On Saturday, June 4, 2016, I was blessed enough to cover the ninth annual Roots Picnic in Philadelphia, PA. It was 11 hours of 24 acts ranging from experiment electro pop to dab-tastic trap rap to the epic mashup that was The Roots and Usher! My written review was featured in EBONY Magazine, but I was fortunate to collect a few personal photos with my trusty Sony CyberShot. Here are the 12 best pictures from that day:
Some of the best memories I have is riding in the car with my dad. The sight of my dad driving down the highway, using his knees to steer the car while his playing air drums when the groove gets good during a song on the tape deck always made me smile (if a little nervous). Much of the music that I hold so dear to my soul today was introduced to me while in the car with my dad; Black Ivory, Slave, Stevie Wonder, and on and on. One of the groups that was introduced to me was Earth, Wind and Fire. When my dad popped in a Maxwell tape of his favorite EWF tracks, I had no idea what to expect, but once I heard the opening horns from “Time Is On Your Side,” nothing would be the same. I found myself singing it to my then infant nephew Lamar at the kitchen table. From there, I moved on to Gratitude and wore out “Can’t Hide Love (it permanently skips on that CD now. Sorry mom).” After hearing “Fantasy” in that same car, there was really no going back. They were my favorite band ever, and remain so to this day. Maurice White, the master of the band, instantly became a hero to me for the way he sang, the way he played the kalimba, the way he led that massive band and got them all to fall in line. In 2016, Black bands are all but extinct, so this loss hits particularly hard, signifying a death knell of Black musicianship, leadership and spirituality. The following is my unedited obituary of Maurice White. A shorter version appeared in EBONY Magazine, but this is what I really wrote…
Maurice White, founder and lead singer of legendary band Earth, Wind and Fire (EWF) died Wednesday night, February 3rd, in Los Angeles, CA, at the age of 74. According to a statement from his younger brother, EWF bassist Verdine White, Maurice “passed away peacefully last night in his sleep.” EWF was one of the most successful bands of the 1970s, winning six Grammy Awards and garnering hits like “Shining Star,” “September,” “Boogie Wonderland,” and “After the Love Has Gone.” The band blazed a trail of spiritual celebration and afro-futurism that was far ahead of its time. As the their bandleader, percussionist, principle songwriter, lead singer and producer, White’s guidance manifested a sound and imagery that reflected Black excellence and innovation, but also possessed the foresight to craft songs and albums that could find their way into the hearts of all the hues of humanity.
Maurice White was born on December 19, 1941, in Memphis, TN. Memphis – an American musical junction point that merged down home soul, the fiery sounds of the Baptist Church, lamenting country and blues – proved to be a fateful breeding ground for White’s formative years, along with neighborhood friends and fellow future legends Booker T. Jones, David Porter and Isaac Hayes. “There was a wide range of music that I would listen to,” White stated in the band’s documentary, “Shining Stars.” “We kind of fused together jazz and blues and all the different types of music that was available to us.” White learned drums as a teenager in a local Drum and Bugle Corp before going to Chicago, IL, to study medicine at Crane Junior College. Fate once again intervened when he filled in on drums for a band playing at the school. This sparked an undying flame of musical passion that change the course of his life and, unbeknownst to him, generations of Black music. He went on to study at the Chicago Conservatory of Music and soon became a session drummer for Chess Records. His steady hands can be heard on Fontella Bass’ “Rescue Me,” as well as countless recordings by The Impressions, Howling Wolf, Buddy Guy and Etta James.
At 24, White achieved his first sense of public notoriety when he joined the Ramsey Lewis Trio. From 1966 to 1969, White played on nine Lewis Trio albums, and won his first Grammy for “Hold It Right There,” which showcased the brilliant fusion of jazz and pop that would define Lewis’ career and inform White’s crossover prowess later. Toward the end of his tenure in the trio, White discovered the kalimba, a melodic African percussion instrument described as a thumb piano, which served as yet another seismic turning point in White’s life. He began to incorporate the instrument into Lewis recordings. On 1969’s “Uhuru,” the origin of White’s signature sound can be heard with spry kalimba countering a funk bass and danceable drumming.
