New Jack Swing - The Unknown Legacy

Those who fail to learn their history are doomed to repeat it. OK, this topic is not so extreme, but you get the point.

In a recent debate over measuring certain artists against each other, I began to realize that often times these arguments are based on one's generation. Those who feel a sense of nostalgia over a certain genre, artist tend to hold that feeling very close to them. It reminds them of where they were when they heard a certain song on the radio or first watched a music video (e.g. Michael Jackson's Motown 25 performance and/or Janet Jackson's Super Bowl performance).

This brings me to my original intention of this blog: recognition. With all due respect to Dr. Dre and Kanye West, arguably the most influential producers of the past 30 years have been Teddy Riley, Jimmy Jam and Terry Lewis (pictured). The former members of The Time, Jam and Lewis were no doubt greatly influenced by the group's all-seeing maestro, Prince. What Gamble and Huff were to the 70s (the innovators of the "Philly Soul" sound), Jam and Lewis were to the 80s. Some purists looked down on their emphasis on electronics, but nonetheless, their fingerprints were all over some of the best songs of the decade.

Now as for Teddy Riley, there are few producers/songwriters that are as overlooked as the creative genius behind New Jack Swing. An often forgotten genre/time, it can be credited with revolutionizing modern R&B music. If you name a modern R&B star (Beyonce, Usher, etc), their sound is the new generation of New Jack; urban beats with an ode to hip hop. For a quick description of the New Jack era, one would only need to check the discography of groups like Guy and New Edition and artists like R.Kelly and Mary J. Blige, the Queen of Hip Hop Soul (a derivative of New Jack Swing).

Those who think P-Diddy invented the remix should know when he was Sean Combs and under the wing of Andre Harrell at Uptown Records, Puffy took his cues from the New Jack movement that he heard on every urban radio station. When the elements of solid, upbeat rhythms meet easy to remember choruses/bridges then you have the perfect marriage of music. Riley was able to maximize on the trends of the time and put it into musical form.

So spare a thought to Teddy Riley, Jimmy Jam and Terry Lewis in the musical history of our music.

The Death of Black Radio

Can it be that it was all so simple then? There was a point in time where Black radio stations were the center of the community, dispensing information about political events, providing social commentary as well as playing the latest and greatest in music.

Brash and outspoken, radio personalities kept people dancing and informed in the same hour, and became celebrities in their own right, none more so than Washington, D.C.'s own, Petey Greene. Greene, (pictured) made famous by Don Cheadle in the movie Talk To Me, was just one of those celebrities. Outlandish and at times profane, Greene was also an instrumental voice in the inner city at a time of social unrest and chaos.

He and other DJs now seem like relics of the past, unknown to most modern listeners of radio. Today's radio is homogeneous, with little distinction between various "urban" stations, and totally devoid of political content. A sign of the times or a deliberate dumbing down of society?

Part of the blame can be laid at the feet of massive deregulation of the telecommunications industry. In short, it became more common for a few communications conglomerates to dominate the airwaves like never before. Local radio stations were bought up or bought out and in its place there was a replacement that was deemed 'safe' for the masses. The 80s (the heyday of Ronald Reagan and conservatism), saw conglomerates like Clear Channel wrest control of the radio airwaves, and although they're most popular genre of choice was what they deemed "Urban", it has now become what the Notorious B.I.G. used to call R&B, "rap and bullshit".

Fans of artists like Erykah Badu, Mos Def, Talib Kweli, Little Brother and the like had to search for alternative routes to find the music of their choice (e.g. Pandora and various downloading sites), while mainstream radio became the home of artists who were champions of capitalism, urban violence and individualism. What the radio decided was "hot" became so and propelled lesser artists to greater heights than their more "underground" contemporaries.

Radio play lists have now become homogeneous with the same 8-10 artists garnering all of the airtime. Political insight? Rarely if ever. Events that are trumpeted on local radio stations cater to entertainment. Morning shows have been overrun by gossip queens and rumor, adding to the negativity of the community.

Thankfully, there's always a solution. New artists not given proper airplay have become the fugitive slaves of modern music using the Underground Railroad of word of mouth to get themselves heard (thank God for Pandora). The younger generation who no nothing but the "what's hot" syndrome might never be saved, but then again, it might just be that I'm an old man.

Artist of the Month - Erykah Badu

Some artists are masters at reinvention. A chosen few are able to constantly challenge the conception of "art" and "music" in ways others are afraid or unable to accomplish. Fortunately for fans of music, Erykah Badu has no fear.

A native of South Dallas, Badu (born Erica Wright) has been at the forefront of the neo-soul movement since her groundbreaking album, Baduizm, debuted in 1997, an album of immense quality and depth. Since then, Badu has been able to distinguish herself from her soul contemporaries in numerous ways; her songs sometimes resemble impromptu jam sessions and her lyrical topics are vast and substantially introspective.

