Wyclef Jean, Lauryn Hill, and Pras Michel) exploded on onto the hip hop scene in the early ‘90s. They gave us two albums Blunted On Reality and The Score and hit after hit after hit! Their lyrical style infused intelligently packed and quick witted word play with streams of sung vocals all set to music with Caribbean undertones, which spoke volumes in terms of empowerment to youth culture like no other. And just like (snap) they were gone! The group disbanded in ’97. They left a welcomed stain on hip hop culture.

It’s a good thing there is Youtube so we all can be reminded of the how great the Fugees were

Check out one of their early supper hits “Nappy Heads.”

AAMAM has a date for Friday!

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!

Your Sunday iPod Add: Soweto Kinch: Jazz, Hip Hop and A Morality Tale

Welcome back (again) to your Sunday iPod add, which will hence forth be called, “Your Sunday Playlist*.”

For those who indulge in and appreciate both hip-hop and post bebop jazz and at times wondered what sounds would emerge if these two genres collided head on; meshed their energies; twisted and tangled their rhythm and rhyme; or collaborate a freestyle from a common theme. Well wonder no more!  Let me introduce you to Soweto Kinch!  Kinch, according to his social media page is an “Award winning alto-saxophonist and MC” and “is one of the most exciting and versatile young musicians in both the British jazz and hip hop scenes.” Yes, Kinch has his feet firmly planted in both genres where he is capable and thriving.

(Photo copyright John Watson/jazzcamera.co.uk)

A few months ago I, Mr. Johnny-come-lately, embarrassingly later than even George Colligan at jazztruth.blogspot.com, stumbled onto Soweto Kinch’s music (as I tend to do happily with plenty of artists) and was blown away by his fluid versatility and dexterity in both the hip-hop and post bebop jazz genres.  Upon hearing his music, I was reminded of other artists who have dabbled in combining hip-hop with jazz, most notably A Tribe Called Quest’s album “Low End Theory,” which featured the iconic bassist Ron Carter amid stripped down jazz samples and certainly Guru’s “Jazzmatazz Vol. 1,” in particular, genre bending album, which employed heavy post bebop hitters such as saxophonist Brandford Marsalis, pianist Lonnie Liston Smith, vibist Roy Ayers, the late trumpeter Donald Byrd, and the late guitarist Ronny Jordan. While these albums elegantly blended the rhythmic lyrics of hip hop with syncopated drum grooves and bebop chord progressions, Kinch’s music, rather, abuts freestyle post bebop tracks next to freestyle hip hop jams, which allows the listener to hear the similarities in the music’s spontaneity and freedom. Kinch’s movement back and forth between the genres recalls the origins of both jazz and hip hop’s gritty sounds and street attitude. The magic and intention of jazz and hip hop is not lost on Soweto Kinch.

The first track of Kinch I stumbled onto was “Never Ending” from the album The New Emancipation. After this, I began a fever pitch search for more of Kinch’s music. I found all of his brilliant music and surprisingly some videos of his legendary rap battles on the streets of London (check it). Ultimately, I found his most recent album (recent to me) The Legend Of Mike Smith. This is a tightly put together concept album. Kinch described it as “an exploration of the seven deadly sins in the modern context. It also follows the travails of one young character, Mike Smith as he’s attempting to get signed by a major record label and curtail his normal style to see what he thinks they will find successful or appealing.” The album contains post bebop burners, spoken word, and heated rap, which all serve to drive a narrative a modern day morality tale. The Legend Of Mike Smith is compelling to listen to as any concept album out there.

So if the idea of Common meets Charlie Parker meets a 90s Greg Osby meets a Mos Def is intriguing, then take a listen and wonder no more!

Add some Soweto Kinch to your playlist. You will thank me later.

African American Violinists: Old Presence New Genres

José White Afro-Cuban violinist (1856)

The African-American musician has occupied a crucial space in American history.  The African-American violinist is but one of these musicians.  Since bondage, they have with their music, shown a preponderance of excellent artistry.  The African-American violinist has navigated huge challenges in pursuit to education and training on a particular instrument that embodied the elite in European society.  These violinists have over time, masterfully incorporated overwhelming ancient African rhythms and minor tones into European music theory.  As such, the violinist has improvised a musical genre where one did not exist.  They used music to carve out spaces of privilege and have certainly tasted tiny bits of liberty in an era of enslavement.  Solomon Northup notes his peculiar status as a violinist while held captive in his 1853 narrative:

Alas! Had it not been for my beloved violin, I scarcely can conceive how I could have endured the long years of bondage. It introduced me to great houses–relieved me of many days’ of labor in the field–supplied me with conveniences for my cabin with pipes and tobacco and extra pairs of shoes, and oftentimes led me away from the presence of a hard master . . .(p.217)

With the drag of the bow across the vibrating string, the African-American violinist sonically opened a path that led Black bodies out of the perceived state of the primitive and into enlightening agents of sophisticated art.