Sing a Message to You…
That year, White struck out on his own. “I started having visions of this group that would create music that would have emotional gravity to it; spiritual overtones.” He assembled a band with Chicago jazz cohorts Wade Flemons and Don Whitehead to formed The Salty Peppers and gained a contract with Capitol Records. Success alluded them and they left Chicago for Los Angeles. One day, while looking at his astrological chart, White saw the elements of Earth, Fire and Air. He alerted it slightly and Earth, Wind and Fire was born. Younger brother Verdine joined the 10 member ensemble and they released they’re first two albums, Earth, Wind and Fire and The Need of Love in 1971 on Warner Brothers. But after 18 months, White recognized that the band wasn’t connecting to an audience that yearned to be entertained more so than enlightened. He made a crucial decision to re-create the band in order to reach the college crowds he wanted to move. Retaining only his brother on bass, White assembled a new Earth, Wind and Fire that collectively had what White called a “younger, more commercial approach.”
This new band included singer/percussionist Philip Bailey, keyboardist Larry Dunn, drummer Ralph Johnson and rhythm guitarist Al McKay. With the new members being 10 years his junior, White asserted his place as the leading voice of the nine man group. It was during recording their Columbia Record’s debut, 1972’s Last Days and Time, when White reached an uncomfortable epiphany: He had to sing. Originally, Bailey, who possessed a falsetto singing style, was pegged to be the group’s lone lead vocalist, but White recognized that someone had to sing “the man stuff” and balanced Bailey’s high pitched acrobatics with a mature, smooth baritone. Along with an emphatic horn section, songs like “Time is On Your Side” and “Keep Your Head to the Sky” revealed White’s idea of music that carried emotional weight and exuded highly spiritual messages.
Moment Of Truth…
By 1974, EWF hit a creative wall, and enlisted arranger Charles Stepney to collaborate. Known for his operatic arrangements for The Rotary Connection, Stepney expanded on White’s vision and became the “coach” to his “quarterback,” which proved profitable on their album Open Our Eyes. Their singles “Mighty Mighty” and “Devotion,” each co-written by White, reached the Top 30 on the Billboard charts, and the latter became the lyrical manifesto of the band: “So our mission is to bring a melody/ringing voices/sing sweet harmony…You need devotion/bless the children/deliverance from the fruits of evil.”
In 1975, with Stepney and White now as production partners, EWF had a commercial breakthrough with That’s the Way of the World. Riding the wave of the pop chart topper “Shining Star,” the album sold two million copies in America. This was a moment of affirmation for White, who co-wrote all the album’s songs, including the iconic title track and fan favorite ballad “Reasons.” This began a streak of six consecutive double platinum LPs for the band. White then began to influence all aspects of the band’s image. He conceived an unrivaled stage show with Doug Henning magic tricks, spinning drums sets and Verdine levitating during bass solos! Their Africanized wardrobe also mirrored their sound, giving the audience a deeper sense of where the music originated from. At a time when show bands like Ohio Players, Cameo and Kool and The Gang dominated Black radio, EWF’s emergence and crossover appeal was a testament to their greatness and White’s vision.
In the middle of production of 1976’s Spirit, Stepney died suddenly of a heart attack. This tragedy forced White to take further charge of the group he founded, becoming the sole producer going forward. Their next album, 1977’s All N All, remains their biggest studi success, selling three million copies. With All N All, followed by The Best of, I Am, Faces and Raise!, White pushed harder for the imagery to reflected his sound; the album sleeve was adorned with Egyptian architecture such as pyramids and sphinx’s, mixed with Christian images and futuristic buildings. Like counterpart George Clinton was doing with Parliament/Funkadelic, White went beyond mere funk to create a heightened sense of social and transcendent consciousness for the audience to ingest.
I’ll Write A Song For You…
Although EWF could easily crank out infectious pop hits like “Sing A Song” and “September,” the majority of their music – majestically regal horns, well-placed thumping bass, kinetic poly-rhythms and a groove-drenched double guitar attack – added depth to White’s allegoric, mystical lyricism of “Serpentine Fire” “Fantasy,” and “Jupiter,” juxtaposed with divine inspiration of “Burning Bush,” “In the Stone” and “See the Light.” However, White also had the ability to connect with songs of pure love and desire, especially with his voice. Songs like “Love’s Holiday,” “Be Ever Wonderful,” and “After the Love Has Gone” found White crooning, brooding and emoting a sensual, sincere masculinity that not many other singers could have for those compositions.
