Category Archives: D’Angelo

Anatomy of THE Groove: “Spanish Joint” by D’Angelo

D’Angelo has already expertly been covered on this blog by Henrique Hopkins,with his articles on the songs “Chicken Grease” and “1000 Deaths”. There’s always been something about the music of the Virginia man born Michael Eugene Archer. Probably started over 20 years ago when the man’s debut Brown Sugar playing on the family car cassette deck on many a road trip. At first it was hard for me to fully understand D’Angelo’s musical appeal. The grand musical statements of Stevie Wonder and the Jackson’s were saying a lot more to me personally at that time. A year later I began to discover Prince. And D’Angelo’s approach became somewhat more clear to me.

Despite the press and the local airplay from Nigel Hall as a college radio DJ in my area,even D’Angelo’s sophomore album Voodoo didn’t light the spark of interest. It was after listening to the Roots and experiencing Questlove’s production for people like Al Green that the music of multi instrumentalist D’Angelo and his band the Soulquarians gained a new understanding within me. So I endeavored to go back and re-discover the Voodoo album. With hip-hop era jazz musicians such as bassist Charlie Hunter and trumpeter Roy Hargrove aboard for the affair,there was one groove on the album that leaped out at me in particular right about at the dead center of the album called “Spanish Joint”.

Afro Caribbean conga’s from Gionvanni Midalgo introduce the song. The man rhythm is a steady,fast paced Brazilian jazz/funk beat. Hunter’s rhythm guitar and bass line both do their nimble dance over the drums and percussion. On the choruses,Hargrove’s deep choral trumpet’s take on another life along with the more swinging cymbal/hi hat rhythms and D’Angelo’s call and response multi tracked harmony vocals. A brief bridge finds the instrumentation slowing to a complete halt and silence. After this the song swings on into a straight up Afro-Cuban jazz/funk groove with some counter melodies from D’Angelo on the Fender Rhodes until the song comes to a swinging,jazzy conclusion.

The thing that really excited me about this song is that it took neo soul’s naturalistic instrumental approach,then added to that the expansive harmonics of jazz and funk. Although D’Angelo and Questlove could’ve theoretically carried this song along as a purely rhythm section based song  Midalgo’s percussion touches,Hargrove’s trumpet charts and Hunter’s bass/guitar riffs greatly broaden the songs instrumental dynamics. People who love both neo soul and 70’s Brazilian jazz/funk could both easily listen to and dance off this song with the same level of enthusiasm. Aside from the strength of the song itself, that quality of bringing two generations of the groove together was a major feat.

 

 

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Filed under 2000, Afro-Cuban rhythm, Brazilian Jazz, Charlie Hunter, D'Angelo, drums, Fender Rhodes, Funk Bass, funk guitar, Giovanni Midalgo, Neo Soul, Questlove, Roy Hargrove, Soulquarians, trumpet, Uncategorized, vocal harmonies

Albums Matter: Andre’s List Of The Top Funky Full Length Albums Of From The Past Five Years

Prince At the grammys

The 57th annual Grammy Award ceremony’s this past Sunday seemed to have surprised everyone. Many performances had a far more serious, even evangelical tone with references to domestic violence and the revived understanding of racism bought on by the police violence of 2014. Maturity and growth were very heavily emphasized on every level-performance and presentation wise. It was Prince,who just released two albums at the end of the last year,who got everyone’s attention-with the words printed above spoken as he presented the Grammy for the best album of 2014.

Prince’s words are what moved me to pick this particular topic for this weeks blog. One very important musical factor shared with my blogging partner Rique is our appreciation and advocacy for the full length album as an important artistic format in terms of how the music we love and are socially moved by is presented. To have someone with as rich a musical history as Prince bring this up at a major award ceremony confirmed the 2010’s have been all about the revival of the album as a driving force in the funk/soul/jazz/R&B spectrum in particular. So here’s my list,year by year of the music on that particular playing field that’s deeply effected my listening.

