Dennis Maple – Orlando (from Next Stop…Soweto Vol.3)

Strut Records released volume 3 in the three-part  ”Next Stop… Soweto” series, exploring the musical soul of South Africa. While volumes 1 and 2 focused on township jive and soul, hip-hop, funk and R&B, volume 3 takes retrospective glance to a vibrant and sophisticated jazz scene in the midst of apartheid.

With imported influence from American legends such as Count Basie Orchestra, Duke Ellington and Charlie Parker and a local infusion of more traditional marabi, a hipnotic rhythm, and kwela, a happy pennywhistle-based rhythm, South African jazz blossomed into its own category, mbaqanga, and in the 1950s found prominence on the world stage. Harsh apartheid restrictions, however, made it very difficult for any black musician to perform in the country at the time, and as a result many South African jazz musicians were forced into exile. Fortunately, many continued in their craft abroad, attracting international attention to the state of South African affairs, and returned home with the end of the apartheid in the 1990s.

Click here to view the embedded video.

Next Stop Soweto Vol. 3 chronicles the jazz musicians who stayed in South Africa and performed in defiance of the apartheid government, with a slight twist of irony. The complex, cultivated, upbeat and even swanky rhythm does not depict the pain and suffering of a people under the auspices of apartheid, but rather celebrates an imported African-American brand of music imbued with local culture in a way that illustrates the freedom those musicians deserved and, yet, were denied. It is not the music of the downtrodden, but the proud and hopeful.

The two-part album features South African ‘jazz giants, ministers and makers,’ like saxophonist Dudu Pukwana, drummer Early Mabuza, pianist Dollar Brand, the Soul Jazzmen, Heshoo Beshoo Group and The Drive.

The album also features an unreleased track, Dollar Brand’s ‘Next Stop Soweto’ from the archives of the South African Broadcasting Corporation. Soweto was the home of the Cold Castle Jazz Festival, where many of South Africa’s jazz legends performed. In 1961, Dollar Brand, trumpet player Hugh Masekela and alto saxophonist Kippi Moeketsi played together, as the Jazz Epistles, at the festival and won first prize for jazz band.

As with previous volumes, the physical album features rare photos and sleeve notes by South Africa author on music and culture, Gwen Ansell.

This album comes highly recommended, if anything for its rich history, but primarily for its unique mode and elevated approach. Listen, and you’ll see what I mean.

On July 19, 2010, I had the distinct honor of checking off a box on my ‘bucket list’ I didn’t believe I’d ever have the opportunity to even imagine: I witnessed the raw effervescence of hip-hop’s true godfathers, The Last Poets, at DC’s own Blues Alley. It was such a powerful experience that it’s taken me almost a month to process it, but I’m finally ready to share with you, dear Couch Sessions readers.

What do we know about these respected elders? Those who were there say the group emerged in Marcus Garvey Park on Malcom X’s birthday, May 19, 1968. Those of us not yet born know their words and stylistic influence through hip-hop even if we don’t realize it. To open the set, the group’s percussionist, Don “Babatunde” Eaton, tapped out “A Thumb Prayer” on the congas, stating simply, “Heat is heard.” franktalkdc whispered to me, “You hear that? That’s the intro to Like Water for Chocolate.”

On History & Language: The Griot Sessions

The Last Poets shared that years have gone by (42 to be exact!) and “we’re still here,” and as far as language is concerned, the group rocks with “what [they] got.” The concert began with the Poets narrating a community funeral of sorts for “those who have passed” or otherwise left the group–Black Hebrews in Ghana, Puerto Rican Afrikans, and so on. Their names whispered in and out of our ears and the drums somehow allowed us to be transported to new stories of the emcees’ “shooting gallery” days, when guys would do drugs in “every possible vein; even in they d*cks.” Wake up, world. The Poets have arrived; you are now entering a convoluted community dream.

