Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts

Wednesday, October 3, 2007

J* Davey

Looking to broaden your musical horizons? Check J* Davey. After eight years in the industry and performing with the likes of Prince, Mos Def and Erykah Badu, the irreproducible J* Davey has my attention. Funk, New Wave, Soul, R & B, Hip Hop and raw energy combined make J* Davey the choice for those who dare to be different. With lyrics like "just because I am asking you to stay doesn't mean I want you at my place everyday" have made this duo my choice for Spring Fever 2007 (sorry Musiq, B-U-D-D-Y is now number 2 on the PIMPtress Playlist). Their live show is NICE. Jack Davey knows the code and she keeps it fabulous in a Mohawk and something fuchsia.

The L.A. based group is on the east promoting their forthcoming EP, Beauty in Distortion on Illav8r Musik. For those who want something now, check them out on FADER Magazine's The Land of the Lost Episode mixtape. The track Finer Things is the sexiest way to show that someone special you can show them something better. Their song Hi Sun is perfect for putting your Freakum make-up on while practicing the slow shoulder roll from the side. And when Jack Davey and Brook D'Leau totally flipped the script and started rhymin' in the middle of a funk show they became my new musical best friends. www.myspace.com/jdavey

© T.I. Williams

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Marsha Ambrosius



Remember when Floetry first arrived on the American scene? Marsha Ambrosius and Natalie Stewart went against all assumptions of what R & B should sound like and created something unique and groundbreaking- music that is hip-hop, soul, contemporary, vintage and eloquently expressed, feminine in power, sensuality and emotional range. After three widely received albums, vocalist Marsha Ambrosius is solo. On April 11th, Marsha showered fans at S.O.B.s with songs from her forthcoming project and it seems as though she has outdone herself. The songstress, who is also a talented songwriter, is putting together a project that is in a word … delicious. Ambrosius teamed up with go getter Dr. Dre for an album that is a certified must-have for anyone on their grown and sexy…. Ambrosius is performing in the U.S., releasing her first set of singles over the summer and her album is due out in September. Listen for the single COME where Marsha takes the lover’s language she created in singles like Getting Late and Butterflies to a whole new artistic dimension.

www.myspace.com/marshaambrosius

© T.I. Williams

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Youth Black Faith


Youth Black Faith is more than music. It is a movement. Drawing on their lived experiences as members of an American hip-hop generation, YBF synthesizes talent and consciousness to create music that adds stylistic depth to Roots Reggae while maintaining the tradition of critiquing systems and societies.

Reggae is constantly evolving and YBF holds an interesting place in the genre's growth. United under the Rastafarian faith, Isaac Fyah, Itah Torche, Gidi and Kenyatta migrated from various Caribbean nations to Brooklyn NY and began collaborating in 2001. They released Born A Champion in 2005 and their underground debut set an impressive precedent for their music.

YBF challenges artistic legacies and nurtures relevant work that speaks to the realities of today's listener while aspiring to reach the promises of ivine Rasta livity. Born champions, they are proving, track by track, that a musical revolution- one that references the past, is the present and will leave something for the future- exists and is powerful.

© T.I. Williams

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New Kingston Band


The New Kingston Band is composed of Tahir (keyboard), Courtney (drums), Leighton (bass) and Steve (lead vocals & guitar). The group fluently plays all forms of Reggae music from old school Studio One, to Ska, to Rock Steady and Dub right up to high energy, percussive Dancehall. The Band's debut album, MANKIND features collaborations with noted artists Bushman, Richie Stevens and Half Pint. This exciting melodic mélange is slated for release spring 2007.

New Kingston Band has stolen stages at venues as diverse as Sounds of Brazil (SOBs), Brooklyn College Performing Arts Center, Medgar Evers College, Brooklyn's Community Performing Arts Center, Nassau Coliseum, the Lion's Den, Crash Mansion, Negril Village and the Roseland Ballroom. They are one of the few Caribbean bands offering a developed body of signature tunes such as Mankind, This Love Is and Never Give Up while providing highly professional backing for distinct artists. The Band has given artistic support to acts including I-Wayne, Morgan Heritage Ernie Ranglin, R&B Singer Mario, Johnny Osborne, Sister Carol, the Fifth Element Crew, Spragga Benz, Baby Cham and Junior Reid and a host of others.