2010

Erykah Badu Return Of The Ankh

Erykah Badu is always one to throw the unexpected into her grooves. Here her thick,burbling jams blend into songs that are not only a cohesive statement but when sampling is used? They are of things like Paul McCartney album tracks of AOR oriented fusion artists such as David Sancious or Roy Ayers’ Sylvia Striplin. A wondrously sexy celebration of the funk album.

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Janelle Monae here was a key figure in the focus of both my music related blogs with her multi-genre embrace of the Afro Futurist ethic. This album was and is a true game changer in that regard.

John Legend Wake Up!

With both artists always edging just on the border of funk with their own respective releases? The groove burst out completely and with a total fluidity for John Legend and his backing band The Roots-including drummer/producer ?ueslove, for this (so far) one time musical collaboration.

2011

Beyonce 4

Known more for being innovative in terms of single songs,Beyonce’s fourth solo album gained a complete full length flow with a much more mature sound. Including the very polished Quincy Jones/Westlake style production of “Love On Top”.

Lenny Kravitz

Lenny Kravitz always had loads of funk in him. Here and there. Took him a long time before he fully identified with that funkier instrumental groove. And did so on one of his most thorough musical statements to date.

2012

Chris Brown Fortune

With contemporary electronic pop/hip-hop/dance music usually having enough energy to stretch only across a few songs? Chris Brown,during a less than satisfactory period for him personally no less,managed to take the contemporary musical end of his genre and stretch it out successfully longer than I’ve heard most do such a thing in some time.

Antibalas

This explosively percussion Afro-Funk group recording for Daptone were so connected to the original Afrocentric  pulse that spawned the original funk process groups such as Santana,Mandrill and War that following this album they became the backing band for the Broadway musical Fela! A rebirth of full length poly-rhythm at it’s finest!

Kaleidoscope Dream

Psychedelic,meditative and non traditionally structured sophomore release from new comer Miguel.

Victor Wooten

Bassist Victor Wooten saw such depth in this material that he released it both as a vocal and instrumental piece. Very original musical presentation at this time.

Macy Gray Talking Book

Macy Gray bought out her inner Sly Stone for this literal celebration of the album-re-making every song in original order from Stevie Wonder’s 1972 breakthrough album Talking Book on it’s 40th anniversary.

Talented bassist/singer Esperanza Spalding brings out the sprawling mid 70’s jazz/funk vibe for what is probably her most defining album as of yet.

Radio Music Society

Electronica meets boogie funk from a very interesting source blending a hard grooving as well as an ethereal quality.

2013

Toro Y Moi

Potent mix of electronica and boogie/synth funk.

Jyoti

Very bold sound from Georgia Anne Muldrow that embraces dramatic jazz/funk with a boom rap approach to production.

Trombone Shorty

Crescent City native Trombone Shorty presents the instrumental style of horn funk as a genre of sorts all it’s own,with many different tributaries,on this one album.

Apocalypse

Flying Lotus bassist Thundercat brings a huge,cinematic approach to psychedelic jazz-funk.

20 20 Experience

The first of two Justin Timberlake comeback’s this year. Probably a huge re-awakening for the album length music format,complete with 7-8 minute jams,that bough extended soul/funk to the broader contemporary pop audience.

2014

Pharrell

Long time producer emerges as a fully complete solo artist-full of funkified rhythmic energy and shook the world up in a way no funky music has in over three decades with “Happy”.

Kelis-Food

Kelis returns with an album that takes a very JB like organic instrumental soul/funk turn.

Paula

Robin Thicke’s emotionally charged break up album is a full on raw, muscular funk/soul extravaganza

Plectrumelectrum

Prince and the female instrumental trio 3rdEyeGirl become part of the double edged album sword in his studio comeback. It showcases a multi hued psychedelic funk/rock sound where the whole is definitely more important than the sum of it’s parts.

