ALL POSTS TAGGED "erykah-badu"

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The Bronx-born drummer and percussionist Kahlil Kwame Bell has done quite a bit in the two decades that he has been playing as a professional. He is versatile in that he utilizes a variety of instruments, but also since he has worked in many genres he looks at his skills in a different way from many percussionists. From working with Erykah Badu and Common, to Roberta Flack and Bilal, to Lonette Mckee and Avery Brooks, he feels quite comfortable in a recording studio, at a live concert, or even with a dance theater. In a conversation with the Revivalist he shared with us some amazing details about his life. We have included excerpts of this discussion below. Enjoy!

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.

London’s legend of the mic, Omar Lye-Fook will be joined by one of our favorite beatboxing, producing talents, Taylor McFerrin, for a free duo performance at the Weeksville Heritage Center in Brooklyn this coming Saturday (6/2/12). McFerrin has been gaining buzz from the release of his debut EP Broken Vibes which features his unique blend of beatboxing, musicianship, and production.

Ambitious projects that seek to mash up genres tend to yield something unique or miss the mark, but luckily for music fans this one mostly turns out OK. Sponsored by Hyundai and brought together by The Grammys, Re:Generations takes five contemporary DJs and puts them in different settings to see how successful they could be with cross-genre, cross-generational collaborations. Director Amir Bar-Lev suggests throughout the film that convergence is what’s happening with music in general, especially through the implicit double meaning of the title.

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.”

From the manor in which esteemed industry veteran Don Was, the newly minted Chief Creative Officer of Blue Note Records, addressed the crowd of select industry types at New York City’s venerable Electric Lady Studios last week, it was evident that he was about to introduce a truly unique work of sonic art. “To do something new, something that’s never been heard before. That’s real hard to do,” Was remarked. “This is an album that really holds true to that aesthetic. It’s going to change the way people make records.” The album in question is piano virtuoso Robert Glasper’s upcoming fifth album Black Radio due out on Blue Note Records February 28, 2012 .

The Robert Glasper Experiment has announced that they will release their upcoming album entitled Black Radio on February 28, 2012. Thus far what we know about the album is that Glasper and his experimental-music mongers Casey Benjamin, Derrick Hodge, and Chris “Daddy” Dave will be joined by a slew of exciting guest performers including Erykah Badu, Bilal, Lupe Fiasco, Lalah Hathaway, Shafiq Husayn, KING, Ledisi, Chrisette Michele, Mos Def, Musiq Soulchild,Meshell Ndegeocello, and Stokley Williams. Forget what you thought you knew about the Experiment; this album is sure to bring the music to a new level.

It was the era that produced Bilal Sayeed Oliver; a man who grew from progeny of the church to prodigy of the jazz circuit well before getting a good grip on life as a freshman at the Philadelphia High School for Creative and Performing Arts; a factory of local talent that boasts Boyz II Men and The Roots amongst notable alumni. Philadelphia is a strange town, amongst few others across the nation, including Washington D.C. and New Orleans, where children still learn to play instruments despite the non-existent budget for arts and culture in schools.

Stephen Bruner is Thundercat and Thundercat is the dominant bassist rising within the ranks of R&B, hip-hop, jazz, electronic, and beyond. The mystique behind the man named for his favorite cartoon seemingly hides an introspective, ambitious, and fearless young artist whose solo debut album is finally emerging in front of the vast catalog of experience he has amassed in collaboration with the likes of Erykah Badu, Shafiq Husayn, Stanley Clarke, and Flying Lotus, his closest partner and head of the Brainfeeder movement. The Golden Age of Apocalypse represents something fully in the image of Thundercat with the help from some friends and as such has been heavily anticipated by his community of supporters.