The Last Poets have an inexplicable ethos. No matter what, how wild or ludicrous their statements, you believe them. They are brotherly (among themselves and with their audience), amusing, brilliantly simple and the chemistry is nothing short of perfect. The sentiment in the room lingered somewhere between healing and aching, as the Last Poets seemed to carry the wisdom and burden of an entire generation. Umar caught a woman crying out of the corner of his eye, stepped off stage and gave her a long, generous hug. These guys are completely unpretentious, although their apparent contempt for youth–who have “no respect for human life”–sometimes reveals their years.

On craftsmanship and that elusive ‘thing’ that makes music magic, Founding member, Abiodun Oyewole, explained with a laugh:

“If your poem wasn’t speaking a language [the drum] could understand, it would never leave the duffel bag.”

Following the introductory banter, the trio walked a fine line between insanity and genius throughout, first leading us in a call-and-response poem with eight words to be repeated at strategic points in the poem. Yet again, they branded their intentions as a group into the air: “We’ll be baptized, advertised and posthumously mentioned,” they rhymed, adding, “We’re highly intelligent. In a very low way…. I was on crack when I wrote that poem… It’s not funny, it’s the truth.”

Forgotten Muses

When discussing their own influences, the Last Poets cited Smokey Robinson’s “My Girl,” among others, and asked the crowd, “I got sunshine. On a cloudy day. When It’s cold outside, I’ve got the month of May… What the f*ck is that but a poem?!” Umar Bin Hassan, Abiodun Oyewole, and Don “Babatunde” Eaton–the three Last Poets standing at Blues Alley after many reformations of the group over the years–reminded me immediately of all of the flowers whose roots are undeniably watered in Last Poets soil. Among these are Ceelo, Mos Def, Common and of course Goodie Mob. I swear, when they performed “Grenades in Their Eyes,” I had a flash back to “Still Standing.” If you imagine the low, deeply mournful intro to that track, you might get a hint of what it was like to be under the Poets’ spell, whose aftershocks are only fully realized later.

I wanted to share with you what it was like to hear these songs live, the ones we know so deeply in our bones. They are all unfinished products whose spirit chokes you, caresses you, then releases you as shockingly as it snatched you up. “Niggaz Are Scared of Revolution” closed out the set after some pretty aggressive begging from the crowd. Its rhyme schemes exemplify life’s repetition, the obviousness of it all so apparent that we often miss it. I found comfort in the Last Poets’ mantras, repeated by the drummer and supporting emcee (depending on who was taking the lead on which song).

How the Last Poets View Hip-Hop: “The Revolution is a Personal Thing”

It just so happened that Babatunde was chillin’ at the bar next to me after the show before the late set. I turned and struck up a conversation with him, and asked if he’d let me interview him. Even after he insisted, “Those guys do the talking. I talk with my hands,” ten minutes later, I got him to share a bit about his history and culture. Here’s some of what he told me.

sim1ontharun: In my field, arts management, we have this thing we call the ‘elevator speech.’ The idea is that if I got stuck in an elevator with you and I had from the bottom floor to the top to pitch or describe something to you, I could do it in that short moment. [He nods, slightly confused]. So, what’s your elevator speech to Hip-Hop?

Babatunde: Oh no! Let me out! Stop! [Laughing] It’s just not my culture.

s: What is your culture, then?

He went on to tell me that he was trained in traditional Afrikan theology in New York City, and about the Yoruba, Congolese and West Afrikan drummers who raised him in the NYC music scene. He said he believes the drum provides for the “unification of Afro cultures,” and when I asked about other cultures like my own Asian American background, he replied, “Well, Buddha was Black, so that unifies us,” and continued, “We are all brown-skinned people no matter what.” He launched into a very fascinating diatribe about world religions, the connection between Yoruba, Chinese and Korean mythology and practice a bit too lengthy to detail here (sorry, folks). So much for talking with your hands, huh?

s: How old were you when you started drumming?

B: I started to play when I was not as old as my youngest student. I’ve played with the greats: Steven Nash, Richard “Pablo” Landrum. He was my first instructor. I was a principal drummer at Dance Theatre of Harlem, and I used to set the orchestra. I did the second recording of Revelations and played with Limon‘s dance company. But, I am still learning, still studying.

