In a new episode of the Madlib Medicine Show featuring an exclusive interview, the famed rapper discussed some new jazz projects he’s working on (under equally new pseudonyms) and even more exciting offhandedly noted that he’s had an unreleased jazz album made by Dilla on repeat for a while now. We can only it is able to be released sometime in the near future!
Before the Internet, I can imagine that the art of sampling was much more arcane. I wish I could speak from experience in this case, but I am a child of the Digital Age. My venture into hip-hop began well after global interconnectivity was established. We now live in a world where it is nearly impossible to not know the samples behind one’s favorite hip-hop or R&B record. With sites like WhoSampled.com and The-Breaks.com, one can look up a track and immediately find where all the track’s chops came from. This all comes complete with YouTube videos and Spotify links, and the exact time where one can find a sampled portion in an original track.
In the realm of hip-hop sampling, the sounds of vintage keyboards abound. Although the Fender Rhodes has been a common sonic choice by producers, samples of other vintage keyboards are widespread in the genre as well. West Coast hip-hop from the early 90s, for example, was characterized by the inclusion of portamento-ridden synths (mostly sampled from Parliament-Funkadelic, hence the spinoff term “G-Funk”). However, few beat-makers have chosen to sample the Hammond B3 Organ, one of the staple sounds heard in jazz, blues, gospel, R&B, and progressive rock since the 1950s.
Georgia Anne Muldrow and Dudley Perkins label SomeOthaShip has released a collaboration between acclaimed producer Madlib and Georgia Anne Muldrow. The album is entitled Seeds and it is Madlib’s first venture into working solely with a female vocalist and Georgia Anne’s first time releasing a project that she herself did not produce. A dream collaboration for many avid hip-hop fans, the two artists come together effortlessly combining Madlibs gritty, soulful beats with Muldrow’s powerful lyricism and vocals.
Her sound spans the African Diaspora and you can hear everyone from Abbey Lincoln, Nina Simone, Milton Nascimento, Nate Dogg, J-Dilla to Quincy Jones in her music. So while everyone is arguing about the future of black music Georgia is diligently creating the music that defies barriers of jazz, hip-hop, and soul. Her unique voice has a sense of urgency that immediately draws the listener in, and her lyrics are poignant and prophetic, delivering messages for all people. Georgia Anne is a rare gem of an artist that everyone should listen to carefully. The Revivalist caught up with Georgia Anne for an online interview and she graced us with dope responses that reinforce that she is a true creative genius. Enjoy her answers in all her own words below!
Since this Issue is a major focus of our site, we decided to re-launch Issue No. 2 The Hip Hop and Jazz Debate, which came out in Jan. of 2011. If you didn’t get a chance to read through all of our great features, now is your chance to go through them one by one, including a lengthy list of album reviews. Top Features from this Issue include Weldon Irvine, Respect the Architect: DJs Are Musicians, Word on Rap: The Vocal Instrument, Jazz Poetry, Rap: Cause and Effect of the Black Arts Movement, Insane in the Left Brain and DJ with Live Band vs DJ with Emcee.
A band of very few brothers gave birth to a sound as powerful as The Elements’ with a fraction of the musicians they brought to the stage, and a spin on funk that would leave the genre with a set of global influences that ultimately did as much to influence it’s American purveyors as the original stank oozing from America’s borders and corpulent broadcasts would do to sway the aesthetic of black music far afield of the United States. A musical tidal wave disguised as the dregs of sea foam spitting at a quiet shoreline, they would name themselves Azymuth and become the unlikely catalysts for the evolution of both samba and soul in the span of a few songs.
Catch up on all the great stuff on The Revivalist this week!
Eothen Alapatt (known also as Egon), the former General Manager for Stonesthrow, who veered off to start his own record label Now Again, is more of a storyteller than a label executive. His 11-year tenure with Stonesthrow started with a deep love affair with independent hip-hop in the early 2000s. Now he’s more fascinated with articulating the journeys of obscure Iranian psychedelic legends, Brazilian crooners, and military funk bands during the Vietnam War.
Eothen Alapatt (known also as Egon), the former General Manager for Stonesthrow, who veered off and started his own record label Now Again, is more of a storyteller than a label executive. His 11-year tenure with Stonesthrow started with a deep love affair with independent hip-hop in the early 2000s. Now he’s more fascinated with articulating the journeys of obscure Iranian psychedelic legends, Brazilian crooners, and military funk bands during the Vietnam War.