For the remainder of the 1970’s, White became a go-to producer and songwriter in the industry. He founded American Recording Company (ARC) and became the hit-making force behind several different artists, including Deniece Williams (“Free”), The Emotions (“The Best of My Love,” “Don’t Ask My Neighbor”) and ex-employer Ramsey Lewis (“Sun Goddess”). The 1980’s began strongly for EWF and White, co-writing dance staple “Let’s Groove” and winning a Grammy for “Wanna Be With You” in 1981, but with Columbia Records pushing him for more crossover hits, the pressure began to affect his and the band’s creative process, which beforehand had hinged on the perfect balance of improvisation and calculation. The 1983 album Electric Universe was a commercial flop, and a burnt out White temporarily disbanded EWF.
White regrouped shortly thereafter, releasing his critically acclaimed self-titled solo debut in 1985 and remained in-demand as a producer for the likes of Barbra Streisand, Neil Diamond, Atlantic Starr and Jennifer Holiday. In 1987, he pulled EWF out of hiatus and they released Touch the World, which included their comeback hit, “System of Survival.” At this point and beyond, EWF’s line-up would be in constant change, but White, brother Verdine, Bailey and Johnson remained as the core. In hindsight, it cannot be overstated that his ability to manage nine personalities (13 when you include the horn section) to conform to a greater good, while still allowing their individual forms to shine, during an eight year period, was nothing short of miraculous and speaks to the level of respect he commanded.
In 1992, White was diagnosed with Parkinson’s Disease and following the release of Grammy-nominated 1993 album Millennium, White retired from touring with EWF in 1994. His last official concert was chronicled on the 1996 CD Greatest Hits Live. Although no longer well enough to tour, White continued as producer and co-lead singer on albums In the Name of Love (1997) and The Promise (2003) while Bailey, Verdine and Johnson soldiered on the road without him. One of White’s last on-stage appearances with EWF came in 2000, when all nine original members were on hand to be inducted into the Rock and Roll Hall of Fame. In their speech, Bailey conceded the band’s success to White’s genius and leadership. One more time, they performed “Shining Star.” In 2005, EWF released Illumination, the first time outsiders produced EWF music. It also proved to be Maurice’s last time as an active member of the band. On the Grammy-nominated, Jimmy Jam/Terry Lewis produced “Pure Gold,” White’s voice noticeably lacked the manly density of his prime, but still possessed his signature timbre and passion. White retreated from the studio altogether as his illness began to worsen. In 2010, he was inducted into the Songwriters Hall of Fame, but was too sick to attend.
To this day, Earth, Wind and Fire continues to sell out venues all over a globe that have purchased over 90 million copies of their albums. The band’s enduring dedication to Maurice White’s dream is a testament to their continued reverence after five decades. White’s death is a grand loss because it is the physical omission of another of Black music’s purest originals. There are many stars, less geniuses, and even fewer visionaries. Maurice White turned the future into the present, and hopefully artists will look to his past to preserve their future.
I was sitting on the L train in Brooklyn on my way home from work when I got a text message right before I went underground. It was from my then editor at EBONY. Usually when I would get texts from him, it was because he had a time sensitive writing gig for me. Being the money starved man that I am, I lit up…until I noticed the content of the text: “matt, can you write a maurice white obit by 7, 8pm?” What? WHAT???? Granted, I knew Maurice was old, and I knew he was sick, nearly unable to even speak, but I was nowhere near prepared to hear that news, especially the way I received it. My gut instinct was to say no, but soon, I knew it was meant to come to my lap, as I knew NO ONE at EBONY.com, no matter how much older than I, would write an obituary on Maurice White better than me. I started writing on the train on loose papers, the quick memo app on my phone so I could get a head start once I got in front of my computer. It took me an extra hour and 40 minutes to complete it, but I was shocked, angry and determined to get it right. Maurice White deserved my best.
Two weeks later, I’m on my lunch break at Brooklyn Free Speech TV. Leading up to this moment, I’d been listening to EWF extensively, watching concert footage and documentaries to reminisce and give private tribute to Maurice. I even listening to an old interview with Philip Bailey and Ralph Johnson I did for a piece I wrote in Elmore Magazine about Black bands in 2013. One of the last things I told them was please tell Maurice I’m praying for him and I hope he’s well. It seemed I was handling his passing well, just as I had when my biggest musical hero Michael Jackson passed away.