© T.I. Williams

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PaaShot


PaaShot is to Dancehall today what Master P was to hip-hop in earlier days- a savvy businessman with an acute understanding of the entertainment industry's potential in black markets. Musically, PaaShot spins Dancehall, hip-hop and Reggaeton in a meticulously crafted web of sound. Artistically, he designs video projects that delicately capture the essence of humanity with clarity and astounding visual sensitivity. Professionally, he is first and foremost, an entrepreneur whose business is providing a framework for creative people and projects.

Undeniably, with booming baselines and a tremendous signature voice, his tracks are as infectious as his smile. Using clean imagery and potent delivery, he is poised to conquer the ever-expanding niche market opened by the likes of Shaggy and Sean Paul. From his background as a selector in the mid 90s to performing with the likes of Beenie Man and Sizzla to CEO of New Yaard Entertainment, PaaShot is "out for everything" in the entertainment industry and equipped with the experience and foresight to attain it.

© T.I. Williams

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Thursday, July 26, 2007

Sentimentality


I remember Biggie Smalls rapping about letting his tape rock until it popped. It was a phenomenon I completely forgot, as CDs were the move in the 90s. Recently, I purchased a near complete cassette discography of Roberta Flack and the prophetic words of Biggie never rang truer. Roberta’s cassettes stay on full blast, full time in my apartment. Her svelte voice and sassy words ricochet off the peaches, mints, chocolates and salmons of my walls. For the first time, I understand the bliss of letting my tapes rock until their imminent doom.

Something about the way she does what she does moves me to a newly discovered place. Even as I write this, between chopsticks and a soup spoon digging down into miso with spinach, she and Donnie have me rocking to an airily sexy tune. Hearing her, pulls out all of this guilt and unfathomable desire. Others have excited me before. Patti makes me wince, closing my eyes until mere slits remain. Nina makes me roll my head, neck and eyes in perfectly choreographed movements. Dinah makes me lightly toss my head back and curl my lips in the left corner. But Roberta, Roberta does something else. When she calls Jesse back home, I tremble. The solemness is overwhelming. It is the sentimentality that accompanies thoughts of ancient lovers and long extinguished flames. Something about the slow twang that strings her words together makes me crave those mornings, under crisp white duvets, in arms I have outgrown.

Her plain question, unencumbered by the weight of pride, about the feeling in the morning, opens the wounds I thought were healed, washed of pain and absolved of their emptiness. Reminiscing the ecstasy of holding firmly, finally, a lover chased for eternity, only knowing deep inside that once your façade collapses, their interest vanishes leaves me spent. In the middle of the dishes, wiping the sink, writing a letter, arranging the bromeliad, I am always forced to stop when she begins because I know the feeling, like the intrigue, is always gone at dawn.

When she moans and sighs, breathing life into memories that died long ago, the images of men over the years flash across the landscape of my mind, each one holding a special place and a strange feeling. Why does the regret come so quickly between the eternal pauses and the mild drops in her voice?

My own eyes become heavy, unable to support the weight of lids too old for my years, when she talks about his face. The pure joy of a crush relished in unassuming gazes and telling giggles rushes forward, a fleeting smile lightens my face. Then the sadness comes when she reminds me of the first time I saw so many beautiful faces and endless brown eyes. The shock of light kisses and starving hugs embraces me.

I have been trying to make sense of this for weeks now. What is it about her that makes things so stale seem so fresh? Why do I still remember, so precisely, the lines of his nose and the contours of his cheeks in a dream where his face is not present? How is it that a sensation I have moved away from can come sauntering back into my life as if it never left? Who is Roberta Flack and where does this sentimentality come from?

© T.I. Williams

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Thursday, July 19, 2007

A Classic Remixed


Amel Larrieux has been defying the role of women of color in popular music since her Groove Theory days. More than a million albums later, Larrieux is still proving she is as eclectic and unclassifiable as they come. Amel is the perfect combination of a distinct voice filled with soulful range and lyrics that get at the heart of human emotion. After the release of Infinite Possibilities her celebrated debut project at Epic Records in 2000, Larrieux took a chance, and went to indie label Bliss Life Record. The risk was successful and Amel’s artistic freedom has resulted in critically acclaimed work that is honest, haunting and lasting. While at Bliss Life, Amel birthed Morning and Bravebird. On May 22nd she released Lovely Standards on Bliss Life and dared to defy stereotypes once more.

