With all the hectic happenings at the end of the year, things can be missed. This is just a catch up post to point out a few of our favorite things from 2017 that shouldn't go unnoticed. There were many strong releases, great live shows, amazing musical moments....2018 has a lot to live up to.
In case you missed it here are our Best of 2017 series of posts...
Our picks for best album art of 2017, where we check out some creative album art from the last year.
Our picks for best live show of 2017, what an amazing year for live tunes...all of these were jaw dropping nights in their own ways.
Finally our three part series for albums of the year. Part one our just misses and letdowns, part two our picks for 10-5, part three our top 5, picks for best albums of 2017. Again all of these are fantastic and worth your time and attention.
Feel free to let us know your choices in the comments and thanks as always for reading and exploring...as the patron saint of this site stated:
What are those of the known, but to ascend and enter the Unknown?
Forward looking Jazz artist Christian Scott aTunde Adjuah went large in 2017 releasing 3 albums collectively known as the Centennial Trilogy celebrating one hundred years since the first recorded jazz song. It is a large long project that has one foot in the past and one in the future. The artist is also searching for something deeper:
The series is, at its core, a sobering re-evaluation of the social and political realities of the world through sound. It speaks to a litany of issues that continue to plague our collective experiences. Slavery in America via the Prison Industrial Complex, Food Insecurity, Xenophobia, Immigration, Climate Change, Sexual Orientation, Gender Equality, Fascism and the return of the Demagogue.
Christian Scott aTunde Adjuahholds nothing back and fusing his own "Stretch Music" with modern Trap styling, West African rhythms and New Orleans Indian flair; this is concurrently an experimental and historical effort.
For the final piece of his trilogy CSaTA bridges the gap of the first two releases, synthesizing his playing, writing producing into a whole. Where Diaspora was reserved and Ruler Rebel adventurous, the combination of his ultimate stretch style is aimed for on The Emancipation Procrastination, thefinal resulthits that target often. The title track announces that direction, but it is the following "AvengHer" where things fully coalesce. While on other tracks of the Centennial Trilogy guests have shone, "AvengHer" is CSaTA's jam through and through. While Marcus Gillmore (Drums, SPD- SX) and Weedie Braimah (Djembe, Bata, Congas) do play on the track it is the engaging sonic structure of Adjuah that overwhelms. Trap beats, eerie warbling bells, sounds out of a horror movie, yet somehow all groovy and encompassing; the darkness is warm and welcoming.
Skittering is not limited to the drums as Elena Pinderhughes flute closes out the evocative "Ruler Rebel" [Remix]" with bouncing melody while the Alto Sax of Braxton Cook cools out "Ashes of Our Forever" and the rhythmic African drums drive "In The Beginning". All the tracks are graceful yet full of power and promise.
The stretch style bubbles through the brief "Michele with one l" while the hip hop beats and running piano shine brighter than the smooth horns on "The Cypher". "Videotape" dips a little bit too deep into the smooth jazz realm for these ears but the quick and angular "Gerrymandering Game" perks things up before "Unrigging November" highlights all of Adjuah's skills with gorgeous runs and dynamite rhythms.
The album concludes with two elongated passages "Cages" and "New Heroes". The nine plus minutes of "Cages" has a free jazz appeal that reminds of the late 50's early 60's classics (featuring the Tenor Sax of Stephen J. Gladney) and will speak to more jazz traditionalists while closer "New Heroes" ends The Emancipation Procrastination with confident phrasing, unique drumming and trumpet blowing that proclaims Scott has arrived.
Christian Scott aTunde Adjuah has crafted a masterful trilogy which contains something for any fan of adventurous music. With the recent rise in popularity of artists like Kasami Washington onto the national stage, modern jazz is experiencing a rebirth and CSaTA is right at the forefront with this inspiring trilogy.