African-American violinists and their musicianship have been present in the various epochs of African-American history from Black bodied violinist whom were present as slave ships traversed the Atlantic en rout to a new world with the likes of ship fiddler Joseph Antonio Emidy, who due to his grand musicianship suffered the same fate as Solomon Northup albeit more than 50 years earlier.  (Emidy went on to teach and conduct chamber music in Brittan) to Jacques Constantin Deburque, who organized the Negro Philharmonic Society of New Orleans in the 1830s to Joseph Douglass, a herald virtuoso and grandson of the late great orator Frederick Douglass (who played some violin himself), toured the U.S. and Europe for over 30 years and became the “first violinist ever to record for Victor Talking Machine Company” to Stuff Smith, who is known for swinging his violin in the pop music genre in the first half of the 20^th century.  Collectively these African-American violinists have contributed to a continuum of violin music, which still rolls on today.

Dworkin

Black violinist such as Aaron Paul Dworkin; carry on the excellent artistry that has always accompanied them.  Classically trained, Dworkin is one of the top violinists in the country.  He was awarded the MacArthur Fellowship a.k.a. the “Genius Award” in 2005.  His passion to pass on the art of classical music has led him to lend his talents to teaching the urban underprivileged, to serving on the National Arts Policy Commission, and mentoring youth in his own program the Sphinx Organization.

Beyond the classical, contemporary African-American violinists are found in all genres of music further expanding and redefining the musical capabilities of the violin.  Artists such as Obed Shelton, shares his musical praises in gospel, Ken Ford, Karen Briggs, and Regina Carter (she is a Genius Award winner, too [2006]) all smoothly bow in the jazz genre.

Regina Carter

Will B and Kev Marcus of Black Violin

Meanwhile several ‘Young Gifted and Black’ violinist are actively involved in a cultural and generational call and response as

they incorporate elements of R&B, soul, and hip-hop in their music.  Musical groups such as Nothing But Strings and Stuff Smith inspired Black Violin as well as soloist Seth G, innovate genres of music by recalling overwhelming ancient African rhythms intertwined with classical delivery, which harkens back to the work of early African-American violinists.  One soloist who has separated himself from the rest in terms of his use of minor tones and incorporating vocals is Marques Toliver.  Toliver is able to ebb and flow through out all genres of music.  Critics have lauded him as “too big and broad to fit into any one box.”  Again improvising a new musical genre where one did not exist.

Marques Toliver

As a signpost of a sophisticated musician, the African-American violinist has traveled through time, bow in hand, continuously creating musical spaces to witness and musically recount the presence of Black bodies in America.  Today they retain classic elements of music as well as rhythmically bow and pluck their strings in new genres of music demonstrating excellent artistry.

Please search the web for more African-American violinists. The above are just a few and they’re a are plenty.

Check these sources for more info:

http://www.oldhatrecords.com/cd1002.html

http://pragmaticobotsunite.com/?s=violinist

http://www.jazzbows.com/blackviolinlinks.html

JSYK

The Myth of Lauryn Hill: Still Flippin’ On a Dirty Mattress?

So by now we have all heard about the on going tax troubles of the magnificently talented Lauryn Hill.  As of May 6^th she was sentenced to 3 months in a federal prison to be followed by 3 months of house arrest for tax evasion.  For several years (around 10yrs), Hill lived in a state of self-imposed reclusiveness.  She perceived herself deeply imbedded in the hostile environment known as the music industry.  Hill also attributed her reclusive life to a season of personal crisis that stemmed from her struggle to explore an artistic freedom to her identity and to her purpose in life.  In this process of seemingly self-discovery and self-reflection she became enraged with the realities of life; more specifically, she was incensed by the dynamics of our economic system and how she intimately fit into it as a music artist.  Hence Hill’s frustrations were poorly assessed and then her actions were misdirected.

To cap off tax woes, on May 3^rd Lauryn Hill released her new single Neurotic Society (Compulsory Mix).  This is her first solo studio recording since her 1998 epic masterpiece The Miseducation Of Lauryn Hill. The song is a much-anticipated release for her loyal fans who have been eagerly awaiting something from Hill.  However, for Hill this release was uncelebrated and indeed, as a portion of the song title suggest, is ‘compulsory’.  In a statement written on Hill’s tumblr page, she suggests that this released was rushed to satisfy the legal goodwill of her debt and part of a contract fulfillment with her newly signed deal with Sony records.  On her site Hill states,

I was ‘required’ to release [the song] immediately, by virtue of the impending legal deadline. I love being able to reach people directly, but in an ideal scenario, I would not have to rush the release of new music… but the message is still there.