Goapele-Strong-As-Glass

Oaklands own Goapele lends the funk of Pharrell Williams and flowing,piano based jazzy soul/pop on an album that celebrates the flow of musical depth,dignity and elegance.

Black Messiah

D’Angelo shakes the world up with an extremely funkified statement that is still,at the time of this writing,showing people that black lives (and black music) matter a great deal.

2015 (So Far)

Uptown Special

With the month of January often being a driftwood month for new music? Mark Ronson brings Bruno Mars,Mystikal and Stevie Wonder together for some serious,churning “uptown funk? of many colors!


There were honestly more albums than I could’ve seriously listed in this blog that also fit right into it. But these ones made the most important statements on their own terms perhaps. A single song will always say a great deal. But if one impulse or a series of musical/lyrical impulse can be expanded out in a way that expands the mind naturally through a powerfully grooving auditory experience? Than I saw so much the better. So let’s all have it for the musical impact of the album! It’s a key organ in the anatomy of the groove!

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Filed under Beyonce', D'Angelo, Erykah Badu, Esperanza Spalding, Goapele, Janelle Monae, John Legend, Justin Timerlake, Kelis, Lenny Kravitz, Macy Gray, Mark Ronson, Miguel, Pharrell Willaims, Prince, Robin Thicke, The Roots, Trombone Shorty

Andre’s Amazon Archive Special Presentation: ‘My Life’ by Mary J. Blige

My Life

An astounding album and an EXTREMELY HUGE creative leap from her debut What’s the 411?! Contemporary hip-hop and new jack considerations were very strong on her debut album and there was the awkward step between that and somewhat mechanical 80’s musical flavors. This album changed all of that. In their hearts it was the funk/jazz/R&B of the mid 70’s that was the musical bag of both Puffy and Mary and the result of their enthusiasm is a fusion of that concept soon came to be known as neo soul. Along with D’Angelo’s Brown Sugar this is one of the earliest album smashes to use the form and it’s one of the most overall successful.

Along with the instrumental samples Puffy built these grooves on and Mary J’s new found fondness for jazzy vocal turns and scat singing provide great results on the drippy disco-funk “Mary Jane”,”You Bring Me Joy” and the bass popping-happy closer “Be Happy” are such excellent tunes that if these were the only good songs on the album it would still earn a five star rating. But happily the news always gets better from there. “I’m The Only Woman” really puts the title track of Roy Ayers Everybody Loves the Sunshine to work and considering his position as something of a godfather to this then new genre it is a beautiful use of form. Of course Mary’s cover of “I’m Goin’ Down” rips the entire instrumental track of the song and I’ve heard it to death but hearing it again reminds me of the excellence and broad vocal inflections she brings to the song.

The original ballads including the title track and the deeply spirited “You Gotta Believe” follow in the same path and completely undo some of the mild sterility of the previous albums approach. Ditto for the slightly more uptempo hip-hop inflected jams such as “Be With You”,”Mary’s Joint”,”Don’t Go” and the clever,well composed “I Love You” all have possess that spark needed to make them really stand out as impressive songs. From this point on in Mary J’s career she would be forever known not as “the new Chaka Khan” but as The Queen Of Hip-Hop/Soul and all hype set aside the high quality of this album is one of the reasons why she’s known for that.

Originally Posted On January 24th,2010

Happy birthday Mary! Link to original review here*

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Filed under 1990s, D'Angelo, Hip-Hop, Jazz-Funk, Late 70's Funk, Mary J. Blige, Puff Daddy Combs, Rose Royce

Rique & Andre Proudly Present 2014: A Year In Funkativity For Andresmusictalk!