So, back to the lunch break. I’m sitting in the studio green room in front of a vanity mirror after devouring contents from McDonald’s Dollar Menu. With my iPod and headphones in toe, I played “Be Ever Wonderful,” the last track on what I believe to be EWF’s finest album, All ‘N All. I remember the first time I heard it; the opening horns were so fast I thought it was going to be a bombastic funk ending, but it slowed down and became a slow flowing, do-wop inspired ballad. “Be Ever…Wonderful! Stay as you are.” Those words to a kid like me, who didn’t fit in with anyone, were so poignant and important. Don’t change; embrace who you are, no matter what. I was alone in the green room, which was good, seeing as I like singing along with my iPod. Everything was fine, until I got to the bridge of the song and Maurice let out his OOOOOOOOOOooooooOOOOOOOOOOOOOOOaaaaaaHHHH! A lump in my throat formed, a tightness in my chest and my chin was getting heavy. Something was about to happen that I thought I’d luckily avoided. Once the ending came, and that hulking baritone sang, “What I want to do, and what I’d like to tell you may not be as you see; as we live today, what I wanna say is be ever wonderful in your own sweet way.” That counterbalanced with Ralph’s strikes on the crash cymbols and Philip’s syrupy sweet background vocals, I knew it was too late…I was going to cry. I looked in the mirror, unable to sing along anymore, watching the tears drip down my cheeks, my face contorted to this wretched sight and goosebumps stinging every pore in my limbs. “Don’t let the world change your mind,” he sang, and I put my head in my hands let the sadness extract from my soul. This voice, this power, this heart that eased me, inspired me, saved me, was forever silent. I always feel as long as any artist is alive, no matter how past their prime they are, they still have a chance to give you that feeling you got as a kid when you heard something beautiful and different; a feeling you chase whenever you turn your radio on. Now, that chance was gone, I couldn’t take it.
It bothers me that a singer can affect me to this point more than a relative or a close friend’s passing, but it is what it is. Yes, there are more important things in life than music, but I’m not going to apologize for allowing a man like Maurice White to give me life the way he did and being greatly enriched as a result of it. What he created meant the world to me and I am heartbroken. So, what I will say, goodbye Maurice. Thank you for leaving the world better than how you found it.
*An edited version was first published by EBONY.com.*
As Afrika Bambaataa and Bill Cosby face allegations of sexual abuse, we ask should a celebrity’s beautiful legacy be cast aside after being tied to egregious crimes?
*DISCLAIMER: THE WELL-DRESSED HEADPHONE ADDICT IN NO WAY, SHAPE OR FORM, CONDONES SEXUAL ABUSE OF ANY SORT.*
Before 2015, when someone said the name Bill Cosby, people would think of a prolific comedian and a dedicated philanthropist. Today, after over a year of allegations of drugging and sexually assaulting no less than 50 women over decades, his name evokes the thoughts of a rapist and a monster to many. More than three weeks ago, Afrika Bambaataa was a revered pillar of American hip-hop community. But now, when Bronx politician Ronald Savage claimed the musician sexually abused him in the 1980s as a teenager, all that began to change as well. Last week, three more men have come forward with the same claim, and while Bambaataa has stated the allegations are “baseless and cowardly,” his legacy may soon suffer the same explosion that Cosby’s has. It remains to be seen whether or not the courts will prove that either Cosby or Bambaataa are guilty of these crimes, but in the court of public opinion has already convicted them, serving as judge, jury and executioner. We live in a country with a criminal justice edict that reads “innocence until proven guilty.” Why is it that outside of courthouse walls, it has been the opposite? Moreover, should all that these men done to uplift Black culture over the years be omitted in light of this accusations?
Two things must be examined here. First, there’s the issue of a man being convicted by the court of public opinion regardless of the outcome in a court of law. For additional context, let’s go back to two other prominent occurrences. Two decades ago, both R. Kelly and Michael Jackson were accused of similar charges. Kelly’s reputation was originally marred when news got out that he’d married former protege Aaliyah at age 15 (he was 27 at the time). He has put out one chart topping album after another and it was all but forgotten, until allegations of statutory rape came after a sex tape allegedly of him and another underage girl surfaced in 2000. Jackson was accused of child molestation in 1993 and the public immediately turned on him. Both R. Kelly and Michael Jackson were exonerated of their respective charges. However, the stench of allegations is so potent that neither of them has been able to remove them completely. This ideal is intensified with Cosby’s and Bambaataa’s cases. Regardless of what any of us may believe, it is dangerous to target and see people as guilty, particularly from afar, before a judge has said anything. We are in a time when circumstances, hearsay and volume superseded evidence, and that’s a slippery slope.