Her newest album, Return of the Ankh was released late last month and her fans rushed to the stores to see what she would do next. Prior to the release, she debuted the music video of 'Window Seat', which displays Badu at her eccentric best, stripping down to the bare essentials while walking through Dealey Plaza (site of the JFK assassination) amongst shocked onlookers.

Typical Badu.

Ever-changing, she personifies the new soul movement in all its glory.

Saturday Night Music Club - a review

It's not often that we go 'off-site' for the Music Club, but sometimes, people insist on hosting and who am I to deny them that right? Last week's event was hosted by Music Club veterans Anthony and Marosi White at their lovely home in the south area. Lots of new faces made their way to the event and we hope to see them again.

Our theme was 'Song from a Soundtrack', which brought up some very good material to work with. Most of our 80's babies provided us with soundtracks from such movies as Soul Food, the Nutty Professor and The Best Man. For others, 80's classics like The Karate Kid and Dirty Dancing provided the music.

In all 34 people made their appearance for the March edition and we hope to keep it moving for next month.

Album of the Month - The Boomerang Soundtrack

The greatest of them all?

Quiet possibly.

True, my personal bias invades this review due to the fact that this is in my personal Top 10 for movies, but one cannot deny the excellence of the soundtrack that accompanied the movie, which starred Eddie Murphy, Halle Berry and Robin Givens.

The year was 1992 and Kenny "Babyface" Edmonds was at the height of his musical prowess. His emerging solo career notwithstanding, his label, LaFace (co-founded with L.A. Reid), was changing the sound of R&B music. The collaborators were given full control of the album and what was created was a soul/new jack masterpiece. The album was successful in the mainstream (four songs charted quite high) and also contained some really solid love ballads ("Tonight Is Right" by Keith Washington and "There U Go" by Johnny Gill, to name a few).

While the 90s were the heyday of movie soundtracks (some which accompanied really bad movies), the beauty of Boomerang is how the soundtrack flows so effortlessly with the movie itself. An album so well conducted that it still stands the test of time despite being released over 15 years ago.

What The Music Club is Listening To

Erykah Badu - New Amerykah
Duffy - Rockferry
John Legend - Evolver
Daddy's Little Girl Soundtrack
Sergio Mendes - Encanto
Saturday Night Music Club - January
Goapele - Change It All
The Black Keys - Attack and Release
Sade - Soldier of Love

Saturday Night Music Club for February

It's hard to get 20 people in my apartment. On Saturday night, we crammed 34 music listeners into apartment 178 in Natomas. The theme was "Groups That Should Have Stayed Together", a tricky category, yet the perfectly capable members of the S.N.M.C. were able to come through with 16 tracks for the mix.

Our travelers came from all areas of Northern California; from Lathrop to Dublin to even San Francisco showing that a good thing is hard to pass up. We also had our friend Tommie Webb bring some products from the Luxury Bathhouse located in Davis for display. All in all, another successful event. Next month? On to Anthony and Marosi's in the south area.

Make Up To Break Up

Its inevitable sometimes. A group or band come up together from a young age, go through the trials of tribulations of fame and success, only to break up like high school sweethearts.

Music is littered with tales of broken up groups. As common as it is for groups to form, its just as true that they will break up eventually, leaving devoted fans shocked and dismayed, longing for one last "reunion".

Quick, name three groups or bands who have stayed together for longer than 10 years. Without the assistance of iTunes or the ability to phone a friend, you'd be hard pressed to answer this pop quiz (you coulda named De La Soul, Aerosmith or Metallica, but its too late now). There are different types of 'break-ups'; those that occur and one or two individual artists emerge triumphant or the break ups that destroy the entire formula leaving members to regret ever thinking of it.

When Destiny's Child first came on to the scene, it was pretty clear to even a blind man that Beyonce` Knowles was the "Michael" of the group. Of course, the group was a wise marketing choice in the end; begin as a group, hit it big with several hits, laying the foundation for Beyonce's inevitable solo career. Even her former bandmates have managed to stay relevant in the industry (except LaTavia, ouch). Some talents are just too big to be confined in a group where the roles and fame are supposedly egalitarian (we'll call this the "Diana effect"). Chaka had to break away from Rufus, Patti took her LaBelle from the LaBelles and even Tito wasn't mad at Michael for going solo.