Andresmusictalk Year In Review 2014

 

Have to totally agree with my blog partner here Rique and fellow WordPress blogger The International Review Of Music that 2014 has been a tremendous all around year for funky music. And funky is Rique and my favorite kind of music from my understanding. And this year we’ve had that become popular on a massive level thanks to starting the year out grooving with Pharrell William’s “Happy”. This was a global phenomenon-with people all across the world doing their dance to the song on YouTube. For the first time in history,a number one funk song connected billions of people in the internet age. And that alone is no small feat. And one Pharrell should be proud of  for his entire life.

If “Happy” was standing by itself this year? That would have been wonderful. But it did so much more. Kelis and even 90’s quiet storm soul singer Joe released tremendously funky music this year! And massively welcomed comebacks from Prince,Funkadelic,War,D’Angelo and posthumously from the late Michael Jackson were also enormously successful events. In fact D’Angelo’s Black Messiah ended off the year with a major surprise release in the wake of the tragic and highly topical police shooting of Michael Brown in Ferguson Missouri. That album may have had to wait until 2015 to see the light if that dark day hadn’t have shinned the light on the need to talk,sing and play about it.

Since funk was the key to providing not only great music but positive and enriching messages this year? I wanted to conduct our first interactive blog here on Andresmusictalk. There have been many wonderful releases this year in the funky spectrum of sound. Hoping all of you have been enjoying them. So presented below is a list of key funk,jazz and soul related albums from 2014.  Inviting all of you to select which ones interested you most! Wishing everyone a new dance and new vitality of life for the year to come and enjoy the polling everyone! Thank you!

 

Hear Some Of The Best Music In The Soulful Spectrum Of 2014

2014 Remembered: A Year Of Funk-Written By The International Music Review

HAPPY FUNKING NEW YEAR TO ALL!!!!!

 

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Filed under 2014, Chromeo, D'Angelo, Disco, Funk, Funkadelic, Fusion, Harvey Mason, Jazz-Funk, Joe, Kelis, Late 70's Funk, Lenny Kravitz, Lisa Stansfield, Michael Jackson, Pharrell Willaims, Prince, Robin Thicke, Sharon Jones & The Dap Kings

Anatomy of THE Groove 12/19/14 Rique’s Pick : “1000 Deaths” by D’Angelo And the Vangaurd

The Godfather of Soul James Brown used to have a kind of a test for how funky a record was. He once remarked about Kool & The Gang’s “Funky Stuff” that it was so funky, he had to pull over his car while he was driving because if he didn’t, he’d have wrecked from grooving so hard. The militant, grinding, insistent on the beat groove of “1000 Death’s” from D’Angelo’s long awaited third album, “Black Messiah”, fits my criteria for such a recording. This song perhaps carries the theme of the album as well as any other found on it. The title is a variation of a quote Julius Ceaser by Wiliam Shakesphere, “Cowards die many times before their deaths; The valiant never taste of death but once.” This saying has been quoted in many forms over the years, but has come down into the popular urban lexicon from actor and rapper Tupac Shakur, who said it in the form of “A coward dies a thousand deaths, A soldier dies but once.” D’Angelo takes this idea and crafts a narrative that fits the last five to six years of renewed militant activism, from the Oscar Grant protests, to Occupy Wall Street, from the Egyptian Revolution to the protestors facing off against militarized cops in Fergueson, Missouri. D crafts a vicious, pounding funk jam that goes inside a soldiers mind, framing this battle as a righteous one instituted by “Yahweh (Jehovah) and Yehushuah (Jesus) themselves.