Perhap it’s because the act of sexual abuse is so heinous. Fact about it, the public has often forgiven other prominent celebrities of brutal crimes. It’s been well documented that both Miles Davis and Richard Pryor were drug addicts and spousal abusers. However, history has been far kinder to them and their legacies than that of Bambaataa, Cosby, Kelly and Jackson. Is one crime worse than another? And is it fair why should we castigate people who aren’t found guilty in court while we lift up those are factually guilty?
More importantly, should we erase all the good that a person has done in light of bad things they “most likely” did – it cannot be overstated that these men were not convicted, or have yet to be. But let’s just say for the sake of the discourse that each is actually guilty. Let’s consider what each has contributed to the enrichment of Black culture:
Cosby’s revolutionized stand-up comedy; used the television platform via The Cosby Show and A Different World to promote Black familial assimilation and aspiration, and advocate for historically black colleges and universities respectively. Bambaataa, a reformed gang member, founded the Zulu Nation, deterring Black youth from street violence to more constructive and creative outlets; his 1982 hit “Planet Rock” caused a dramatic shift in the international musical direction of rap music. Jackson broke music and television color barriers, influenced multiple generations of pop and R&B stars to this day, completely revolutionized profitability and marketability of the modern recording artists, and is the most charitable celebrity in history, donating over $250 million dollars to charity in his lifetime. Kelly drastically inspired two generations of R&B singers and songwriters and created a new sound in contemporary Black music at the turn of the 21st century. All of these are feats that have provide Black men and women for over 60 years of being uplifted, enlightening and enriched.
Now, let’s look at what’s happened after each was accused:
Cosby’s legacy has been tarnished, arguably, beyond repair. Numerous colleges rescinded all his honorary doctorates, The Cosby Show was removed from syndication, and a man who made a fortune making people laugh is now the butt of every joke and meme. Jackson has labeled a child molester nearly everywhere he went, losing endorsements, investments and public approval. Kelly shares the same stigma of sexual deviancy, as he’s grilled in interviews with Huffington Post and GQ about his perceived preoccupation with sex in his work. As far as Bambaataa, according to the New York Daily News, Cornell University, where Bambaataa frequently lectures, is under scrutiny for housing his music collection and a Charge.org petition to remove him has been started.
Are we able to condemn the acts of evil while still commending all the good they did? In our society, it seems to be Black or White; either/or. There’s a possibility that some of us conclude that by watching The Cosby Show, singing along to “I Believe I Can Fly,” dancing to “Planet Rock” at a party or watching Jackson moonwalk during “Billie Jean” that we support and advocate rape, deviance and violence.
There is also the notion the public feels a deep sense of betrayal. When preachers are caught cheating, abusing young boys or stealing money, their flocks’ sense of trust, love and loyalty to men has been compromised, as these men are held in higher standards than others. We hold our entertainers more sacredly than politicians and dignitaries. We quote singers, rappers and comedians like scriptures and fables. Therefore, when they can’t live up to a standard or they are tied to – not even necessarily guilty of – an unforgivable crime, i.e. sexual assault, we tend to cast them to the wind and leave them behind for the most part. Well, it’s not quite that simple. We benefit from the good they’ve done whether we want to or not, because we’ve applied their essence to our lives subliminally every day, but it doesn’t make us rapist sympathizers. At the end of the day, none of us are perfect, and the faster we realize that people who are gifted at entertaining and educating us are any less flawed that those who watch, listen or subscribe to them. Acts should be praised before people. Acts should be judged before people.
One of the worst kept secrets in show business is that Chris Brown is a big fan of Michael Jackson. Since his first years of teenage success, Brown has pledged his loyalty to the departed singer/songwriter by singing his songs on stage, wear his iconic jackets during concerts and, of course, let’s not forget his tear-jerking tribute to Jackson at the BET Awards. On wax, on the other hand, you can’t find too many similarities between the two. This changed in the summer of 2013 with the release of “Fine China,” the lead single to his 2014 album X, which finds the Grammy-winning singer crooning over a Jackson-esque funk/pop track and exclaiming the gloved one’s signature vocal ad-libs (i.e. Whoo-Hoo’s and syncopated scatting). “Fine China” is a homage to MJ in a stylistic sense and sticks out among X‘s other hip-hop infused songs like “Love More” and “New Flame,” but it isn’t the only time Jackson’s influence rear’s it’s head on the album. “Loyal,” the fourth single from X, is a mid-tempo club banging anthem featuring Lil’ Wayne all about gold digger women. No one would ever mistake a song that has a hook that expresses, “These ho’s ain’t loyal,” and includes phrases such as “I don’t fuck with broke bitches” as being inspired by anything associated with Michael Jackson, but they should and here’s why.
