Vibes blog

The Deal: West coast newcomer releases first big label album (Atlantic) and amazes in the process.

The Good: A lot. With Francis’ major label debut (after his independent release One-by-One), we are introduced to a big talent looking to make his mark on music. The album is full of power songs showcasing Francis’ many talents, none stronger than his deep, baritone voice. Francis takes a single event in his life – the ending of a long-term relationship – and creates a theme album that gets stronger with each track. No song sounds the same as the last and you’ll realize with each listen (and trust me, you’ll want to listen more than once) that the songs may sound melancholy and down to begin with, but over time a real hope begins to shine through. As Francis himself says, “Over time, the theme of the album becomes more apparent. Once you live with the album for awhile, the power comes through – the more you listen, the more you understand.” With songs like “Nightfall,” “Junebug” and “Darkness” you get the full range of Robert’s voice and of the raw emotion that makes the album special. With each song, the heart and soul of a man pours through and you can feel what he feels, and that’s a nice change from most music you hear today.

Sounds Like: A lot of really great, legendary artists. On one track, you’ll swear you are listening to early Dylan. The next, U2 circa the Joshua Tree. Later, Springsteen in his heyday. What does that mean? A great album with a unique sound and powerful tracks.

The Bad: Nuthin’. Rarely these days do you hear an album that delivers from beginning to end. This album does just that.

The Verdict: If you ever wanted the chance to say “I heard this guy way back when, before he made ‘it’,” this is your chance. I’ve written in this space before that good albums are a thing of the past. With Before Nightfall, Francis proves me wrong. So head over to iTunes and for the price of a couple fancy cups of coffee, treat yourself to an album worthy of your hard earned cash.

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The Deal: Underrated Pittsburgh-bred rapper drops one last mixtape before his sophomore album, Deal or No Deal, drops later this month. (more…)

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The Deal: One of hip-hop’s most respected DJ’s releases a tribute mixtape as Michael Jackson hysteria rises again with the release of This Is It.

The Good: It’s Michael Jackson. The material Jazzy Jeff had to work with was pretty rock solid to begin with, couple that with great blends and mixes with artists like Pete Rock and Kriss Kross and you’ve got a winner. More Jackson 5 material than expected really shows how good they were. Love the fact that sounds weren’t just a chronological journey through the Jackson catalog. Mixing it up was a good thing. Quincy Jones talking about Michael was also a good look.

The Bad: More Jazzy Jeff definitely would have been welcomed. I understand it’s a tribute album and you’re taking the backseat, but there’s a big difference between a backseat and the car behind in traffic. At times, it’s just a Michael Jackson/Jackson 5 playlist.

The Verdict: A solid tribute to the King of Pop from a very hip-hop perspective, considering it was free for anyone who chose to download it, you can’t really beat that.

INFO:
UNDRCRWN Presents: DJ Jazzy Jeff
He’s The King, I’m The DJ
Release Date: October 26, 2009

Download “He’s The King, I’m The DJ here

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The Deal: Michigan-born former DJ trades his turntables in to re-create the R&B, soul and pop magic of Motown on A Strange Arrangement. (more…)

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The Deal: The New Orleans beat rider, Curren$y releases his second digital-only album in 2009 after dropping his solo debut in May and seven mixtapes in 2008 alone.

The Good: Arguably some of the best, under-the-radar production around coupled with a calculated but seemingly careless flow that’s oftentimes more clever than expected from the guy that asked “Where Da Cash At?” in 2006. Curren$y manages to tell common rap lifestyle stories uniquely and distinctly. Unlike his hip-hop peers who have all the braggadocio without the album sales or critical acclaim, he’s aware of his place in the genre, as he rasps on “Stay Up,” he’s “somewhere between the rich and famous and a starving artist.”

The Bad: There’s little difference between his mixtape flow versus his album flow and while the tracks seem more polished, the content is still burgeoning fame, weed and women. The song structure and ad libs still feel like a mixtape. Listeners can get lost in the groove and tune out the lyrics.

The Verdict: It’s hard to gauge if Curren$y is an average rapper riding dope beats or a great rapper enhancing jazzy, low-key production. Either way, it’s easy to digest and dope to smoke or ride to but it’s missing that clear delineation that sets it aside from just another mixtape. Then again, it was marketed as just the prelude to his 2010 album, “Grand Scheme of Things.”

INFO:
Curren$y (Twitter | Album Site)
Amalgam Digital; Release Date: October 6, 2009

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Kid Cudi
Man on the Moon: The End of Day
Motown; Release date: Aug. 25, 2009

The Deal: The “emo guy” from hip-hop’s freshmen class drops his long awaited debut. (more…)

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The Deal: Four notoriously lyrical rappers, Joe Budden, Joell Ortiz, Crooked I and Royce Da 5′9, join forces to create hip-hop’s latest “super group.”

The Good: This album delivered more than its fair share of “oooh” lines. On “Killaz,” Royce Da 5′9 spits “you fuckin with a killa/take your body, rape your body, dump it in the river/turn myself in then, beat the case for it then/turn around and put ‘I really did it’ on my Twitter” — not into murder rap but I had to admit that was clever.

All four styles meshed well but didn’t break away from their distinctive regional sounds (Royce Da 5′9 – Detroit, Ortiz – New York, Budden – New Jersey and Crooked I – California).

