Album Review: Christian Scott aTunde Adjuah- The Emancipation Procrastination

Christian Scott aTunde Adjuah

The Emancipation Procrastination

****and1/2 out of *****

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 Adjuah holds 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, the final result hits 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.
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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 The 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:

Album Review: Christian Scott aTunde Adjuah- Diaspora

Christian Scott aTunde Adjuah

Diaspora

**and1/2 out of *****

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 Adjuah holds 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.
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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:

Album Review: Christian Scott aTunde Adjuah- Ruler Rebel

Christian Scott aTunde Adjuah

Ruler Rebel

****and1/2 out of *****

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 Adjuah holds 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.   

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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:

Album Review: Christian Scott aTunde Adjuah - Axiom

Christian Scott aTunde Adjuah

Axiom

**** out of *****

One of the strongest jazz musicians on the scene Christian Scott aTunde Adjuah was playing the famous Blue Note in NYC right before the pandemic shut down everything. Those nights were recorded and the resulting live album Axiom is a sprawling capturing of CSaA's live experience. 

The core band CSaA has been playing with for a few years now is dynamic. Elena Pinderhughes - Flute Alex Han - Alto Saxophone Lawrence Fields – Piano, Keyboards Kris Funn - Bass Weedie Braimah – Djembe, Congas, Bata, Percussion Corey Fonville - Drums, SPDSX accompany the leader who plays Trumpet, Adjuah Trumpet, Sirenette, Reverse Flugelhorn, and Percussion while also talking to the crowd. 

While CSaA spends a solid part of his live shows conversing with the crowd about his personal inspiration, political issues and other jazz players. Only a few minimal stories are told on this double album with a focus on the music, and there is a ton of it.. If anything Axiom suffers from overload as  two hours of music keeps flowing and the songs/style can be daunting for those new to CSaA's offerings. 

The opener drops the listener directly in the deep end though with "X. Adjuah [I Own the Night]" from his Ancestral Recall album. The track is a percussive whirlwind as programmed beats, frantic drumming and loads of percussion keep pumping away at warp speed around piercing trumpet blows announcing his blazing intention. 

The following ode to New Orleans legends "The Last Chieftain [for Big Chiefs Donald Harrison Sr. & Jr.]" keeps the percussion bubbling with loads of solos including pianos and flutes while the snares, cymbal rides, trumpets and smooth bass give "Guinnevere" a mid career Miles Davis vibe. Davis' influence seeps in throughout, especially with his electric years focus on beats, which CSaA spotlights on Axiom.   

The laid back R&B groove of "Songs She Never Heard" pairs excellently with the new excursion 'Huntress" written for his mother and all powerful New Orleanian women while "Sunrise in Beijing" keeps the drums but also showcases Pinderhughes best flute solo on the record. Slightly less successful are the choppy scale climbing/descending "Incarnation [Chief Adjuah - Idi of the Xodokan]" and the aggressively blown "West of the West" with Han's sax getting a showcase. 

After quick introductions the bandcamp release also offers alternate takes of "Guinnevere" and "The Last Chieftain [for Big Chiefs Donald Harrison Sr. & Jr.]" which are fine, but the original versions shine brighter.   

Christian Scott aTunde Adjuah was really on top of his craft in the live setting when the pandemic struck and Axiom is a strong capturing of his bands talents and powers. 

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Axiom was included in our Best of 2020

Support the artist, buy the album, stream it on bandcamp or below and peep some video:

Album Review: Christian Scott aTunde Adjuah - Ancestral Recall

Christian Scott aTunde Adjuah 

Ancestral Recall

***and1/2 out of *****

Following up the excellent and huge in scope Centennial Trilogy, Christian Scott aTunde Adjuah goes even further away from traditional sound, pulling his self proclaimed "Stretch Music" as he explores lyrical passages, less and less horns and more and more variations on percussion and just odd soundscapes with Ancestral Recall.

The album opens with layered clapping leading into the most gorgeous and complete piece delivered this go around as "Her Arrival" is a stunner. Propelled by rhythmic drumming, trumpet blasts and a sense of purpose with band mate Elena Pinderhughes contributing on flute . "Before" (also featuring Pinderhuges) is a wonder as well as the natural sounds morph as the horns and flutes rise into a deep drum groove which enchants and could roll on forever; tracks like these are wonderful and point to CSaA's immense talent and ear for combining sonic worlds.