Aside from being revered by millions as the greatest entertainer in music history, Michael Jackson was a singular songwriter who wrote vivid, brooding material culled from his very unusual life. Jackson was able to write songs of various subject matter, from love, injustice, and unity. However, one topic constantly came up: the deceptive female . Since the late 1970”s, MJ repeated the pattern in song many times:
1979 – “Working Day and Night,” Off the Wall – MJ’s girlfriend makes him work extensively to keep him from noticing her cheating ways.
1980 – “This Place Hotel (fka Heartbreak Hotel),” Triumph (with The Jacksons) – Mysterious women claim a false relationship with MJ, causing his
“baby” to leave him.
1982 – “Billie Jean,” Thriller – A woman falsely accuses MJ of fathering her child.
1987 – “Dirty Diana,” Bad – A notorious groupie pressures MJ to trade sex for stardom.
1991 – “Dangerous,” Dangerous – Same plot as “This Place Hotel,” only this time, MJ succumbs to temptation.
1995 – “Blood on the Dance Floor,” – Blood on the Dance Floor – A mysterious woman seduces, then kills, a man.
When these songs were released, Jackson fell under minimal, if any at all, criticism for portraying women in this hawking fashion. This is clearly evident by the public’s response to the songs; “Billie Jean” and “Dirty Diana” both rose to number one on the Billboard charts, “This Place Hotel,” was an R&B Top ten hit, “Working Day and Night” was a live staple on every tour Jackson had since 1981, and “Dangerous” is among his most well known dance routines, performing it no less than five times on television between 1992 and 2001. Jackson explained his rationale behind these songs in his autobiography, Moon Walk: “If [“This Place Hotel’], and later “Billie Jean,” seemed to cast women in an unfavorable light, it was not meant to be taken as a personal statement,” Jackson wrote. “I just think that when sex is used as a form or blackmail or power, it’s a repugnant use of one of God’s gifts.”
Most people wouldn’t dare to compare Brown’s “Loyal” to anything Jackson’s recorded in his career. In fairness, this may be due to the lyrics. The chorus is frank and harsh, “When I rich nigga wants you/And your nigga can’t do nothing for you/These Ho’s ain’t loyal.” Also, Brown’s contribution to the song’s creation is minimal. In the liner notes, “Loyal” lists no less than eight people having writing credits for the song, whereas Jackson wrote all the lyrics of the six aforementioned songs and composed all but two (“Dangerous” and “Blood on the Dance Floor” were both composed by Teddy Riley). Lastly, some would say Brown has a bitter and skewed view of women in light of his tumultuous relationship with pop singer Rihanna, while some would argue that Jackson’s point of view came from a more observational point of view and is much more objective. With all that said, the issue that Brown addresses in “Loyal” of being women being unfaithful (“I Betcha bottom dollar she gonna cheat”), disposing of men that can’t give them a certain lifestyle (see chorus) and will go to great lengths to trap stars (“She wanna see a nigga trapped/she wanna fuck all the rappers”) touches on numerous points that Jackson has made in several songs. The supposed misogyny attached to this material is understandable, but it doesn’t negate the fact that women like these do exist. As Jackson stated again in his book, “There were so many sharks in this business looking for blood in the water.” We mustn’t dismiss that ideal that there are females who use sex as a weapon for dishonorable gains just because the language on “Loyal” is crass. Given that fact that the song reached number nine on the Billboard 100, it’s safe to assume that many others co-sign with the song’s message. Brown still has a long way to go before he can be considered near the accomplishments of his hero, but like it or not, a song like “Loyal” is a step in the right direction to expanding ability to express via his music.