The song begins with some distorted guitar and Questlove’s snare drum tapping out some practice notes, but they serve almost as if the instruments are beckoning your attention to the vocal sample that is about to play. Khalid Muhammed, the controversial 1990s era Nation of Islam minister is the speaker, talking about Jesus, but not the white, European image of him that has been sold. He speaks of Jesus as a sun burned man with skin of brass and “hair like lambs wool”, and also a man who was a revolutionary and turned down Satans “New World Order.” Not only does Muhammed’s speech provide the spiritual grounding for the album theme of a revolutionary “Black Messiah”, it also links D’s music and song to the great legacy of ’90s revolutionary hip hop that sampled speeches by leaders like Khalid Muhammed. In fact, Muhammed’s voice can be found on the intro to Public Enemy’s classic “Night of the Living Baseheads (“the way many of us act….we’ve even lost our minds.”) As Minister Muhammed continues to speak in praise of nappy hair, the funky revolutionary beat revs up, with Questlove providing the sort of solid eighth note kick based back beat drumming that provided so much of the foundation for hip hop. They are able to get a sound on the drums that is very reminiscent of the late ’60s, early ’70s funk drum sound that hip hoppers of D and Questlove’s generation cherished so much.

Distorted wah wah guitars lace the track as D’Angelo introduces a wicked, chugging slap bassline underneath Minister Muhammed’s speech. D chokes and hammers on two high bass notes before going to a muddy, drilling, dead pitch, percussive bass line, only briefly breaking out some melodic notes as accents. The bass sounds like marching music fit for basic training the world’s funkiest army. Underneath another sample begins to play, of Chicago Black Panther Minister Fred Hampton, one of the greatest of the Panther leaders, a devoted community activist murdered in his sleep by the police in the late ’60s. Minister Muhammed’s speech provides the more emotional basis for D’Angelo’s soldiers battle, almost like a fiery black cleric urging his charges into battle. While Chairman Fred provides the more rationed reasons for resisting capitalist colonialism. D’s vocals come in, as distorted as ever, almost having a quality of being sung over a cheap walkie talkie. His character talks about getting over his fear and going over the hill in battle. The music keeps pounding and going forward, like a soldiers relentless marching with Questlove’s relentless hi hats pushing it forward.

D’s lyrics and vocals sound like the interior dialouge of a person about to go into battle: “I can’t believe I cant get over my fear/They’re gonna send me over the hill/Ah the moment of truth is near/They’re gonna send me over the hill”. He goes from that insecurity to a kind of a thrill of being in battle, the complete opposite, reckless side of war.

That’s when the chorus comes in, where the music switiches up to a massive, heavy pentatonic riff, reminiscent very much so of pre-1976 Funkadelic. It’s a riff in the style of Rock, with several instruments playing the same line, and the chorus serving as the inspiration to D’s scared soldier, “It’s War! That is the Lord!/I wont nut up when we up thick in the crunch/Because a coward dies a thousand times/But a soldier dies just Once.” The song rides out with several minutes of pure early P-Funk style funk rock jamming, with Questlove upping the intensity of his rhythms, strong guitar soloing and the Vangaurd’s voices wailing.

“1000 Deaths” is a very interesting song, for one, it’s one of the most on the beat things D’Angelo has ever done. D is known for his laid back, lazy swinging rhythms but this song is a whole nother thing, aggressive and on top of the beat. And it is fitting due to it’s militant subject matter. The song is open to many interpretations, but what D gave us for sure is an aggressive, funky, intense track. On top of that he layers speeches by black activists to support a narrative of a soldier conquering his or her fears. Of course, there are many kinds of social justice soldiers, including Dr. King and his activists in Selma, as well as the Black Panthers. D’Angelo has created a powerful piece of art that can inspire in many different contexts. And sadly, I feel it will be more and more necessary as America in particular faces more and more confrontation over issues of social justice. But I’m glad D has done his part with super heavy funk!

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Filed under ?uestlove, Blogging, D'Angelo

Andre’s Amazon Archive Special Presentation for Record Store Monday: ‘Black Messiah’ by D’Angelo

Black Messiah

For the last 16 years? D’Angelo has been missing in action as far as studio albums are concerned. While an enormous live revue in 2000 featuring his band the Soultronics-including people such as ?uestlove among the other members were hailed as some of the most promising new bands of it’s time. Of course so much as gone down in the music world since D’Angelo’s most recent and lengthy absences from recording. The call he and the Soultronics made about musicians taking the musical creative process back for themselves as really started to show itself during the latest recession-particularly within the last year or so. And with the reality of the need to free ourselves from racial hatred and privilege has all come together to create just the right atmosphere for D’Angelo and his new band the Vanguard-including former Time member in guitarist Jesse Johnson along with ?uestlove still on skins. And musically the man has a whole lot to say.

