What to Listen to While Making Mac and Cheese: The Music of Malcolm and Marie

JD and Zen Making Mac and Cheese Photo Courtesy of Netflix

Without reservation, the film Malcolm & Marie starring Zendaya and John David Washington was no doubt visually stunning.  The movie, which chronicles the couple’s highs and lows of a brutal all-night argument about . . . damn, I don’t know, was shot on black and white film rather than in a digital format.  It was artful.  It was special. It was instantly classic in its aesthetic.  Moreover, it was abundantly clear that the movie Malcolm & Marie intended the soundtrack to be something special as well.

From the opening scene where Malcolm jubilantly prances around their rented home then cues up James Brown’s “Down and Out in New York City,” a tune intimately tied to the film Black Caesar (1973), an astute audience was privy to the fact the music, diegetically (both the character and the audience can hear it), will narrate the nonverbal sentiments of the characters.  The music was brilliantly cast and was more than ample to sonically narrate a scene.  Admittedly, writer, director, Sam Levinson, and film editor Julio Perez, IV were deliberate in their attempt to support dialogue and set the mood of a scene with music.  Malcolm’s choice of Brown’s funk jam first fills the scene with sound then enlightens the audience of the bold overcoming power of a Black man, which is gan yẹ* to the character’s attitude at the moment.  Likewise, only moments later Marie’s unspoken tensions are revealed through Little Simz’s song “Selfish” featuring the amazing vocals of Cleo Sol.  Marie sentiments as heard through “Selfish’s” chorus, “I don’t want to fight” set the scene and reveal her desire to be left alone to brood for the remainder of the evening . . . or not.

Little Simz Photo: Linda Nylind

As the film progresses, the music continues to be a sonic masterpiece as it enters and exits the various scenes.  Saxophonist Zoot Sims’ Betaminus syncopated beat and flighty saxophone runs clearly disrupts the couple and escalates their tensions in a scene where Marie makes Mac and Cheese for Malcolm.  Fatback Band’s jam “Yum Yum” speaks loud and clear for Marie as she states her discontent about the evening.  Stax singer, songwriter William Bell’s “I Forgot to Be Your Lover,” which is awesomely orchestrated, by the way, drops in at the perfect time to allow an all too brief respite for the sparing couple, a mood of forgiveness for not making love a priority.

Coltrane and Ellington making magic

The film moves through its paces with a myriad of songs and rounds out with the ever lovely “In a Sentimental Mood” by Duke Ellington.  This song is undefeated in ushering in feelings of intimacy and sex appeal.  With the light key touches by Ellington on the piano and the seemingly far and away melody of John Coltrane on saxophone “In a Sentimental Mood” does it again.  In the end, literally in the last scene, Outkast’s song “Liberation” enters the expansive and resolute morning, to sum up the events of the previous evening.  The chorus belted out by CeeLo Green, and Erykah Badu states, “And there’s a fine line between love and hate you see, Can’t wait too late but baby I’m on it.”  As the couple Malcolm and Marie stand in the sunrise it reinforces the couple’s love-hate relationship in the most melodic of ways.

Outkast: Big Boy and Andre 3000. Ready to eat their Mac and Cheese!

Music in film is meant to aid in storytelling by driving and supporting scenes.  It is also used to set the mood and emotion of the characters.  In Malcolm & Marie, music is used to narrate the unspoken words of an emotionally caustic couple.  The music effectively created a subtext for the audience to follow.  We should all be so lucky to have a soundtrack like this to help back our most difficult moments in an argument.

(*means very appropriate in the Yoruba language)

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.

Minnie Riperton Turns 69!

 

Photoshoot from 1975 in L.A. (credit Michael Ochs Archives)

 

Today marks the 69th birthday of daughter, mother, wife, songstress, and songwriter Minnie Riperton. Riperton passed on July 12th, 1979. She was 31 years old. Gone Too Soon! It has been 38 years since the multi-octave, Angelic voice that dwelled inside her was silenced forever.

We remember Minnie Riperton for her remarkable voice – a lyric coloratura soprano, which she used to set new vocal parameters in pop music. Classically trained in Opera, Riperton vocally backed artists such as Etta James and Stevie Wonder, and in her own career, she was able to subtly blend her agile opera styles into the soul and R&B music she sang.

Ultimately, she set the high note template for the likes of Mariah Carey and others in pop music.

Riperton was diagnosed with breast cancer in 1976. However, she continued recording, touring, was nominated for an American Music Award for favorite soul/R&B Female Artist, as well as became a spokesperson for the American Cancer Society until her death 3 years later.

Minnie Riperton’s Legacy is rooted in her vocal Perfection and her ability to communicate the sentiments of a song to the masses like no other. Happy Birthday, Minnie Riperton!

That Weekend in L.A. with George Benson

 

In late September of 1977 jazz guitarist and newly minted crossover R&B crooner, George Benson landed in Los Angeles to record his landmark live album at the legendary Roxy Theatre.  At the time, Los Angeles was in the midst of creating incredible historic and enduring moments.  The months leading up to Benson’s performance on the night of September 30th at the Roxy Theatre, Angelinos had not only witnessed the inauguration of President Jimmy Carter with the rest of America, but locally experienced remarkable events that ranged from the unforgettable imagery of NASA’s Space shuttle Enterprise soaring across the sky piggy-backed on a Boeing 747 jet, experiencing the frenzy of the redefining sci-fi soon to be juggernaut film Star Wars, to welcoming Mayor Tom Bradley—arguably the most politically and socially significant person west of the Rockies in the ‘70s—into his second term, collectively breathed a sigh of relief with the capture of the sick “Freeway Killer” all while watching new Dodgers’ manager Tommy Lasorda lead his team into the NLCS*.  Los Angeles was indeed primed and ready to receive a George Benson performance.