Good morn’ or evening, friends. It’s been a while since the last original WDHA posting, but a special occurrence has prompted this piece: Good Music! 2013 has more than lived up to the promise of amazing new albums, picking up where 2012 left off. Right from the get-go, we were blessed with the year’s best album (so far), Jose James’ No Beginning No End, in January. From there, there have been awesome new music from Alice Smith (She), Mayer Hawthorne (Where Does This Door Go), Mark de Clive-Lowe (Take the Space Trane) and host of others. The month of September, however, has a stockpile of highly anticipated record releases. Here’s a guide for you:
John Legend – Love In The Future (9/3)
The nine-time Grammy winning singer/songwriter returns with his follow-up to 2010’s Wake Up!, his award winning collaborative cover project with The Roots, and his first album of original material since 2008’s Evolver. Legend is posed to continue to enhance his brand of retro-futurist soul alongside his longtime collaborator Kanye West, as evident in the Marvin Gaye/Jean Knight sample-assisted “Who Do You Think We Are,” and the tribal “Made For Love.” Guest artists include Rick Ross, Stacy Barthe and Seal.
Janelle Monae – The Electric Lady (9/10)
Kansas City native songstress earned her following thanks to her quirky black-and-white wardrobe, Cover Girl looks, excitable stage presence and powerhouse vocals. Her 1st full length LP The ArchAndroid garnered her a Grammy-nomination and built anticipation for his follow-up. The Electric Lady is poised to exceed expectations with its double album format, collaborations with Prince, Erykah Badu, Miguel, Solange and Esperanza Spalding and declarative lyrics on individuality and empowerment.
The Stepkids – Troubadour (9/10)
Described as “Vintage Yacht Funk-Jazz” by Spin Magazine, the trio from Connecticut is back, two years after earning respect and admiration with their self-titled Stones Throw Records debut. On Troubadour, The Stepkids expand on all their virtues, their humor, nerd-like intelligence and instrumental virtuosity to make songs that are instantly memorable. With the lead single, “The Lottery,” it would seem on the surface like their poised to fill that Steely Dan void, but Troubadour shall be more diverse and accessible that meets the eye.
Earth, Wind and Fire – Now, Then and Forever (9/10)
It’s no secret that WDHA regards EWF as the greatest band of the 20th century, so let’s not attempt to be objective. Everything they do is good, and their 21st studio album is no exception. Their last effort, Illumination, saw the Elements enlist outside producers for the first time (Jam & Lewis, Raphael Saadiq, Brian McKnight, Will.I.Am). After that contemporary experience, Now, Then and Forever marks a return to that vintage EWF sound that fans are accustomed to hearing – blasting horns, plucking bass lines and emotional singing from Philip Bailey. Be sure to catch them on the road, as the band is ready to introduce songs like “My Promise” and “Dance Floor” to their stage repertoire, making new classics for new fans to enjoy.
Gregory Porter – Liquid Spirit (9/17)
In a word, Gregory Porter’s voice is intimidating. Influenced by Nat “King” Cole, the Brooklyn-resident tap dances between smooth jazz inflections to booming vocal explosions that knock listeners to their knees. After garnering two Grammy nominations on each of his Motema Records albums, Water (2010) and Be Good (2012) respectively, Porter jumps to Blue Note for his major label debut, Liquid Spirit. Building on what’s becoming a signature sound, Porter and his quintet use more gospel influences on this outing, adding to his already varied palette. Liquid Spirit will surely make Porter three-for-three when it comes to the instant classic album recording business.
Elvis Costello & The Roots – Wise Up Ghost (9/17)
Basically, if The Roots align themselves to you for album project, you’re all but guaranteed to come out with a stellar result. Questlove and co. have already worked wonders for Al Green, John Legend, Booker T. Jones and Betty Wright, winning awards for each. Now, it’s Elvis Costello’s turn. After numerous appearances together on Late Night with Jimmy Fallon, Costello and the Legendary went in the lab and banged out a 17 song banger in record time. If 1st single, “Wake Us Uptown,” is any indication of what to expect, looks like Questlove will get yet another gold statue come February.
The Foreign Exchange – Love in Flying Colors (9/24)
Dutch producer/musician Nicolay and North Carolina MC Phonte Coleman are The Foreign Exchange, and together they’ve made three albums that don’t sound anything like what you think a European producer and rapper artist should. 2013 was destined to be a big year from +FE, with a double CD remix release, ReWorks, in the Spring and keyboardist Zo! album ManMade (co-produced by Phonte) released this summer. Now, the group is dropping their fourth studio effort, with frequent contributors like Zo!, Sy Smith, Jeanne Jolley and Eric Roberson along for the ride, yet again. Judging from the single “Call It Home,” +FE are capitalizing on the driving, prog-electronic vibe from the remix project. Fans are sure to be all in.