The album starts out with a deep,steely,thumping rock/funk number-both the guitar and bass lines possessed of massive funky bottoms and D’Angelo himself delivering his broad ranging,multi tracked Southern soul drawl of a voice. “1000 Deaths” samples a preacher talking about the idea of a nappy headed Jesus as the “new black messiah” over heavy funky drumming and slap bass thrusts with “D’Angelo’s heavily processed vocals accompanied closely by a staticky,revved up keyboard. “Sugar Daddy” gives a sitar led forwards/backwards looped drum oriented psychedelic soul rocker with a very probing melody. “Sugah Daddy” has this clapping,tickling percussion and this bluesy jazz/juke joint style piano commonly heard on many mid/late 70’s P-Funk records with some very scatting vocals-both solo and multi tracked. “Really Love” is a mixture of a hip-hop beat with a beautifully sensual Brazilian jazz melody.

“Back To The Future” is a two part number here-both of which take a strong countrified jazz-funk bounce with a melody that comes right from “The Charleston”,the iconic stride pianist James P.Johnson’s famous song that originated the famous dance. The second part coming near the closing of the album adds more of a bouncing Southern danceable funk rhythm to the outro. “Till It’s Done (Tutu)” is full of heavy bluesy guitar reverb and a very melodic slap bass line sharing the musical space with D’Angelo’s elaborate vocal turns. “Prayer” is a slow,dragging wah wah powered groove with a spacy synthesizer melody floating over the top. “Betray My Heart” is a swinging dyno’d up electric piano powered jazz-funk number with tons of liquid groove from top to bottom. “The Door” is a whistling powered instrumental slice of sweetly melodic sunshine pop/soul. “Another Life” closes the album with a beautiful orchestrated,thick soul ballad with D’Angelo’s high falsetto vocal calls and the ascending melody the perfect accent to the piano/sitar/drum/string swirls of the song.

One thing to say about this album is that it’s simply an amazing total musical experience! Yes that in a sentence does some it up! In fact I had to listen to much of it twice before this review to absorb just what comes out of it. If D’Angelo never recorded another album the rest of his life? This could easily be his defining swan song. Why is that? Well it just channels all the threads of D’Angelo’s musical influences. It has Stevie Wonder’s love of creating instrumentally new melodic sounds. Duke Ellington’s sense of swing and rhythmic dissonance. Al Green,Sly Stone and OutKast’s Andre 3000’s drawling vocal hiccups and stutters. Prince’s psychedelic mixtures of funk,rock and soul. Ron Isley’s high vocal cries and wails. And it doesn’t leave out the jazz age with it’s love of modern time and stride piano. And in the end? It’s all D’Angelo and all funky! Not to mention awe inspiring melodies with the power to connect to the people. And even if some of the lyrics are difficult to make out? The music says all it needs to say: differences should always be different,and lay comfortably side by side-not far apart. A grand comeback for D’Angelo linking the sociological and musical chains that made contemporary black America so special TO America!

Link To Amazon Review Here*

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Filed under 2014, Afro-Futurism, Afro-Latin jazz, Al Green, alternative rock, Amazon.com, Blues, Brazil, D'Angelo, drums, Funk, Funk Bass, George Clinton, Hip-Hop, Jazz-Funk, Jesse Johnson, Marvin Gaye, Memphis Soul, Minneapolis, Music Reviewing, Neo Soul, Nu Funk, P-Funk, Prince, rhythm & blues, rock 'n' roll, Sly Stone, Southern Soul, Stevie Wonder