_______________________________________________________________ RtBE has done Jazzy January for a few years now and without a doubt our favorite find was back in 2016 when we first heard Stretch Music from Christian Scott who quickly added aTunde Adjuah to his name. It is actually one of the reasons we continue to do this focus every year, hoping to find an amazing artist like this.
This week (after our MLK salute) is dedicated to CSaTA with reviews of his TheCentennial Trilogy and a Full Show Friday celebrating the artist and his collaborators.
Please support the artist, buy the album, stream it on bandcamp or below and peep some video:
Forward looking Jazz artist Christian Scott aTunde Adjuah went large in 2017 releasing 3 albums collectively known as the Centennial Trilogy celebrating one hundred years since the first recorded jazz song. It is a large long project that has one foot in the past and one in the future. The artist is also searching for something deeper:
The series is, at its core, a sobering re-evaluation of the social and political realities of the world through sound. It speaks to a litany of issues that continue to plague our collective experiences. Slavery in America via the Prison Industrial Complex, Food Insecurity, Xenophobia, Immigration, Climate Change, Sexual Orientation, Gender Equality, Fascism and the return of the Demagogue.
Christian Scott aTunde Adjuahholds nothing back and fusing his own "Stretch Music" with modern Trap styling, West African rhythms and New Orleans Indian flair; this is concurrently an experimental and historical effort.
On the first release of this trilogy, CSaTA used his talents to fully (and excellently) evolve his Stretch style. On the second chapter, Diaspora, he is more focused on setting a relaxed mood. Taken individually this effort underwhelms, but as part of the collective whole (especially it's first and last tracks) it links thematically to it's sister records and also historically to the smooth jazz greats.
The R&B tinged title track opens the proceedings, grooving out easily with a piano motif. Cool and bubbly as a Ramos Gin Fizz from Bar Tonique the track is soulful, aided by Elena Pinderhughes flute, but on this effort CSaTA's trumpet work is the shining lead. The easy rolling continues for "IDK" where the piano again sets the theme as Braxton Cook's saxophone joins to perform a duet with CSaTA's horn work.
The city that is so much at the center of his work gets more love with "Our Lady of New Orleans (Herreast Harrison)" but where "New Orleans Love Song" on Rebel/Ruler was a burst of rhythmic energy, here the coolness of the Diaspora mellows the mood. That mellowness continues to the point of dullness as both "Desire For The Burning Girl" and "Uncrown Her" fail to live up tho their engaging titles.
"Lawless" is the first track to become inventive and it is the drums/rhythms that do all the heavy lifting here, closing with a drum solo. The percussion also perks up for the interluding "New Jack Bounce" and "No Love" rises above the other slow jams based on the low end bumping bass, finding CSaTA using all of his skills expertly.
Things revert to cool jazz for "Completely" as Pinderhughes flute gains a larger role while the album closes with the vocal help of Sarah Elizabeth Charles on "The Walk". The finale is the most positive force on the album with its hyper piano work, deeper beats, (once again) Pinderhughes flute and CSaTA's scurrying horn playing against the slow groove.
Those fans of more direct straight, easy listening jazz will gravitate to Diaspora, the most digestible of Christian Scott aTunde Adjuah Centennial Trilogy. For an artist with such amazing talents this middle section just feels too safe, especially in comparison to it's bookend releases.
________________________________________________________________ RtBE has done Jazzy January for a few years now and without a doubt our favorite find was back in 2016 when we first heard Stretch Music from Christian Scott who quickly added aTunde Adjuah to his name. It is actually one of the reasons we continue to do this focus every year, hoping to find an amazing artist like this.
This week (after our MLK salute) is dedicated to CSaTA with reviews of his Centennial Trilogy and a Full Show Friday celebrating the artist and his collaborators.