It must be noted though for all of the tracks success other times on the record, such as "Diviner [Devan]" and digitally repetitive "Prophesy", things feel as if they are just sonic experiments, not meant to really go anywhere, like all experiments, some are more successful than others. Vocals are now a clear part of CSaA's attack as his friend Saul Williams arrives to deliver his spoken word poetry over digital beats on "I Own The Night" and the incredibly percussive title track while "Forever Girl" invites MC's Mike Larry Draw and Chris Turner to rhyme and sing over the playing.

"Songs She Never Heard" pushes the groove but also incorporates soaring sax work from Logan Richardson and Lawrence Fields piano before distorting the sound with various filters and production tricks. A track like "Overcomer" feels like a natural progression as it incorporates breathy chanting, a deep bass groove and soaring solos, but the filters/production again shellacs the horn with distortion, diluting it's sound and impact. These production add on's seem to be the work of a restless ear and  while certainly unique, they tend to detract from the overall style. Scott has said he makes his own horns because he disliked the sound of the trumpet and that coloring of the main instrument can be both exciting and off putting. 

Also at times his horn work doesn't feel like main instrument on Ancestral Recall as the bass and drums in various coloring's are put in the forefront. Frequent collaborator Weedie Braimah percussion is all over the album as is the synth percussion from CSaA himself. "Ritual (Rise of Cheif Adjuah)" pairs that production with swirling sounds and horn work before petering out with weird synths then rising again around percussive hand drums.   

Ancestral Recall is a challenging album and one that continues the push for blending everything into the sonic whole, and while not always successful, it is never boring. Christian Scott aTunde Adjuah is constantly trying out new scopes and spaces for sound and is tied to no musical boundary. This can be classified as jazz because what else can it be? The best answer is the one CSaA gave years ago, "stretch music" as he continues to explore and see how far he can take the sound and RtBE will certainly be along to enjoy the ride. 

(This album also made Glide Magazine's Top 20 Jazz Releases of 2019)
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Support the artist, buy the album, stream it on bandcamp or below and peep some video:

Album Review: Weedie Braimah - The Hands of Time

Weedie Braimah

The Hands of Time

****and1/2 out of *****

The master of the djembe, Weedie Braimah has released his debut full length album The Hands of Time and it is a overwhelming success mixing all sorts and sounds, styles and vibes throughout it's elongated run time. 

Full Show Friday: Christian Scott Atunde Adjuah - Leverkusener Jazztage 2016

We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...

Christian Scott Atunde Adjuah!

It's Jazzy January again here at RtBE, so get ready to kick off 2018 with some different styled shows every Friday. For this series we skew into new (or more recent) jazz lands. Keeping it current proves there is amazing live jazz still being performed no matter what Ken Burns says.

So we finish off our focus on Christian Scott with this full concert from November 9th, 2016 in Germany.  We loved his Centennial Trilogy which we wrote about all week. Jazz is such an in the moment thing, and this show starts off a bit slow but grows and cooks as it progresses

This is a solid show and a fine addition to our series. Pro Shot, Pro Sound, full setlist below. Enjoy:


● Tracklist:

1. R. Groid 2. The Walk 3. The Reckoning 4. Diaspora 5. West Of The West 6. The Last Chieftain

● Personnel: 

Christian Scott - trumpet, reverse flugelhorn, siren Braxton Cook - viola Lawrence Fields - piano, keyboard Kris Funn - bass Corey Fonville - drums Joe Dyson - drums Dominic Minix - guitar Elena Pinderhughes - flute, vocals 

● Christian Scott Atunde Adjuah - Leverkusener Jazztage 2016 Live at 37. Leverkusener Jazztage, Germany, November 9th, 2016

Full Show Friday: Christian Scott aTunde Adjuah Live from Berklee College of Music 2015

We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Christian Scott aTunde Adjuah

It's Jazzy January again here at RtBE, so get ready to kick off 2017 with some different styled shows every Friday. For this series we skew into new (or more recent) jazz lands. Keeping it current proves there is amazing live jazz still being performed no matter what Ken Burns says.

Our favorite find from 2016's Jazzy Jan was Christian Scott who blew our ears away with his Stretch Music. We made a choice to showcase his live show right there and then...but we saved it til this months Jazz showcase. Why not kick it off with it? More info below the video o nthe players and recording. Enjoy:

Christian Scott performs at Cafe 939 in Boston, MA with a diverse group of musicians from a wide variety of backgrounds and also has a conversation with WBGO's Simon Rentner. Full line up listed below.