The message may be still there, however, it is mired by its intent to satisfy everyone but the long-suffering ‘L Boogie’ fan.  Its hurried, manic, and its urgent verbal cadence is off putting in terms of the amazing legacy previously laid down by L Boogie over a decade ago.  Reviews of the song by fans are mixed to say the least. Rather a battle of polarized fans of die-hards who, without regard, follow and buy anything L Boogie puts her finger on vs others fans who are about to drop her off a at the bridge if she doesn’t come out bangin’.  An honest discerning fan will assess the track, which is solely written and produced by Hill as a failing effort.

That same honest fan whom performs a cursory analysis of the song will find it falls short of the previously mythic larger than life Lauryn Hill recordings that somehow remain fresh in our minds.  Its tax bill driven release sent the single to a sad musical landscape of amateur music–attempting to lockstep with seasoned professionals.  At its worst, the track’s music is entirely distracting bordering on annoying.  The lyrics are overused baseless metaphors.  L Boogie attempts a less than tepid foray into intelligent verse and dangerous word play. Smart and edgy it is not!  Instead its tone is angry and vengeful. I guess as it should be. She’s pissed!

Neurotic Society (Compulsory Mix) is not what we were expecting.  It is a dangerous release for her.  The song reveals she is not who we thought she was.  It alone will topple the regal-ness of Lauryn Hill if it is not backed up by an entire album that sits us on our ass and makes us take notice and re-embrace Ms Lauryn Hill as we once imagined her: ‘Flippin’ in the ghetto on a dirty mattress’.  If that does not happen, the song will leave the honest fan wondering where is that great lyricist, singer, and poet who cleverly placed the experience of Black life at the center of her soulful and hip hop drenched conversations with the music world all while cloaked in femininity that could easily be embraced by any sensible brotha?  L Boogie is a giant.  L Boogie was a giant. Neurotic Society (Compulsory Mix) threatens to expose her as a once upon a time genius.  As such, if she is not careful, the masses will easily and happily toss her to the rocks on the side of the road like many others only to be remembered moments after she has taken her last breath.

Only time will tell.  We have at lest 6 months to wait until L Boogie pays her debt to a ‘sane’ society and gets back to work on fixing the wrong that is Neurotic Society (Compulsory Mix) Everything isn’t everything! However, we can be sure of two things: death and taxes! Ha!

Check out Neurotic Society (Compulsory Mix) below:

Seriously Wrong On Purpose!

Country Paisley

Are they serious?  Really, are Brad Paisley and LL Cool J serious?  Wow! By all accounts it seems they are every bit of sincere and genuine as can be.  Their duet “Accidental Racist”, released last week, seems as though it was unintentionally jettisoned through a secret portal from a parallel universe–it’s familiar, but wholly bizarre.  According to Paisley and Cool J this song is intended to spark a much needed conversation about race and race relations from what appears to be the perspective of an historically unaware Southern white male and an all too forgiving urban Black male.  The artists and certainly the song can’t be serious.  Not only is it a strange artist pairing, but also wrong on so many levels.

Let me explain!

First level of wrong, the use of Country music to raise awareness of race relations in America or more succinctly race relations in the South is preposterous in so far as gaining the attention of the urban Black youth, whom the song very well wants to include in its conversation on the subject given Cool J’s presence on the track.  Country music by in large is neither coveted by the urban Black millennials nor the urban Black Baby Boomers, generation X, or Y.  In short, Country music from a Black perspective (partly mine) conjures up images of big country white men in blue jeans, cowboy boots, big brimmed hats, bolo ties, missing sleeved tee-shirts and plaid shirts, pick up trucks, beer, and the Confederate flag.  As such, its real or imagined imagery repels the social and cultural sensibilities of urban Blacks.  The likelihood of Black urbanites purposely seeking out “Accidental Racist” as a musical interlude or a method of escape from the pressures of ghetto life in the hot wicked city is remote at best.  Brad who?  Paisley’s song can’t be serious.