Please support the artist, buy the album, stream it on bandcamp or below and peep some video:
Forward looking Jazz artist Christian Scott aTunde Adjuah went large in 2017 releasing 3 albums collectively known as the Centennial Trilogy celebrating one hundred years since the first recorded jazz song. It is a large long project that has one foot in the past and one in the future. The artist is also searching for something deeper:
The series is, at its core, a sobering re-evaluation of the social and political realities of the world through sound. It speaks to a litany of issues that continue to plague our collective experiences. Slavery in America via the Prison Industrial Complex, Food Insecurity, Xenophobia, Immigration, Climate Change, Sexual Orientation, Gender Equality, Fascism and the return of the Demagogue.
Christian Scott aTunde Adjuahholds nothing back and fusing his own "Stretch Music" style with modern Trap styling, West African rhythms and New Orleans Indian flair; this is concurrently an experimental and historical effort.
His first release of the trilogy Ruler Rebel is a blazing success, planting a flag in the ground of modern jazz. The album is an amalgamation of sound and style and the truest form of CSaTA's desired jazz/trap/stretch music yet. The title track sets the fusion of styles stage with bright brass, piano flourishes, strings and deep beats; a regal start. "New Orleans Love Song" gets the energy truly flowing with calypso dance beats, tambourines, piano scales and trumpet blares the song is exactly what it's title proclaims; sonic spicy gumbo.
The past/present/future merge on "Rise Again [Allmos Remix]" and "Encryption" the two standout offerings on the album. "Rise Again" takes it's skittering trap beats, excellent piano work and fierce yet cultured horn lines into a cohesive pulsating track (ending too soon) while "Encryption" pushes things even further out and winningly succeeds. The track showcases great dance beats building with dynamic drum work, constantly supported by grooving soul claps. A dire/dred filled piano line enters and twists the sounds before the ferocious flute work of Elena Pinderhughes soars (this is simply put some of the best flute work RtBE has ever heard) raising the stakes before a noiserock finish that stuns; this track is audio dynamite.
This album isn't perfect however, the remixed "New Orleans Love Song II" zaps the original of it's organic energy, instead injecting digital beats and a New Age melancholy that drags laboriously (even with stunningly great horn lines from CSaTA himself) while "Phases" features excellent vocals from Sarah Elizabeth Charles but never fully connects the variant parts to a greater whole.
The bass lines and rhythm foundation dominate the last two offerings, "The Coronation of X aTunde Adjuah" and "The Reckoning". The latter is ready made for an MC to arrive and take the track as their own with it's skittering bass/drum work and gorgeous high trumpet progressions while "The Coronation of X aTunde Adjuah" starts more experimental but ends with a pop brass/woodwind finish that could be the foundation for a remixed single.
With the first of his Centennial Trilogy releases Ruler Rebel is a kick ass way to announce a major release in the modern jazz world by a major player. The disk has the rare ability to cross genres, fan-bases, and worlds with it's modern sound, bold pairings and just damn enjoyable music.
We have done Jazzy January for a few years now and without a doubt our favorite find was back in 2016 when we first heard Stretch Music from Christian Scott who quickly added aTunde Adjuah to his name. It is actually one of the reasons we continue to do this focus every year, hoping to find an amazing artist like this.
This week (after our MLK salute) is dedicated to CSaTA with reviews of his Centennial Trilogy and a Full Show Friday celebrating the artist and his collaborators.
Please support the artist, buy the album, stream it on bandcamp or below and peep some video:
Another great year is finishing up for @RockBodElec and we wouldn't be a proper music site if we didn't end the year with a "Best Of" list, so RtBE Presents the Best of 2017 Top Ten Albums numbers 5-1:
In the instance that RtBE has reviewed the album either on the site or somewhere else we will link to that review and just give a quick summation; click on the name and title and you can read our full opinion. RtBE worked with the Glide Team to give input on their Top 20 so you can expect some overlap if you already have seen that list.
Again the focus here is on full albums, not singles, but full releases you can slap on and listen all the way through. We know these are a dying breed, but it still is the way we consume music, no shuffle or singles for us.
