This will certainly go down as one of the most exciting lineups of the year. Erykah Badu, D’Angelo, and Hiatus Kaiyote will be hitting the stage for one night on Sunday 8/4/13 at Chene Park, Detroit, MI.
Leading up to the February 26th release of ‘Cover Art,’ we will be bringing you interviews with the musicians and previews of the songs each one arranged for the record, so check back with us often! Today we have a great interview with Gerald Clayton, one of two pianists on the record, who arranged D’Angelo’s “Africa” for ‘Cover Art.’
Prince has to be one of the most mysterious and intriguing people to ever present at the Grammy’s. From his attire to his demeanor he simply captivated the audience with zero small talk or fanfare (save for his cane). As our OKP family aptly stated, “No disrespect to JT, but no one does smooth and sexy like Prince.” What’s more is that with a new track out and a new website selling tracks and remixes, there will also be a Tribute Concert to Prince at Carnegie Hall curated by none other than our favorite Prince-fanatic — Questlove.
Chris Dave’s ‘Drumheadz Mixtape’ is dropping tomorrow and we’ve got an early listen to “Cosmic Slop” off the record. A cover of a rare Dilla beat (only 40 seconds), the track is a favorite of Dave’s as well as Pino Palladino. Check out the track and a quick interview we got with Chris!
Possibly the best moment of the 2012 BET Awards show was the return of D’Angelo in televised form for the first time in 12 years. Kicking off his return with “Untitled (How Does It Feel),” D’Angelo went through a medley of sorts hitting on “Sugar Daddy” and others as they kept jamming. As always D is sporting an all-star band consisting of what seems to look/sound like Pino Palladino, Jesse Johnson, Ray Angry, and Chris Dave for sure along with a few others.
Jazz purists may be taken aback, but Glasper’s vision of melding the worlds of hip-hop, soul, and jazz is a thoughtful take on an idea that has been explored ad nauseum. Black Radio is Glasper’s vision of what the airwaves could sound like – a mixtape of sorts – that may not reignite a new movement to overtake popular radio as we know it today, but it’s a concept that should be applauded for a group of artists who believe in chops over charts.
What you hear in her voice is ancient and inexplicable. She channels grandmothers and griots to bring audiences to the precipice of tears as easily as she incites eruption. Erykah Badu takes stage as both installation art and high wire act. While she has not made a career of being boastful, it is very clear that the queen bee knows who she is. A combination of Abbey Lincoln, Billie Holiday, Chaka Khan, Parliament’s mother ship, and a Hendrix solo, Erykah Badu is the direct byproduct of a lineage preserved and most effectively expressed through song. A sociologist with a rolodex of great producers and an equally impressive catalog of hits, Badu sings a world based very closely upon the one she inhabits, but clearly thinks and aspires to a plane none of us will reach in this life. A voice as joyful as it is pained, her sound does less to rely on the ridiculous range that carries most vocalists, leaning instead on an awesome amount of versatility, unpredictability, and depth.
As the great voices of jazz and soul music are silenced, Erykah Badu – arguably the first successful mutation of both movements — could very well be the last of a dying breed. In an interview with music superstore, Amoeba, trumpeter Christian Scott may have said it best, “I always applaud her for her conviction because she’s such a great artist and really on a lot of levels I feel like she could be the last great jazz singer, which is kind of disheartening a little bit. But just her sensibilities – her ideas about music, how she approaches her music, the notes that she sings, her inflections; I think she’s really a huge light for us right now. Hopefully there will be someone that’ll come and grab the torch from her, but I don’t really hear it yet, so she’s the one right now.”
The Revivalist got a chance to get the lowdown from some of the members of Lifted Crew, the supremely soulful hip-hop collective gearing up for the biggest stage of their career in opening for D’Angelo on his European tour. Mr. AT, Lex D. Emcee, Yvil Yves, E. FLux, and Mega joined us for an exclusive look into what makes them the dopest crew on the block and what 2012 has in store for fans.
To kick off our first week of this issue; “Jazz in the Dancehall: The Story of Funk & Soul”, we are unleashing the first in our mix series with The Sweat and The Sweet: Funk And Soul Mix Vol. 1. Cue this baby up and get ready for another summer weekend!
Producers Gerald McCauley and Ben Bove present a new film about the invention, evolution, and popularization of the Fender Rhodes Piano, narrated by Dorian Harewood. One of the most foremost and pioneering electric pianos of all time, this documentary captures compelling interviews from Herbie Hancock, Vince Wilburn Jr., to D’Angelo, and brings light to the movements of the Rhodes starting from jazz, up until present day pop music.