The Internet – Feel Good (9/24)
Odd Future’s resident musicians Matt Martian and Syd shocked OFWGKTA followers with their debut Purple Naked Ladies with its amazing musicianship, smooth arrangements and lovely singing from Syd. Feel Good looks to expand on that laid back sound, only on a large scope; the album is slated to feature production from Thundercat, Pharrell Williams, among others. The first two leaks, “Partners in Crime Part Two” and the title track are amazing primers for the project, which is sure to be a wonderful record.
Justin Timberlake – The 20/20 Experience – 2 of 2 (9/30)
Seven years, JT was gone. After the 4 time platinum blockbuster of Future Sex/Love Sounds, folks were starting to wonder if the former boy-bander would ever drop his thespian card and return to music. This March, fans got their wish when Timbaland produced The 20/20 Experience dropped, featuring Top 5 smashes, “Suit and Tie,” and “Mirrors.” Well, Timberlake decided not to keep people in waiting too much longer for the next album, announcing that 20/20 Experience part 2 was dropping only months later. So far, all anyone’s heard of it is the dance floor cut “Take Back the Night,” but the songs homage to the late, great MJ’s Off the Wall days, people are sure to love this just as much as part one.
So there you have it! Autumn is going to be starting with a bang, thanks to these hot new releases. And to think, there’s still three months left of 2013 to look forward to!
Jazz Icon Clark Terry’s Life Commitment Mentoring Young Musicians (Originally Published in iRockJazz)
Musicians can be a selfish or cryptic people. Even though it may or may not be a fair assessment to make, the truth of the matter is that many of them are, and for good reason. Musicians work very, very hard at learning their respective instruments, understanding composition and mastering improvisation. Then, they have to work that much harder at getting people to notice them – fans, potential band mates or bandleaders, record companies, management, and more.
Once they’ve obtained all of which they wanted, at whatever level they are content with, then the truly difficult task begins, which is keeping it all for themselves as long as they can while other musicians move up the ranks, fighting for position. So, after all of that, they want to keep it for themselves, afraid anyone who comes along will take their shine, or they may just want the youngsters to prove that they’re good enough by learning on their own the same way they did. Clark Terry’s early life encounter with such a musician was the catalyst that put him on a selfless path that helped make him the living legend that he is today.
Quincy Jones on Clark Terry: “The greatest honor I’ve ever felt in my life was when Clark Terry left Duke Ellington to come play with my band,” Jones testified in his book “Q” on Producing. “Can you imagine what it felt like to have the guy who taught me when I was 12 years-old leave Duke Ellington’s band to come play with me? It was incredible!”
Read the full article at iRockJazz.com: http://irockjazz.com/2013/03/pay-it-forward-clark-terrys-commitment-to-help-others/
Melvin Van Peebles belongs on the short list of the most innovative filmmakers of the 20th century. The renegade director’s approach to storytelling has made him a true original. His guerilla style quick camera cut approach to his breakout film Sweet Sweetback’s Baadassssss Song laid the groundwork for the sub-genre what would become known as the Blaxploitation films. Movies like Shaft, Superfly, The Mack and a host of others owe a debt of gratitude to Peebles, but not just for the films, but for the music, as well.
Although Quincy Jones deserves the lion share of credit for breaking barriers for Black film scorers in the 1960s, and Curtis Mayfield may have been the most commercially successful Black film scorer of the 1970s, it was Peebles’ intuitive use of music. Music both as a backdrop and as a marketing tool that both initiated a lasting trend of popular Black artists like Mayfield, Isaac Hayes and Marvin Gaye lending their composing pens to these gritty, urban action movies, as well as paying considerable dividends for himself.Sweetback grossed 15 million dollars with a 150,000 dollar budget! The soundtrack of a Black movie went on to become a crucial undertaking for the film and its ability to attract audiences, to the point where in some cases; the music tends to outlast the film itself (i.e. Gaye’s Trouble Man, Bobby Womack’s Across 110th Street and James Brown’s Black Ceasar). Peebles recently spoke with iRockJazz to discuss the role of music in his films.
Read the full article at iRockJazz.com: http://irockjazz.com/2013/04/melvin-van-peebles-architect-of-the-black-soundtrack/