February 20, 2008. Posted by Stevan Smith.
What's going on all! Welcome to my blog series "DIGGIN' THE CLASSICS"! When new releases in the music world get slow, we all tend to dig into our collections for some vintage pleasure. Join me for my weekly (or whenever I feel like it) quest for soundtrack satisfaction. This is a blog for music lovers! "Walk With Me".
This edition celebrates: Yusef Lateef- The Gentle Giant (1972)
1. Nubian Lady
2. Lowland Lullabye
3. Hey Jude
4. Jungle Plum
5. The Poor Fishermen
6. African Song
7. Queen of the Night
8. Below Yellow Bell
Now I will admit, I am really picky when it comes to instrumental recordings. There has to be something powerful about a rhythm that speaks without words. Yusef Lateef is most definitely gifted in this area. Lateef defines his brand of music as "-insert here-", but don't call it jazz. "The Gentle Giant" is evidence of his unique talents. With Lateef playing various instruments (flute, tenor, and oboe) and a 9-minute cover of "Hey Jude" (?), there is enough variety on this album to prevent it from boring the "A.D.D." listener. One stand out track is, "Nubian Lady". The title say's it all. With it's melodic rhythms and ultra cool vibes, songs like these leave no room for words. That would just mess things up.
"I'm smiling, but don't call it jazz fool!"
Another track that stands out is "Queen of the Night" (must be something about the ladies). A funky track that has a bass line tailor made for hip-hop. It is this variety that makes this album one of his most interesting works. This Lp speaks to generations, and most likely opened the door for world music. Some refer to this album as being erratic compared to his prior works. I feel this is just a classic display of any artists' journey to evolve. This album is a honest contribution to the foundation of jaz......I mean "-insert here-". It dares to be different. ...And it is the "different" that makes it an instant classic.
"What do you mean by different?"
© 2008 WBGO
February 20, 2008. Posted by Michael Bourne.
This Sunday's telecast will be the 80th annual awarding of the Oscars. This Sunday's Singers Unlimited (10AM-2PM) will celebrate with songs from the movies. Most of the standards of the American Popular Songbook, songs of Rodgers & Hart, Cole Porter, Irving Berlin, the Gershwins et al, came from Broadway or Hollywood musicals. Most of the Broadway songs also came to the screen. I'll spotlight songs from the movies of Fred Astaire, Bing Crosby and Bob Hope, even Humphrey Bogart. I'll celebrate the birthday next week (and upcoming gig at Birdland) of Oscar-winning composer (and jazz pianist) Michel Legrand. I'll feature highlights from jazz and blues movies, also Oscar-winning songs performed by the likes of Nat Cole and Frank Sinatra -- although I won't be playing all of the Oscar-winning songs. "It's Hard Out Here for a Pimp" is not really in our groove on WBGO ...I started reviewing movies in 1967, and I've seen a thousand or two. I started going to the movies with my grandfather when I was 2. I don't remember any of those movies with him, but once in a while I'll be watching an old western and I'll have deja vu. I can't always remember what I was doing yesterday, but I can still name all the actors on The Late Show.
I rarely go to the movies nowadays. I get in cheaper as a senior, but most of the new movies aren't worth whatever the cost. I'd rather wait and rent newer movies -- although I'm much more often watching older movies on TV.
Herewith my all-time favorite movies:
1 THE SEVEN SAMURAI, the masterpiece of director Akira Kurosawa. Toshiro Mifune is downright feral on screen as one of the seven swordfighters who protect a farming village from bandits. My favorite of countless great moments: the little smile on the face of Daisuke Kato when his old comrade recruits him but tells him this time they might not survive, also the grace and power of Takashi Shimura drawing and shooting arrows during the climactic battle in the rain.