Christian Scott aTunde Adjuah - Trumpet, Reverse Flugel, Sirenette

Braxton Cook - Straight Alto, Alto

Lawrence Fields - Piano, Keys

Kris Funn - Bass

Corey Fonville - Drums #1

Joe Dyson - Drummer #2

Dominic Minix - Guitar

Warren Wolf - Vibes

Elena Pinderhughes - Flute & Additional Vocals

Album Review: Chief Adjuah - Bark Out Thunder Roar Out Lightning

Chief Adjuah

Bark Out Thunder Roar Out Lightning

***and1/2 out of *****

Chief Adjuah is constantly searching for sounds, inspiration, himself, cultural influences, the truth and on his latest offering, Bark Out Thunder Roar Out Lightning, his journey brought him to a new space where his trademark trumpet (which brought him to national jazz fame) stayed in it's case. This album is a percussive focused adventure that is rooted in Western African folk and New Orleans Second Line, his 14th studio album pushes him ever further away from contemporary jazz. 

This is not the first time Chief Adjuah has shifted gears, he evolved from Christian Scott and Stretch Music, to Christian Scott aTunde Adjuah for his fantastic Centennial Trilogy, the modern sounding Ancestral Recall and the excellent live album Axiom. Now progressing once more, Chief Adjuah has tried to merge the electronic with natural sounds while continuing to explore his African roots, his hometown New Orleans, and music as a spiritual process.

Focused on new instrumentation, some of which he created himself, Adjuah plays the aptly named Chief Adjuah’s Bow, which blends the West African n’goni and kora with the European harp; a custom n’goni; and a Pan-African drum kit while also chanting, speaking and singing throughout. There are a host of other contributors including: Trail Chief Kiel Adrian Scott – Vocals, Percussion, Weedie Braimah – Djembe, Congas, Tambourine, Dun Duns, Percussion, Vocals, Luques Curtis – Bass, Guembri Vocals, Elé Howell - Pan African Kit, Drums, Bells, Tambourines, Vocals, Brian Richburg Jr. – Drums, SPDSX, Percussion, Tambourines, Vocals, Marcus Gillmore – Drums, Joe Dyson Jr. Pan African Kit, Corey Fonville - Drums, Alfred Jordan – Drums, Percussion, Tambourine, Vocals, Mizan Willis – Dun Duns, Bells, Shekere, Percussion, Vocals, Amyna Love – Vocals, Amina Scott – Vocals, Lioness Sia Fodey – Vocals.

The album is his most naturalistic sounding release in a longtime, opening with recorded wind, his bow, soft vocals, and just a few digital beats to mix things up on "Blood Calls Blood" while the percussion takes over on the swelling "Trouble That Mornin'" as Adjuah's singing sounds confident.  

The album centerpiece is the title track that uses skittering drums, hypnotic repetition, strings, and an extended spoken word section from Adjuah that praises feminine strength and preaches against the scared and fearful bigotry that has infected a large part of modern society. A conceptually admirable undertaking, but at it's length of over fifteen minutes and with minimalist musical changes, the effort drifts away from it's powerful message. Better is the album closing retake on the track, a duo effort with Adjuah and an explosive Howell on drums that ups the tempo and trims the run time, while the best out and out percussion on the album is "On To New Orleans [Runnin' in 7's Redux]" which is crazy in it's fierce, propulsive, percussive displays.

Like The Wild Magnolia's and The Wild Tchoupitoulas, in the 70's, Adjuah is bringing the sounds he grew up with on the streets of New Orleans to the world, but those albums moved in a funky/dance floor filling direction, Bark Out Thunder Roar Out Lightning is more contemplative and inward looking. 

The albums combining of Western African, naturalistic folk sounds and New Orleans street beats is unique and Adjuah takes from the past and those before him as he focuses on traditional Mardi Gras Indian songs yet still puts his own spin on them. The best of this bunch is "Xodokan Iko - Hu Na Ney" which has dueling vocals, African chants, yelps, and a familiar melody as the "Iko Iko" chants ring out, but Adjuah also makes the history personal  

The trio of "Shallow Water [Tribute Big Chief Donald Harrison Sr. - Guardians of the Flame]",  "Ashé Chief Donald [Tribute Big Chief Donald Harrison Jr. - Congo Square Nation]", and "Golden Crown [Chief Xian aTunde Adjuah – Xodokan Nation]" pass down his heritage from generation to generation. "Shallow Water" uses tambourines and shifting tempos to go along with the call and response chants, "Ashé Chief Donald" is a history lesson in musical form, and "Golden Crown" brings it all home to the recently crowned Big Chief himself.  