Just then, Umar strolled over. I asked him the same question about the elevator speech.

Umar: What would I tell Hip-Hop? BRING IT. Simple as that.

Then, he reached under his driver’s cap, toweled off his forehead and strolled off.

Jose James – Save Your Love For Me

Jazzanova feat. Jose James – Little Bird

I apologize to everyone. I haven’t written about Jose James on The Couch Sessions at all.

That my friends, is sad. Why? Because Jose James is a dude that you all need to get familiar with. The New York based artist has only been on the scene for a couple years, but his gravely voice sounds like he’s been in the game for more years than his age suggests. At first I thought James was at least in his 40s, but I was shocked to find out that he’s only in his mid 20s. The first time I heard about Jose, it was from the track “Park Bench People,” which reminds me of an updated Curtis Mayfield. James’ age means that he his a kid who grew up in the hip-hop era, but is still partial to Jazz, an art form that we should not let die on the vine. Hopefully artists like James and newcomers like Esmeralda Spalding will open up the genre to a new, younger audience.

The Nancy Wilson cover “Save your love for me” is the first single off of Jose James’ new album, dropping on on Gilles Peterson’s Brownswood Records real soon.

Soil and Pimp Sessions - SATSURIKU-Rejects

Soil and Pimp Sessions - Fantastic Planet
 

One day at work, one of my bosses came up to me and gave me a task of picking out music for a TV commercial for our job that was airing in the DC market, since I was “down with the music thing and all.” Anyway, long story short, we ended up picking some of the most boring adult contemporary dreck I ever heard. Seriously, this track made Kenny G sound gangsta.

And that my friend is what jazz is become. Smooth Jazz dominates the radio right now, whether its Boney James or Hidden Beach covering 50 Cent. The term Jazz really doesn’t apply anymore music wise.

But real jazz continues to thrive outside of the US, specifically in Europe and Japan. Case in point: Soil and Pimp Sessions. These dudes hark back to the days when jazz musicians were rock stars. When acts like Miles Davis were straight badasses. Not this warmed over ish they call jazz today.

The Soil and Pimp Sessions have been on their grind in every continent outside of the US for a years now, but they chose ’09 to drop their newest album Planet Pimp, which dropped on Feburary 24th. The album dosen’t go as hard as their previous ones, so their “Death Jazz” nickname loses some shine, but it still rocks harder than any so-called jazz album that will drop this year.

And don’t even ask me about the name. 

A Suite for Ma Dukes – Find a Way

I know that this 5 song EP popped up last week, but for those who didn’t know, please buy A Suite for Ma Dukes from iTunes. It is, one of the best Dilla tributes that I’ve ever heard. The Suite is the mastermind of  ArtDontSleep and Mochilla, Carlos Nino and Miguel Atwood Ferguson. They will also take part in a live concert, along with a 36 piece orchestra, at Luckman Fine Arts Complex in LA this Sunday as a part of the Vtech Phones Timeless series. The series also will feature Mulatu Astatke and David Axelrod.

Little Dragon – Test

Little Dragon – Constant Surprises

So the other day I got this weird email from someone with the title, “Good R&B Music” and a link to the MySpace page for Little Dragon. Of course, I always get random emails like this, but damn is this not one of the best things I’ve heard so far in 2008.

Little Dragon hails from Sweden and rests in that area of music called unclassifiable. The only thing I can describe it as is a mix of soulful R&B as well as jazz, downtempo, and some trip-hop elements. Led by the ultra soulful styling of Japanese songstress Yukimi Nagano (don’t tell Estelle) and indie folk rocker Jose Gonzales, Little Dragon is probably one of the most soulful and soothing downtempo album since Zero 7 dropped Simple Things in 2001.