2 CASABLANCA, the first movie I bought on DVD. My favorite moment is any moment Claude Rains is on the screen.
3 THE BEST YEARS OF OUR LIVES, photographed in often painterly black and white by (should've-won-an-Oscar visual genius) Gregg Toland. It's the story of three men returning home after WWII, each of them struggling with who they used to be and who they've become, each of them getting a dramatic moment of redemption. Fredric March as a banker turns drunken babble at a banquet into a passionate hope for the future. Dana Andrews as an ex-officer who can't get a job walks through a field of broken airplanes and realizes that he's also junk. Harold Russell (who actually lost both hands in the war) shows Cathy O'Donnell as his girl next door what he looks like when he pulls off his hooks, but, rather than being horrified, she matter-of-factly picks up his hooks as if she's putting aside his slippers. It's the most deeply intimate scene I've ever seen.
4 YOU'RE TELLING ME, I think the funniest comedy of the funniest comedian, W.C. Fields. He's especially graceful doing his physical gags, and, for someone always thought grumpy, Fields is also very sweet, especially when he talks to a princess when he thinks that she's trying to kill herself. I think the funniest scene ever filmed is in another Fields comedy, when he's trying to sleep on the back porch and keeps being bothered by noise and neighbors in IT'S A GIFT.
5 BOSSA NOVA, the romantic comedy I've watched every birthday since 2000, about a lawyer (Antonio Fagundes) who falls in love with an English teacher (Amy Irving) in Rio, dedicated to (and featuring songs of) Antonio Carlos Jobim.
My all-time favorite music for a movie was the all-star jam that happens throughout Robert Altman's KANSAS CITY. Being there when some of the music scenes were filmed was one of the best jazz experiences of my life, especially the tenor battle of Joshua Redman as Lester Young with Craig Handy as Coleman Hawkins. They filmed way more music than was needed, music that was so great that an all-music version was created, called Robert Altman's JAZZ '34. Bob asked me to write the opening scene-setter that Harry Belafonte reads on the soundtrack -- my first and only time ever actually working on a movie.
© 2008 WBGO
February 11, 2008. Posted by Stevan Smith.
What's going on all!
Welcome to my blog series "DIGGIN' THE CLASSICS"! When new releases in the music world get slow, we all tend to dig into our collections for some vintage pleasure. Join me for my weekly (or whenever I feel like it) quest for soundtrack satisfaction. This is a blog for music lovers! "Walk With Me".
This edition celebrates: A Tribe Called Quest- The Low End Theory (1991)
Tracklisting (Contains Explicit Lyrics):
- Buggin' Out
- Rap Promoter
- Verses From the Abstract
- Show Business
- Vibes and Stuff
- The Infamous Date Rape
- Check the Rhime
- Everything is Fair
- Jazz (We've Got)
This is one of my all-time favorite hip-hop albums. Arguably the best album by Tribe, this project contained a very "jazzy sound" (East Coast hip-hop was James Brown sample crazy before this). This was a very different vibe from the G-Funk gangsta music made popular by Death Row Records at the time.
While I was going through the credits, I noticed that Ron Carter played the bass on track #5 "Verses from the Abstract". Being that I said this is one of my favorite hip hop albums of all time (and I know every lyric), I never noticed that Q-Tip shouts out Ron Carter at the end of the song...."Thanks a lot Ron Carter; on the bass is my man Ron Carter on the bass..". Hey, what can I say...I was caught up in the music.
As far as "jazz rap" goes, The Low End Theory was the bench mark. Though the album contained mostly samples of jazz music, it was the presentation of the package. From the "abstract/poetic" lyrics of Q-Tip, to the more direct delivery of Phife (in his prime I'd might add), this album is as smooth as butter. At the time of it's release, The Low End Theory was named a "5 mic" classic by The Source Magazine.
This release was also responsible for shining a light on the "not yet solo" talents of Busta Rhymes. The song goes down in history as one of hip hop's best "posse cuts."
This album is made classic by it's pure production excellence and it's varied subject matter.
Exhibit A, B, C,.....and so on:
ranked #154 in Rolling Stone's list of the 500 greatest albums of all time
ranked #32 in Spin Magazine's "90 Greatest Albums of the '90s"
One of the Top 100 Best Rap Albums of All Time (The Source)
One of the 100 Essential Albums of the 20th Century (Vibe magazine)
Here's the video for "We've Got the Jazz":
A classic example of how Jazz & Hip-Hop can co-exist.
© 2008 WBGO