On the other hand you have Digable Planets. Now for casual hip hop observers you might remember their one mainstream hit "Rebirth of Slick (Cool Like Dat)", which hit the charts in 1992. However, their second album, Blowout Comb was a groundbreaking combination of jazz and hip hop not yet seen on that level before. The proverbial "creative differences" is the cause of the group's breakup and neither of the trio has really been heard from since (save Ladybug who appears on Snoop's "Candy" video). One could also argue that New Edition (above) was never quite as good solo as they were as a collective (obviously Bobby would firmly disagree with that statement).

Band breakups are a toss up. Sometimes you are left with the next great solo artist or the next candidate for a milk carton.

Album of the Month - Encanto

A couple of years ago, I was put on to Sergio Mendes by a friend of mine who recommended his 2006 album, Timeless, a collaboration between the Brazilian pianist and notable singers/MCs such as india.arie, John Legend, Pharoahe Monch and Erykah Badu.

A vastly underrated musician in the States, Mendes is lauded in his native Brazil as being the pioneer of Bossa Nova music, a combination of samba rhythms and jazz. His former band, Brazil 66' were globetrotting trailblazers who preached the gospel of bossa nova to worldwide audiences.

Encanto features more collaborations with the Black Eyed Peas (most notably Will .i. Am) as well as guest appearances from Ledisi ("Waters of March"), Natalie Cole ("Somewhere In the Hills") and numerous Brazilian artists. Standout tracks include "Funky Bahia" featuring the voice of Seidah Garrett. The album typifies the best characteristics of Mendes' music, up tempo rhythms with an emphasis on Mendes' piano playing and the cross continental voices of soul singers.

Business Spotlight: Luxury Out House Company

Established in April 2005 by the Webb Family, the Luxury Out House Company specializes in all-natural bath and body care products. The products contain no chemicals, no preservatives and are safe for all skin types.

Located on F Street in Downtown Davis, the store features everything from natural soaps to scented candles and massage oils. The Luxury Out House will also be celebrating "Diva Night" at their store on Thursday, February 11th at 7:00pm. Jazz music, wine and cheese and a shoe contest will be on the menu as well as an opportunity to purchase products. Products from the store will also be on display at the next Music Club on February 20th.

Products can also be purchased at the company website, www.luxuryouthouse.com

Artist of the Month: Esperanza Spalding

Who says Jazz is dead. Although we're some forty years after the heyday of the genre, when Miles and 'Trane reigned supreme, there are a host of artists taking jazz in exciting and new directions.

Esperanza Spalding is just one of those artists.

Known as the "baddest lady of bass", Spalding has been somewhat unknown to mainstream audiences due to her niche genre and absence of major radio airplay. But make no mistake about it, the multi-talented artist is here to stay much to the delight of music fans and lovers of jazz music.

Her style can best be described as serenity, the combination of beauty and grace mixed in with raw musicianship. You would think in her past life she was the inspiration for A Love Supreme. Her two albums as a leader, Junjo and Esperanza display her range of talents and her musical virtuosity. Ms. Spalding's talents are here to stay.

Neo Soul: A Love Story, Part 2

The truth is, soul music never left. What people usually define as "soul music" originated out of the Doo Wop era of the 1950s, followed by the Motown/Stax sound and Philly Soul. Artists like the Tempations, Supremes, Otis Redding and Marvin Gaye came of age during the burgeoning Civil Rights movement that sparked not only a new direction in music, but society as a whole.

However, it was the 1970s that a true "golden age" was born. Leaving the standard, 3-minute long, Motown-influenced single behind, the soul music of the 70s was characterized by an expansion, not only in the length a song could be specifically, but an entirely new direction in general. Whereas the artists of the 1960s indirectly spoke to social injustice, artists like Curtis Mayfield and James Brown grabbed society by the throat. Songs like "Ain't No Stoppin Us Now" and "What's Goin On" were songs that served to inspire.

From a mainstream perspective, the music of the 1980s was a different animal altogether. The 70s featured protest songs from artists across genres, from soul to Rock n roll. The 80's were less rigid and direct. Soul music in the 80's, according to the purists, went through a period were electronically-enhanced music was the norm. Artists like Luther Vandross and Anita Baker seemed to be artists without a genre at times, but were situated within the "Quiet Storm" playlists of radio programmers. But make no mistake about it, the 80's were not a lost decade by no means. From England there came Sade Adu (above) with her band of the same name. Part Nina Simone, part Roberta Flack, Sade` was able to garner a significant buzz both in mainstream and underground circles with their brand of jazz-soul. She became that bridge from the heyday of the 70s and the neo-soul movement of the present day.

Where does that leave us today? Neo-soul's general fanbase, are extremely loyal to their artists. With any genre, past or present, neo-soul suffers from lack of exposure on a mainstream level, causing word of mouth to sometimes be the main avenues of knowledge. But soul music is in good hands and is converting fans everyday. It will continue to go through changes, mostly positive. True soul music has never left us and probably never will. .