Along with those tributes to his uncles, Bark Out Thunder Roar Out Lightning shares a direct connection to Harrison Jr's Indian Blue in the idea of fusing worlds and genres. Indian Blue combined modern jazz with Mardi Gras masking tradition and while Chief Adjuah isn't as successful in melding West Africa, NOLA, and natural folk sounds, yet his journey is always exciting to follow. 

One of the most innovative artists in any genre, Chief Adjuah Bark Out Thunder Roar Out Lightning is just another step on his continual path. It is a pleasure to hear him grow and advance. 

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Support the artists, buy the album, peep some video below:

Christian Scott Atunde Adjuah Releasing The Centennial Trilogy

One of our favorite finds during our Jazzy January series was when last year we stumbled upon Christian Scott Atunde Adjuah and his fantastic Stretch Music. Now, to commemorate the 100th Anniversary of the first Jazz recordings from 1917 he will be releasing three albums.

The first album from the trilogy is called Ruler Rebel and the first single released is titled "The Reckoning" you can listen to it here:

We love the track, it sounds fresh and inventive as well as rooted in Jazz tradition. Here is some more info on the releases:

Collectively titled The Centennial Trilogy, the series is at its core a sobering re-evaluation of the social 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.
The first release in the trilogy, Ruler Rebel, vividly depicts Adjuah’s new vision and sound – revealing Adjuah to the listener in a way never heard before via a completely new production methodology that Stretches Trap Music with West African and New Orleanian Afro-Native American styles.

Here is some more live music from him:

Bandcamp Donating Sales To NAACP Legal Defense Fund

Bandcamp is one of RtBE's favorite sites on the internet. Our Bandcamp Tag aggregates all of our posts we use on the site over the years and as of today there are over 295.

There are days we will just jump on Bandcamp, follow some suggestions or tags and make amazing or not-so stellar discoveries.The site has been a treasure trove of glorious music, and we even put out our own musical releases primarily on the site.

Over the last few months with the Covid-19 Pandemic, Bandcamp have been doing even more for the artists who use their site. Today they are donating all of their shares of sales to the NAACP Legal Defense Fund.

View this post on Instagram

This Friday we are donating our share of sales to @naacp_ldf to support racial justice, equality and change.

A post shared by Bandcamp (@bandcamp) on Jun 15, 2020 at 10:01am PDT

It is a great site, go on it and find some music, support the artists and help contribute to a worthy cause as RtBE fully supports Black Lives Matter and all the work that the NAACP Legal Defense Fund is doing.

If you are looking for a place to start, here is one of RtBE's all-time favorite Bandcamp finds, Christian Scott aTunde Adjuah. RtBE first found out about CSaTA while we were just bumming around Bandcamp back in 2016 getting set for our Jazzy January monthly series. He is amazing and his wide ranging 2017 release The Centennial Trilogy rated as one of our favorite from the last decade.



And on completely different note you can support RtBE's band Angels & Vagabonds as well:
 

Live Review: Christian Scott aTunde Adjuah @ Blute Note, NYC 8/22/18

Hey all, got a new review up @glidemag which you can read Right C'here!!!

It was of Christian Scott aTunde Adjuah's early set on Tuesday night August 22nd at the Blue Note Jazz Club in Greenwich Village, NYC.

RtBE has been big fans of CSaA since we first found him through bandcamp with his Stretch Music release release. It was great to find a new NOLA jazz artist who was pushing boundaries in all directions. Then came The Centennial Trilogy and we were amazed, reviewing each of the individual releases (part 1, part 2, part 3) and ranking the overall project high on our year end review for 2017. 

Tuesday was the first chance we have had to catch him and his band live and when they were playing we were not disappointed. They can cook. He is a very personable band leader, on this night a bit too personable with the constricted set times, but otherwise it was a success. He will be back at the Blue Note in the beginning of 2019 and hope to catch him again.

Support the artist, read the review, catch him live and peep some video below:
 

Live Stream: Miles Davis Birthday/Kind of Blue Vinyl Release

With live music on lock down (like everything else currently in New York City) live streams and old concerts have become essential for live music junkies like RtBE. While this current state of pandemic separation is in order we will highlight various shows/streams/virtual events for your viewing and listening pleasure and you can always check out or weekly Full Show Friday series for concerts from the past. Please support the artists any which way you can.

