Wednesday, February 27, 2008

The Return of Badu



One thing is certain: Erykah Badu never lied when she said she was an artist on her 1997 album "Live." Ever since her sophomore project, "Mama's Gun," it's been apparent that she is not making records to sell CDs or to please a particular audience. Erykah Badu makes music because she has a lot to say about the state of the world.

Gone may be her trademark wraps when she first debuted, introducing her fans to "Baduizm," but perhaps there is a reason Erykah has chosen to unwrap herself. Just one listen to her latest effort, "New Amerykah, Pt. 1: 4th World War," and one can see that Erykah is in touch with the disparity of the classes, racism, and senseless political relations, and had to uncover that head so she could sing about it and help her race attain solidarity in the process. (Love how she stuck her name into the title.)

Without a doubt, this is one of the best soul albums of all time, definitely on the level of the legend, Curtis Mayfield. (Badu even incorporates him into her verses as a sample, clearly paying homage to a man she is trying to emulate.) It shares the social consciousness of Marvin Gaye's "What's Going On," only difference is, Badu clearly knows what time it is.

I have to applaud Badu for her boldness in lyrical form on "Master Teacher," a song that I would not do justice to if I were describe it now. (I strongly recommend giving it an intense listen if you own the album or are curious about it's lyrical content.) I also love her throwback to 70s music and the blaxploitation period on the intro and outro of this thought-provoking project.

Artists like Erykah Badu are rare in this day and age because sex, sex, and more sex seems to be the way to get radio airplay and sustain a career. It is up to true music fans, however, to seek and demand music with alternative messages. There's nothing wrong with using our brains to think and analyze the world we live in, right?

Tuesday, February 19, 2008

Sharon's Got Dap!!!


If you weren't at the Beacon Theatre on February 16, 2008, you missed a funky good time! It's been a long time coming, but Sharon Jones and the Dap-Kings are finally getting the recognition they deserve.

Not competing with today's sounds, filled with technology and tracks covered with mediocre voices "sweetened" with Pro-Tools, Sharon Jones is a true vocalist, who gives her audience nothing but soul in every note. Her band, The Dap-Kings, deliver the funk and musicianship a la The JB's.

If you've never seen James Brown perform, or maybe miss those legendary performances, check out his female counterpart, Sharon Jones. On her latest record, "100 Days, 100 Nights," her voice resonates with each lyric from the title track and throughout the feel-good project, but it is in concert that this woman soars.

Don't believe me? Check her out for yourself.


Wednesday, February 13, 2008

A Grammy Affair


Is it just me, or are the Grammys becoming more and more ridiculous each year? Is it just me, or did Cirque du Soleil cheapen some of the greatest music of all time, the Beatles' "A Day in the Life," with a display that only the most artistic would understand? Is it just me, or have we hit an all-time low when Song of the Year is a song about refusing treatment for substance abuse? (Apparently, it's not just me because Natalie Cole thought Amy Winehouse didn't deserve that award either, considering the lyrics. Sorry to Carrie Underwood's songwriters because you deserved it. "Before He Cheats" was pure genius. Then again, "Rehab" was too, just a bad message. Did I just contradict myself?)

Is it just me, or did Herbie Hancock make the upset of the year with his Album of the Year win? Don't get me wrong, I love Herbie to death, but for the first jazz win ever in this category, should it really have been "The Joni Letters"? Yes, it's a nice album, but I think "Gershwin's World" (another Herbie CD) was better. Frankly, I was hoping Amy would have had a clean sweep. I think she actually deserved it, considering her competition.

I could go on and on and on about the 50th Grammy Awards celebration, but I think I'll start wrapping it up. One quick note, however. Why were a majority of the main categories not announced on air? No R&B, no pop. And really, did we need to see Kanye? He's such a media hog and even tried to get respect at the expense of his dead mother. I would have much rather seen Prince or Chaka Khan give acceptance speeches, although they were both upsets. "Funk This" was not the best R&B album in my book, but I love ya, Chaka! (Did I contradict myself yet again?) And Prince did not deserve best male R&B performance for "Future Baby Mama." If "Adore" was in the category, or "Purple Rain," I would have been all for a Prince win.

Who did deserve to win? The Clark Sisters. "Blessed and Highly Favored" is truly a great gospel song, and "LIve-One Last Time" was a hot-to-death gospel CD. So the Grammys got that right. I was also pleasantly surprised to see Common win, albeit with Kanye, Best Rap Performance by a Duo or Group for "Southside," and Jill Scott and Lupe Fiasco win for Urban/Alternative Performance. Although I didn't review the other nominees, it's always great when talented people who don't commercialize their lyrics or personas win. So two other right votes for the Grammys!

But what was up with Patti Austin winning Best Jazz Album? That Gershwin project (unlike Herbie's) kind of sucked.

Okay. I promise. I'm done.

Wednesday, February 6, 2008

A Cello Rondo


Who would think such an eccentric looking man could make such beautifully rhythmic music? If you haven't seen "A Cello Rondo: Amazing Video of a Song Composed Entirely of 37 Cello Parts," I strongly suggest you check it out. Putting the video aside, "A Cello Rondo" will leave you awe-stricken. This is a classical piece composed by Ethan Winer that exudes creativity, replete with a melancholy change halfway through the six-minute-plus composition.

Now don't get me wrong, the video is far from amazing. It's quite quirky, in fact. Seeing, however, the composer's dexterity on the cello is breath-taking. I was surprised that some of the instrumentation was composed entirely on a cello and not with additional string or percussion instruments. When watching the video, Winer helps one see how his work came to life, and is a great supplement for any unbelievers out there. I would have been one if I did not see the video.

So if you're looking for a great piece of music to listen to, check out "A Cello Rondo." And Mr. Winer, if you're reading this, I'd love for you to make your track available to iTunes. I'd gladly purchase it for ninety-nine cents.