Saturday Night Music Club, February 20th

Some groups leave us wanting more. The Fugees Blunted on Reality was an underground success no doubt, but it was The Score that sent them into the stratosphere. Perfecting the art of "leaving at the top", the group disbanded to concentrate on solo projects and have rarely shared the same stage since (except of course for Dave Chappelle's film Block Party).

Next month's theme for the S.N.M.C. is Bands/Groups That Should Have Never Broken Up. Let that marinate for a minute.

Neo-Soul: A Love Story, Part 1

Categorizing music has always been a useful tool for those who seek to define music by a particular style or image. It makes it easier for record companies to properly market their product, simplifies the process for us, as consumers, to instantly recognize and describe a particular sound by its aesthetic qualities.

Most, if not all Black music has fit (or has been forced to fit) this model. Labels such as "Gangsta Rap", "Conscious" and "Golden Age", have been used are examples, all titles and monikers given to different types of music that encompasses what we call Hip Hop or Rap.

During the mid-90s, another phrase became apart of the musical lexicon: Neo-Soul. This genre was characterized as a return to the instrumentation, soulful singing and an expansion of the lyrical landscape. It was seen as a departure from the electronic-driven, catchy hooks of the 1980s, personified by pop-soul artists like Janet Jackson, Bobby Brown, Lisa Lisa and Cult Jam and other artists that were classified as "New Jack Swing".

This neo-soul movement was led by two important male artists, and an equally-influential female, a groundbreaker in her own right.

The first, an artist from Virginia named D'Angelo, burst onto the music scene in 1994 with Brown Sugar, considered a "throwback" album that featured him on many of the instruments that came to define his sound; not to mention writing his lyrics and producing. Smooth and good-looking, he was an immediate hit to female fans nationwide and has created a devoted fanbase despite releasing only two albums (His Voodoo was released in 2000). Equally as impressive was Maxwell, a mysterious soul singer who wrote thoughtful lyrics, backed by tight instrumentation of a seasoned band. His Sade-like reclusiveness only serves to intrigue his fans more. His debut, Urban Hang Suite, written about a weekend love affair, was released in 1996 and has been considered a classic ever since.

What we call Soul music has always been the forte of female singers. From Billie Holliday to Aretha Franklin, to the aforementioned Sade`, what defines music more than the female voice? A voice used to describe the highs and lows of love, and the pain of loss. When Billie sang about "Southern Fruit", we heard, through her voice, what pain and injustice feels like. At times when they were discriminated against in society and in the home, female artists served as inspiration for their female sistren; a voice to the voiceless.

In 1995 there emerged a female artist, a former schoolteacher from the southwest area of Dallas. She was born Erica Abi Wright, but while singing in the local area clubs, she became Ms. Erykah Badu. It was while singing around her hometown that she caught the attention of Kedar Massenburg, the then-manager of D'Angelo, and the rest as we say, is history.

Few critics knew how to classify her debut album, Baduizm, when it was released in 1995; but those who would become fans nonetheless anointed her as the leading female in the neo-soul movement. Mixing conscious, introspective lyrics about politics and love (more complex than many of the R&B ballads of her day), Badu became the first in a long line of dynamic soul singers, Jill Scott and India.arie to name a few.

These female artists defined a new image for Black women. As the 1980s were symbolized by the importance of music videos, Black female artists were, image-like, close to Jody Watley, Pebbles and Janet Jackson were physically beautiful and ready-made for mainstream mass consumption. Although the mainstream media will most certainly give an inordinate amount of attention to lighter-skinned female singers even in the modern era (Mariah Carey, Alicia Keys for example), artists like Jill Scott and Badu are able to represent a greater cross-section of Black women; women who's everyday beautiful is often not highlighted enough.

Album of the Month - The Bridge by Melanie Fiona

Our neighbors to the North have given us many things: Hockey and Jim Carrey, to name a few. They've also produced R&B singers Tamia and Deborah Cox. Now we can add to that list the name of Melanie Fiona.

Backed by the mainstream industry (in the form of Jay-Z's Roc Nation), Fiona has been able to create a buzz with her first two singles. The first, "Give It To Me Right", uses a sample from the Zombies "Time of the Season" and got steady airplay on VH1 Soul and BET. The same can be said about her follow-up "It Kills Me", a soulful song that could prove to be her most memorable.

The product of Afro-Guyanese parents, Fiona's CD, The Bridge, incorporates not the sounds of her parents native land, but the Caribbean as a whole. If Estelle, Solange and Vivian Green morphed into one being, that would describe Fiona's debut album.

Nominated for a Grammy for "It Kills Me", Fiona's album is worth a listen for those who love a little versatility in their music.