The Project

In May, Amel released Lovely Standards. If it were any other current artist, the project would be called a cover album. But because Larrieux demonstrates an uncanny intuitiveness for translating decades old music into material that is fresh and original, this album is called her own.

In the space of 10 tracks, Larrieux brings listeners on a journey spanning eras, genres, styles and experiences. To add to the already daunting task of making the old and familiar, new and never before, the tracks selected are classics. Amel tackles big name songwriters like Rodgers and Hammerstein, Ellington and Bernstein and hands audiences a finished product where she is clearly an authority and co-author. She contemporizes Lucky to Be Me and makes is sweet like manna from heaven. Wild is the Wind may not posses the dark vacuous trills that haunt Nina Simone’s rendition, but Larrieux presents an airy version filled with exasperated breaths calling for love that hovers above air. The sauntering of ebony and ivory on You’re My Thrill refreshingly signals a break in Larrieux’s vocal range reeking of Lady Day’s matter-of-singing of love so exciting you can sing it in a monotone and still paint a poly-chromatic mental fantasy.

Today’s R&B is filled with aggressive lyrics and spasmatic beats, Larrieux does a musical about face on Something Wonderful that is spacey yet weighty, dreamy and painfully plain. She starts with a declaration recalling a young Diana Ross and crosses on a sweet and bubbly note comparable to an older, more experienced Carmen McRae. Combined with lyrics so true, denying them is vain, Larrieux does something wonderful to Something Wonderful that feels like the “I should leave… but” love anthem for this generation of ballad lovers. The album comes to a light and refreshing close on I Like the Sunrise which reassures listeners that Amel is still, after all, a brave bird soaring and singing on melodic strings.

The Performance

After such a drastic, yet just as successful departure from her previous styles of music, I had real questions about how the new material would find a way into her live show. I took her in for the first time at B. B. Kings on May 26th.

… she smeared my make-up even before she stepped onstage.

Her two daughters Sanji-Rey and Sky walked out and opened the show with the hit single For Real. It had to be the most soulful polysyllabic intro in contemporary R&B funk history. The song about being better for real, was better for real, as tears wet the eyes of a mom never too established to be amazed by her daughters at work. Sanji-Rey and Sky made another guest appearance mid-way into show with their rendition of Michael Jackson’s Human Nature and Sanji-Rey took the lead as Sky backed her. The audience was enthralled by the dynamic performances of Amel’s 7 and 11-year-old girls.

Even the way she grabs for and vocally mounts the mic is memorable. It marks the beginning of her descent into losing herself on stage. Most female vocalists today don’t have the balls to allow their inner beauty to outshine their appearance so overwhelmingly that they can afford to make their outer selves ugly. When she is submerged in the act, she makes faces. Ugly faces that reveal the pain of delivering something that comes from deep down in the stomach’s pit. Some of the sounds are guttural and emerge from a primordial space pre-dating placentas and umbilical cords. In the seconds between the progressions of faces, she hums tunes in pitches that are near inaudible, but unquestionably delectable.

A true shifter, she changed her energy and everyone else’s as she launched into a rendition of Lucky to be Me. She went from an animated 70s revolutionary to a 40s diva with Dinah Washington’s easiness and Hazel Scott’s grace. By the next track, she called for a lover’s attention like Tina Turner when she was a Gypsy on Acid. If cult classic Super Freak had a female counterpart Earn My Affection with lyrics like “you can’t fool me like my fruit ain’t worth making pie, you gotta earn my affection, put your back into it” is it. Amel demands while purring creating something that sounds somewhat hip-hop with a heavy dose of Betty Davis and Ella Fitzgerald laced with Patti Smith.

If the artistic fusions that made her previous selections addictive were not enough, she remixed How Do I Feel and made something that was pure performative genius and displayed informed worldliness in her musical approach and background.

http://www.amellarrieux.com/


© T.I. Williams

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