Today we start our top ten, in retrospect it was a year with a lot of good albums but few great ones, sorta like 2011 or last year. Don't believe me? Google "Best Music of 2017" and see the dreck that shows up. Click that Read More button to see what albums we liked the best in 2017.
Another great year is finishing up for @RockBodElec and we wouldn't be a proper music site if we didn't end the year with a "Best Of" list, so RtBE Presents the Best of 2017 Top Ten Albums numbers 10-6:
In the instance that RtBE has reviewed the album either on the site or somewhere else we will link to that review and just give a quick summation, just click on the name and title and you can read our full opinion. RtBE worked with the Glide Team to give input on their Top 20 so you can expect some overlap if you already have seen that list.
Again the focus here is on full albums, not singles, but full releases you can slap on and listen all the way through. We know these are a dying breed, but it still is the way we consume music, no shuffle or singles for us. You can view the first part of this feature, the just misses and let downs as well.
Today we start our top ten, in retrospect it was a year with a lot of good albums but few great ones, sorta like 2011 or last year. All three of these years contain OK albums as opposed to All-Time Greats. However, there is a wide range in the 2017 top ten; from Jazz to Hardcore Metal to Acoustic to Hip-Hop to Country. Click that Read More button to get started with #10-6 today.
The live show is a slippery thing. There are lots of variables at play, most having little to do with the performance itself. Does the venue have enough bathrooms? Is it going to rain? What day of the week is it on? Did I have a shitty day at work before hand? Did tickets cost waaay too much? All of this effects one's opinion of a live show before the band even tunes up and with reason, but when the stars align, there is no place RtBE would rather be than in the moment of magic occurring spontaneously from the stage.
Live Music Has No Equal!
Taken By The Fantastic Megan Donohue
While we can't see every show that is out there, we try our hardest to see as many as we can here at RtBE. Sure there are a few left in the calendar year, but for now, here is a listing of of the best concerts we were fortunate enough to have seen in 2017. There are links to show reviews in the titles, also because who doesn't love arbitrary rankings, one show at the bottom took the top prize as RtBE's 2017 Favorite Live Show. To continue our Best of 2017 just click that "Read More" button and get started
Another great year is finishing up for @RockBodElec and we wouldn't be a proper music site if we didn't end the year with a "Best Of" list, so RtBE Presents the Best of 2017 Top Ten Albums Part One: The Just Misses & Let Downs:
In the instance that RtBE has reviewed the album either on the site or somewhere else we will link to that review and just give a quick summation, just click on the name and title and you can read it. As always RtBE worked with the Glide Team to give input on the their Top 20, so expect some overlap (though not as much as in years past).
Again the focus here is on full albums, not singles, but complete releases you can slap on and listen all the way through. We know these are a dying breed, but it still is the way we consume music, no shuffle or singles for RtBE.
Today we are going to focus on the "Just Misses" of our top ten and unfortunately the "Let Downs" released this year. Obviously these are just our personal preferences, feel free to voice your opinion in the comments. Expect installment 2 (#10-6) soon, but for now click on the green "Read More" below:
We kick off our Year in Review section of 2017 with a favorite feature in the Best of... area, Album Art. Like in years past we will be choosing our Best Albums of the Year, a few we were underwhelmed with and our favorite show. Today we are starting out by judging books (records) by their covers (vinyl sleeves, jackets, digital pics, etc). We are going to support the creative minds behind the Best Album Art Work of 2017.
The biggest gripe RtBE has with digital music is not the quality (that has been massively improved) nor the disposal nature of it (still a problem, but whatever), it is the lack of amazing album covers and art work.
Sure there may be great artists out there but seeing it on a screen, in iTunes or elsewhere is nothing compared to holding an LP cover or even a CD booklet with pages of lyrics, pictures etc. Thankfully the rise of vinyl is helping this dilemma but it is still not enough. The hours we spent staring, actually holding, examining tons of covers while listening to music can not be adequately recorded, it added new dimensions to the sounds. You were connected to album in a more physical way, things were deeper, more evocative...Anyways...