Today we highlight: Miles Davis Birthday/Kind of Blue Vinyl Release

Three great musicians, Ron Carter, Christian Scott aTunde Adjuah, and Vince Wilburn Jr. join Ashley Kahn and Chad Kassem to celebrate Davis's Birthday and the release of Kind of Blue on UHQR quality vinyl.

View this post on Instagram

A post shared by Christian Scott aTunde Adjuah (@christianscottofficial)

We wrote a bunch about Miles in our Masters series and to get in the mood for this event, here is a tune from Kind of Blue:

Year In Review 2017- Top 10 Albums Part 2

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. 

Top 50 Albums of the 2010's: Numbers 20-11

Way back in 2009 we were lucky enough to help contribute to Glide Magazine's list of Best Albums of the 2000's. Hard to believe it has been ten years since we worked out that list, but it is that time again to look back at the previous decade and put together some arbitrary rankings. Since this site has been going strong the full decade we have a lot to pull from.

Here comes RtBE's picks for the top albums from the last decade, 2010-2019.

If we reviewed the album we will provide a link to that review in the title, a brief reflection on the record and a tune from it. A lot can change in ten years and a lot stays the same. Some albums were just right for their time and place and haven't aged particularly well and others were perhaps misunderstood or even prophetic as to where the world was headed.

Just our two cents, but this decade will not be looked back at fondly when it comes to remembering music in general. Things (for the most part) are being programmed and mushed together into mellow, white bread, digestible tunes with a hip hop foundation around pop hooks, synth vibes, a few strings and nothing the least bit exciting or offensive for the majority of music out there. In an era that should be considerably be ripe for protest, outrage, and individual expressionism, very little of actual substance has escaped to the masses.

Never before has the concept of "album" been so meaningless in our streaming/playlist curated society. While RtBE isn't completely old fashion, we still haven't bought into those ways of consuming music and the album is still our only way of listening to things, whether on vinyl or downloaded; no shuffling of singles here. This list focuses on full lengths that are played from beginning to end and deliver the goods.

We will break this down over five parts, doing ten albums a day. There were a ton of good records released over the last ten years, much more than fifty, but these are our choices. We kept our personal musical releases off the list, but feel free to listen and critique those.

As a note, Glide Magazine, the main site we contribute to, changed it's rating system in the middle of the decade from 5 Stars to 10 stars, then removed it all together so if you see say #49 on our list with only 4 stars, consider it doubled to 8.

Like all of the lists RtBE have done, this is meant to start conversations, not end them. Here are numbers 20-11:

Album Review: Boogie - Everythings For Sale

Boogie

Everythings For Sale

***and1/2 out of *****

The 29 year old MC named Boogie (Anthony Dixson) from Compton, CA has made waves with mix-tapes over the last few years, but now from Shady/Interscope Records comes his debut full length Everythings For Sale. Produced primarily by Keyel the flow of the record is a mix of jazz instrumental passages, bass beats and introspection.

From the beginning Boogie is conflicted with mixed messages as "Tired/Reflections" uses the refrain  "Ain't no point in using weapons, no I'm at war with my reflection" and this theme is constant throughout; this track sets the tone and keeps a dour mood for the full album. The pull and pull and pull of living life, doing right, being himself and questioning everything Boogie seems searching and depressed on every single track lyrically. Never confident or happy, there is a angst that is clearly more internally raging then externally violent. Musically the style is cohesive in it's searching as well. a restrained mix of club ready beats around soft instrumental passages lead to solid backing musical results.

The opener manages to drip in sultry vocals, piano runs, jazzy string and horn parts which materialize and drip into nowhere. "Silent Ride" continues this same motif while he vocally tries to get rawer when it comes to the chorus and Boogie puts on a DMX-light impression. "Rainy Days" incorporates hypnotic bass rolls, skittering slaps and a haunting flute line, but instead of keeping it to himself a disjointed Eminem joins in with mixed results, but it is easy to observe why an aging Marshall Mathers sees some of his young questioning (if supremely less violent) self in Dixson. 

A better full guest run is the sped up lines from J.I.D who joins for a few bars of "Soho" which Boogie starts more aggressive on than normal before musical breaks are slammed, slowing things back down with jazzy sounds for the last stanza. These musical accompaniments are lush and rolling, keeping things flowing while Boogie's lyrical journey is disjointed and confusing but not in a negative way; as Boogie ends the song saying "He is cooping with a lot". 