Second level of wrong, is the fact that Paisley recruited Ladies Love Cool James, a.k.a. LL Cool J to kick a ‘para’ verse.  For you millennials who may be reading this, I’m referring to the guy who hosted the Grammys, yeah him!  For the rest of us, Cool J is the man!  Remember “Radio”, “Rock The Bells”, “I’m Bad”, “I Need Love”, “Around The Way Girl”, and the redeeming “Mama Said Knock You Out”?  I’m not sure how this Paisley/Cool J collaboration came about, but . . . Well let me say it this way, Cool J has amassed an unprecedented rap career wherein which he is about to enter his 30^th year in the so called rap game . . . (applause here).  He has diminished his bad boy persona enough to make significant inroads to Hollywood and Television.  Hell, he boldly took off his cool ass Kango to costar in NCIS Los Angeles. Whaaaat!  He’s had his time.  He’s had his day and it is now dwindling down as far as the rap game is concerned.  Cool J’s rap prowess is legendary, however he holds little cultural capital in today’s Hip Hop world.  Urban Black audiences barely responded to his last album release Exit 13 in 2008.  If Paisley’s intention was to reach beyond his legion of Country music fans and into the world of the urban Black youth who would otherwise ignore his music he missed his target with the enlistment of the G.O.A.T. Paisley’s song can’t be serious.

Finally, and the third level of wrong are the lyrics of the song.  Paisley’s verse and chorus are laughable in their sincerity.  Don’t get me wrong his vocal delivery coupled with his chord progressions are remarkably sturdy in terms of what is expected in a mid tempo Country song.  However, what is problematic is the content.  It is what he is saying, which can be deemed laughable.  His lyrics suggest a southern white man wearing a Confederate flag t-shirt while ordering a coffee from an urban Black youth barista in Starbucks should only be viewed as a Lynyrd Skynyrd fan.  Is he serious?  In no way shape or form does Lynyrd Skynyrd come remotely close to the outer hinterlands of the cultural consciousness of the urban Black youth. Who is Lynyrd Skynyrd?  That Confederate flag emblazed on the t-shirt holds a meaning that is imparted to Black youth by the community in which they live, their family, and personal experience.  Paisley’s narrative suggests a dismissal of the horrible history indelibly connected to the Confederate flag within the Black community.  With these lyrics, Paisley seems sadly unaware of cultural and social realities surrounding race relations.  Furthermore, and most distressing are LL Cool J’s lyrics.

Cool J wants to forget this?

His vocal delivery unlike Paisley’s is underwhelming and appears opaque in comparison to his previous beastly recordings.  But disturbing is what he says.  One line in particular, which has become controversial in terms of its forgiving nature, is as follows: “If you don’t judge my gold chains, I’ll forget the iron chains.” Cool J, can’t be serious.  He suggests that if Southern whites stop racially profiling urban Black males then they will in turn forget the enslavement of millions of Blacks.  This is not going to happen.  Upon hearing this, MSNBC The Cycle host, Turé expressed his outrage with Cool J verse and said, “I’m not going to forget it” . . . “what are you talking about?!” . . . “Mama should knock you out!”  When confronted, Cool J struggled to clearly explain what he meant by that particular verse.  Surely, Cool J cannot himself believe in this verse.  This lyric is completely out of sync and opposed to the current conversation on race and race relations in America.  Paisley and Cool J can’t be serious.

What Gold Chain?

In the end, the song “Accidental Racism” is a flop.  It will fail to engage productive discussion.  The use of Country music to enter an on going discussion on race and race relations was a poor move to secure the urban Black youth.  The employment of LL Cool J does not make sense either–his popularity and familiarity with both urban Black youth and Southern whites is waning to non-existent.  Lyrically the song pays no attention to the realities of urban Black or Southern white culture.  Are they serious? I am!

The POTUS and His Vinyl Close Up

Album covers, since their inception, have always been a great sign-post of the climate of our times.  Their images are visual cues that direct everyone from the culturally focused individual to the political astute citizen to the casual music listening fan toward the current grand social narrative of the day.  Savvy musical artists in cahoots with photographers and visual artists (in this new era of entertainment it is most likely the director of artist branding) design their album covers to attract and stimulate interest in their content.  Some of these efforts have been regrettable and forgettable, while others have been remarkably memorable and remain culturally relevant decade after decade.

So, what kind of visual cues are being made about the grand current social narrative when dime-a-dozen digital artists place the POTUS,  Barack Obama, on the cover of iconic album covers?  Does Obama’s presidency serve as the musical content in which the dime-a-dozen digital artist is trying to attract and stimulate the culturally focused individual and the casual political fan?  Either way, the following album covers containing the image of the POTUS are indeed memorable and culturally relevant . . . at the moment.  And if anything, are too cool to be regrettable.

[Try to make out some of the original album covers and artists]