If you’re a fan of J*Davey, and I know most of y’all are, then definitely check this one out. The group is making a short swing through the West Coast right now and will be playing the Roxy in LA tomorrow night. You can also cop their self titled album, on Amazon (import) and iTunes.

myspace.com/yourlittledragon

Erykah Badu
New Amerykah, Pt. 1: 4th World War

When I first heard the track “The Healer” on Erykah Badu’s 4th full length album, I thought that homegirl had lost it. Even though the track was set to a dope Madlib beat, and is probably the best head nodders in a long time, it sounded like a long winded rant by a crazy homeless woman. So after my initial excitement I asked myself….”has Erykah lost it? Is she pulling a Lauryn Hill on us?”

Ms. Badu hasn’t lost it. Although New Amerykah doesn’t measure up to her first CD and won’t come close to her greatest effort (Mama’s Gun), the Dallas, Texas songstress has managed to create some downright amazing R&B in a time when the genre has lost focus–with neo-soul all but dead, and young singers like Keysha Cole taking over radio. Badu has managed to find her niche in the world, and she shines on songs like, “Soldier,” “Honey (Bonus Track),” the sultry “Telephone,” and the introspective, “Me.”

You can tell that Badu has come of age on New Amerykah and has found her niche. On “Me,” one of the more personal tracks from this reclusive singer, she puts it all out in the open. With lyrics like “this year I turned 36/damn it seems it came so quick/my ass and legs have gotten thick yea/its all me” you can tell off the bat that she’s not trying to chase the current trends in R&B.

For over 10 years, Erykah Badu has been ahead of the curve for contemporary R&B, and on this album, she raises the bar even higher.

Erykah Badu – The Healer (zShare)

I heard this last week on Gilles Peterson’s Worldwide radio show but never got a chance to rip it. Fortunately someone got around to it because this is a killer track. I gotta admit, even though I loved Oh Word’s Baduizm parody, I’ve been a Badu fan since day one. I got my backpack strapped on tight and ready to go! This song, The Healer, produced by Madlib, is from Badu’s upcoming album Nu AmErykah which drops next month. It is a definite head-nodder and one of the best songs to drop this year so far.

Okayplayer just set up their first ever online awards. Check the site to vote. The application is a little buggy (it just erased my votes when I clicked on another link) but I’m positive that the results will be way better than MTV can come up with.

Is it me, or did the end of the year sneak up on y’all too? Good Lawd, 2007 went by fast. Anyway, I’m starting to compile my lists for the Top Albums and Top Songs of 2007 a month or so in advance. Last years list came off a little half-assed (I got about 5 emails from people saying that I listed a couple songs twice) so the 4 week buffer should give me more than enough time to get it right.

Queen Latifah – Poetry Man

Queen Latifah is one of the few artists from rap’s golden era that has been able to remain relevant (and rich) in the hip-pop decade. But unlike most rappers who try and pen that next “comeback album,” the Queen has gone in a different direction, starting a successful production company, acting career, and a new life as a jazz singer.

I’m starting to appreciate the Queen more as a jazz singer than a hip-hop artist. Her first foray into jazz, The Dana Owens Album was a straight banger in my mind and she dives even more into old skool jazz and r&b with her second Verve release entitled Trav’lin’ Light. This time she covers such notable females as Nina Simone, Shirley Horn, and Sarah Vaughn.

The album drops September 25th, and I’ll hopefully I’ll have a full review by the end of the month.

(much props to Free Hip Hop Now for this)

Mp3: Miles Davis, Nas & Olu Dara – Freedom Jazz Dance

I’ve been listening to a lot of jazz lately (more on that soon) and no one epitomizes jazz like Miles Davis. In tribute to Mile’s and his impact on jazz, a new CD entitled Evolution of the Groove is being released next week. The CD is a remix and rework of Miles Davis tracks based on previously unreleased material. The CD includes Carlos Santana, as well as Nas and his daddy Olu Dara, who got together for a remix of “Freedom Jazz Dance.”

The track itself is so-so at best, and Nas’ one verse in the middle seems to be inserted at the last minute (it wasn’t). I’m not really a fan of these jazz remix projects, so I’m a bit skeptical about the release at the whole. However, I’m not gonna pass judgement until I get my hands on the full album. (hat tip: Spine Mag)