Generational malaise has been discussed and Boogie is smack in the middle of it, at times feeling more like a spoken word/poetry reading or psych session then a hip-hop album, the intro acoustic guitar is a wonderful simple accompaniment before the bass and horns hit elevating things on "Skydive". Christian Scott atunde Adjuah shows up to blare his horn on the questioning of relationships/everyday living titled "Whose Fault" but the jazz vibe is constant through Keyel and others (Dart, C.Ballin, etc) production which is engaging and challenging.

Things are more one note and less successful on the modern R&B sounding tracks like "Swap Meet" and "No Warning" and the harder trying "Self Destruction" feels almost as a parody with all the self examination which came before. Like the artist himself the music succeeds best when it isn't sure where to go like on "Lolshm (Interlude)" as a shift mid song works wonderfully. 

For a first album Boogie sounds like an old soul (just officially entering the game at 29 qualifies him as such actually in hip hop) who can't figure it all out or his space in the world; join the club. Promising, deep, challenging, enjoyable and very of it's 2019 release date yet with timeless musical traits, Everythings For Sale breaks the right way for Boogie and team. 
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Support the artist, buy the record and peep some video below:

Album Review: Nubya Garcia - Source

Nubya Garcia

Source 

**** out of *****

The excellent full length debut from Nubya Garcia is a mix of styles with polish and flair. Source mixes genres with ease, vividly shows off Garcia's chops and is accessible to the non-jazz fans in the room. Produced by Garcia and Kwes (Bobby Womack, Solange, Nerija) the album displays a modern feel and tone. 

Garcia has been working on the London jazz scene for a few years now and Source displays her talents in full, starting with the excellent opener "Pace". The intoxicating bass thump and sax lead the way over the almost eight minute jaunt; while there are multiple solos from all involved there is still a structure as the band move forward. In this vein another standout track "Before Us: In Demerara & Caura (featuring Ms MAURICE)" follows the same vein mix styles and substance with solos creating a greater whole.

Source leans on a chill vibe as "The Message Continues" showcases her smooth sax work with upbeat drums and cooled out electro keys while the title track develops a reggae/dub rhythmic vibe while soloists float along the melody. The record dips in the middle as the lounge based "Together Is A Beautiful Place To Be" runs on too long while "Stand With Each Other (featuring Ms MAURICE, Cassie Kinoshi, Richie Seivwright)" never fully coalesces. 

However things pick back up on "Inner Game" as the bright groove kicks into gear and Garcia shines as the focal point with her nuanced sax work.Vocals also get added later in the album with flair as the Latin influenced "La cumbia me está llamando (featuring La Perla)" shines while closer "Boundless Beings (featuring Akenya)" injects a modern R&B vibe to wrap up the strong debut full length. 

Garcia is already established in London jazz circles and with Source aims much higher in the wake of Kamasi Washington, Christian Scott Atunde Adjuah and other modern jazz emerging legends. 

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Source was mentioned in our 2020 Year End Review.
Support the artist, buy the album, stream on bandcamp or below and peep some video:

Artists Talk About Their Favorite Bob Dylan Songs

Stereogum discussed Bob Dylan with 80 different artists to get their takes on their favorite songs of his. This is a really cool piece to celebrate the bard's 80th birthday. 

There are some RtBE favorite artists like the first one on the list Christian Scott aTunde Adjuah who chose "Only A Pawn In Their Game" and goes deep with the song, really making som illuminating points. 

It is a joy to read CSaA go deep as well as other artists like David Byrne talking about "Murder Most Foul", Margo Price recounting her first time listening to "last Thoughts On Woody Guthrie", Paterson Hood discussing one of our all-time favorites "Blind Willie McTell" and Will Oldham discussing "Brownsville Girl". 

Check out the article and listen to "Only A Pawn In Their Game" live form the 1963 March on Washington for Jobs and Freedom. 

Year In Review 2020 - Favorite Albums Part 1 (The Just Misses and Let Downs)

Another year is finishing up and @RockBodElec wouldn't be a proper music site if we didn't end the year with a "Best Of" list, so RtBE presents 2020's Favorite Albums Part 1 (The Just Misses and Let Downs):

In the instance that RtBE has reviewed the album, either on this site or elsewhere, we will link to that review and just give a quick summation; click on the name/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 long playing 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.

The number ten just works for this so these are the albums that just missed out on being our ten favorite for the year. After that we have s few albums from artists we dig that we were let down by. Like all of our lists or 'best of's' these are meant to start conversations more than end them...

Year In Review 2017- Top Ten Albums Part 3

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.