A year prior, Benson’s popularity reached the zenith of his career with the release of his hit single “This Masquerade” from his two time Grammy award winning album Breezin’. His sure-fire vocals and scats, which mirrored his guitar melodies and jazz riffs, catapulted him into the upper echelon of R&B crooners of the era.  Benson, for the first time, effectively crossed over from the jazz genre solidly into the world of R&B and pop. Attracting new and larger audiences for his live performances, Benson was indeed primed to deliver for a slick and beautifully complex L.A. audience.

On the afternoon of September 30th, Benson made his way up Sunset Boulevard amid fancy cars, infamous traffic, Hollywood sunshine, larger-than-life billboards, palm tree-lined streets, and of course a bit of that iconic L.A. smog on his way to the Roxy Theatre. The theatre on Sunset, commonly known as The Roxy, was founded by producers and Hollywood insiders Lou Adler, Elmer Valentine, David Geffen, Elliot Roberts, and Peter Asher who together opened its doors for business just four years earlier.  In a short time, The Roxy had emerged as the venue of choice for up and coming artists to showcase their talents to a consuming audience bent on catching a glimpse of the new hot thing. Upon Benson’s arrival, he was met by his well rehearsed and longtime band, which consisted of Stanley Banks on Bass, Ronnie Foster on synthesizer, the late Ralph MacDonald on percussion, Phil Upchurch on rhythm guitar, Harvey Mason on drums, and the late Jorge Dalto on piano.  He quickly rehearsed the setlist and worked out any kinks to create a flawless show.  After rehearsal, Benson met with the late producer Tommy LiPuma to work out stage sounds and board mixes.  In conversation with Benson, LiPuma agonized over what to name the album and pondered a few ideas. Ultimately, not wanting to apply a common and yet all too mundane moniker like George Benson Live at the Roxy, which is a style that has been used to name other albums recorded live at The Roxy, rather LiPuma settled on George Benson Weekend in L.A.  The title implied a happening–an event that was not to be missed.  Benson loved it.

That very night in late September, Benson stepped on stage to a sold out and packed Roxy.  The audience was filled with Angelino fans eager to be lifted to the next level by the magic of Benson’s performance.  Music industry heavy hitters such as Aretha Franklin, the late Minnie Ripperton, the late Natalie Cole, Bonnie Raitt, Tom Scott, the late Leon Russell, and even actors David Soul and Keith Carradine were nestled into the crowd to certify Benson’s rising star as an R&B and pop artist.  Benson’s music swept over the audience and filled the gritty theatre with a lively atmosphere of celebration, which aided in the release of tension for residents of L.A.  His skillful jazz licks and well-seasoned vocals easily carried the audience to a place of both respite and pleasure.  Benson and his band opened with songs such as the aptly named “Weekend in LA,” written especially for this live event.  Then in grand style, summoned for the first time, he performed  “On Broadway,” which, after this night, would become his signature song. Next, Benson dug in on the heartfelt “Down Here on The Ground,” which was followed by  the driving “California P.M.”  And finally, to round out half of the album’s set, he sang out in fantastic fashion “The Greatest Love of All,” which he recorded a few months earlier for the Muhammad Ali film, The Greatest.  The late Whitney Houston’s recording of “The Greatest Love of All” became the first of her many signature songs.  The Roxy audience cheered, shouted, and erupted in applause throughout the lively performance while Benson continued to perform the rest of the evening.  His songs’ fed L.A’s appetite for epic and uniquely cultured music.

In the end, Benson performed at The Roxy for three nights.  The L.A. audience embraced his music amid the electric climate of the late seventies.  Certainly, Benson was ready for his proverbial “Hollywood close-up,” which was made possible by his newfound crossover appeal. The Roxy was the perfect venue to bring together the complex and slick L.A. audience.  The live recording of George Benson Weekend in L.A. captured a magical evening that not only demonstrated how a guitar and jazz riffs could bring a crowd to a frenzy but more so, spoke to the issues of the era.   The entire live album, upon a contemporary listen, is infused with the promise of hope and change.  Without question, the 80s kept that promise.  That weekend in L.A. with George Benson was indeed a happening, which we can revisit and experience anytime. The album is a classic. 

George Benson Weekend in L.A. was released three months later in January of 1978. Benson’s weekend effort garnered him the Grammy for Best Male R&B Vocal Performance for the song “On Broadway.”  Benson’s album, which turned 40 years old earlier this month is impeccably recorded and is a must listen.

 

*Not to get all sporty here but the Dodgers won the NLCS in a 3-1 victory over the Phillies and went to the World Series to battle the Yankees.  Reggie Jackson with a little help from the rest of the Yankees sent the Dodgers packing 4-2. It’s a good thing they had George Benson Weekend in L.A. to soothe the hurt.

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: Screamin’ The Gospel! Part 28 of 30

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: 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: Michael Jackson Six Years Removed. Part 25 of 30

Six years ago today Michael Jackson (1958-2009) shocked the world when he died of an overdose in his home. The world was left with an unfillable void.

Listen to everything Michael!

Continue to rest R.I.P. Legend. Icon. King of Pop!

AAMAM appreciates Michael!

Check out “Smooth Criminal” Live!

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!