The lyrical segues between verses put you in the mind of old school joints and made sure you we’re never confused about who’s on the mic. “Not Tonight,” “Onslaught 2″ and “Cut You Loose” are all solid. “Cuckoo” is far from a single but still hot, biting Jay-Z’s “No Hook” over a hip-hop-meets-horror beat. “Pray” is a very truthful and autobiographical track with a great beat by RealSon, hot even without a Budden verse. “Raindrops” could be the theme song to a single parent upbringing, with Novel doing his best Jodeci on a Death Row-hook impression.

The Bad: The problem with lyricists is they have trouble turning hot lines into hot songs, and Slaughterhouse is no different. It says something that the most “nod-worthy” track, “The One,” was a lyrical lightweight. Slaughterhouse’s empty lyrical threats were better suited for a freestyle on the corner than a studio album. I wish Pharaoh Monche had a verse on “Salute” rather than just singing the chorus. Some of the hottest tracks from the Internet bootleg weren’t on the retail but could’ve definitely made the album better.

The Verdict: Chances are you’d never hear any of their songs on the radio below the Mason-Dixon but fans of lyricism will proclaim its glory while people just looking for good hip-hop will only bump it every now and again.

INFO:

Artist: Slaughterhouse

Label: E1 Music

Release Date: August 11, 2009

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Anyone who has witnessed Catrin Finch at Spoleto in recent years, particularly her assault on Bach’s mightiest Toccata and Fugue, will not be surprised that the Royal Harpist to the Prince of Wales has been emboldened to transcribe the Goldberg Variations to the most cumbersome, effeminate instrument in the orchestra. She can do as she wills, and here proves herself more than merely the “Segovia of the harp,” a label affixed to a harp wizard of a previous generation. Finch takes herself beyond the self-accompanying wonders that have been achieved on harp and guitar, invading the contrapuntal domain of the harpsichord and piano.

For the most part, Finch holds her own when measured against the great piano exponents of the Goldbergs. If Glenn Gould softened the music on piano, retaining some of the harpsichord’s crispness and clarity of line, then it’s useful to describe Finch as taking the romantic polish of Daniel Barenboim’s performance and shining it even more brightly on her more ethereal harp, restoring some of Gould’s baroque freshness simply by not taking so lugubriously long about it. In doing so, she stands closest to the middle ground of Murray Perahia. (more…)

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By Perry Tannenbaum

Long time ago, back in the days of JazzCharlotte, a British PR agent gushed over the talent of trumpeter Scotty Barnhart and gave me a bootleg cassette tape to bolster her boasts. She was right about Barnhart, who was even more electrifying when he performed here live than he was on the shabby bootleg.

Now there’s finally a Scotty Barnhart CD for the world to hear, Say It Plain, and I feel like I’m divulging a secret that shouldn’t have been secret nearly so long. The lineup of guest artists who showed up for these 2008 recording dates – topped by cameos from fellow trumpet aces Clark Terry and Wynton Marsalis – is an accurate gauge of the high-grade straight-ahead jazz you’ll hear throughout. Keyboard giants Marcus Roberts and Ellis Marsalis also show up separately on five of the 12 tracks, Ellis at his silky best on the Jimmy Dorsey ballad, “I’m Glad There Is You,” Roberts most memorable on “The Burning Sands,” one of five Barnhart originals.

Wynton joins Scotty on Dizzy Gillespie’s “Con Alma,” while Terry blows and sings – in his trademark mumbledy fashion – on the closing track, “Pay Me My Money,” a freshly-minted Clark/Barnhart tune. Unity Music stablemate Jamie Davis drops in for “Young at Heart,” mellow payback for Barnhart’s contributions to the singer’s Vibe Over Perfection last year.

All it takes is a few bars of “Giant Steps” to be hooked on this release as Leon Anderson, Jr., opens up on drums and a ref’s whistle. Barnhart comes in on trumpet with Todd Williams overlapping on soprano sax, and suddenly you realize that Scotty has rearranged Trane’s hardbop classic into a festive New Orleans shuffle – with Roberts applying another twist later on with a stride piano solo. Occasionally, you do get samplings of what Barnhart’s core quartet/quintet sounds like. A taste of “Put On a Happy Face” provides all the joyous reassurance you need, with Barnhart blazing and pianist Bill Peterson sounding a little like Oscar.

None other than the esteemed Stanley Crouch pontificates in the album notes, and there’s a celebration of the new Say It Plain release up in New York this Saturday evening – at the renowned Blue Note Jazz Club, where Barnhart’s quintet is scheduled to make joyful noises at midnight. Yes, it seems Barnhart has arrived. I damn sure hope he stays.

Here’s a video of “Haley’s Passage” in a longer, less artfully mixed version than you’ll hear on the CD, but with the same sextet: Scotty Barnhart (flumpet), Todd Williams (soprano sax), Rick Lollar (guitar), Bill Peterson (piano), Leon Anderson, Jr. (drums), and Rodney Jordan (bass). Camera works sucks – you never get a good look at Scotty’s flumpet – but the music is golden.

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311
Uplifter
Volcano; Release date: June 2, 2009

The Deal: Now in its 21st year of existence, 311 has released its ninth studio album and first disc in four years. (more…)

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