Tag Archives: hip-hop jazz

Erykah Badu: ‘Baduizm’ & Remembrances Of A Musical Transition

When Erykah Badu released this album, the soul/R&B/funk genres of music were caught between transition and a holding pattern. All between the era from D’Angelo through TLC onto Jill Scott and Alicia Keys. In the middle of this, there would be Maxwell and Badu here . She did indeed burst onto the scene in 1997 and since then has never looked back. It was apparent that despite the insistence of the 90’s decade hip-hop could not exist as the sole basis for furthering soul and funk music. The zeitgeist of the late 90’s was going to have to provide an alternative to that musical ethic.

It mostly came down to a matter of voids. Lauryn Hill would soon be along to provide one such sound of her own. But there were just too many voids and a future unknown. For her own self, Badu is one of those people who marches to the beat of her own drummer. And that would be a jazz drummer if she had anything to do with it because that was where she came from. Not only that she used her vocal phrasing more like that of a muted horn in the manner of Billie Holiday or Dinah Washington. But also in the fact that the improvised flavor of the chord sequences she used told a similar story.

Taken by itself the music here is another matter. In an era where the singles mentality of popular music (abandoned in the 70’s) was again in full command of the music, Erykah Badu’s debut is an album first and foremost. There are standout individual songs. But her music is something like an aural casserole. You have a lot of ingredients mixed together. But they compliment each other to near perfection and it goes down great taking it in. The song “On & On” is not only a great single moment from this album but gives it a great patter with which to follow.

The rhythms,her vocals,the electric pianos and the askew,somewhat jazz phrased melodies all come together to form something very special. And she just keeps varying on that theme with “Appletree”, “Sometimes”, “Drama” and “Otherside Of The Game”. It’s also helpful that she views the romantic matters she sings about here through a very poetic filter,mixing it all up with a conscious and Afro bohemian point of view. And often this results in some straight up truths on songs such as “Certainly” and “4 Leaf Clover” mix ideas of self awareness and existentialism through her own personal filter.

Her sense of storytelling is also important here. While one of the best and most singular tunes here is a “skit” called “Afro”,which brings her humor and an even more jazzy sound to the mix. Erykah Badu’s music isn’t something that you may fully comprehend the first time you heart it. It’s definitely music that has a flow to it. The sound of it, Badu’s vocals and lyrics-the manner in which they kind of slip along the musical bed rather than dance upon it. It’s like one basic idea expanded upon for 14 separate songs that are…disconnected segments of one whole.

The first time I heard it was in a car trip around dusk and it seemed to fit the mood of that time and type of motion perfectly. She has a quiet sound to her voice. On the other hand she takes very unpredictable turns of phrase with it as well. It wouldn’t be a misstep to see her as something of a jazzy singer more than a contemporary soul/R&B one. There’s also an influence of hip-hop in her approach. But definitely not of the stereotypical variety. And it definitely did fill the void whether it was trying to. It clearly comes from the D’Angelo school to some degree. Also Sly’s There’s A Riot Goin On as well.

On the other hand, the sound of Baduizm is very stripped down . That’s another key factor of it. All good things….don’t last forever. They change. Or in the case of Erykah Badu they become somewhat less significant once they begin to influence other artists. I myself remember once reading in the early 2000’s that at that time, Erykah Badu’s music was too new to have musical impact on up and coming artists of the then new millennium. But in its day, Baduzim was a revelation. And it holds up very well today. That’s a sign she had something special going right from the start!

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Anatomy of THE Groove: “I’m Leaving You” by Robert Glasper w/ Miles Davis,Ledisi And John Scofield

Robert Glasper shares a lot in common with another musical free spirit in the late Miles Davis. The Texas native got an early start in dealing with the jazz hip-hop style which of course Miles was beginning to embrace during his final years. While in high school,he met neo soul singer Bilal. This led to gigs with other jazz informed hip-hoppers such as Q-Tip,Talib Kweli and the late J Dilla. He made his debut album in 2004,and his major label debut for Blue Note a year later. On his album Double Booked,he began moving towards a more electric sound. But that was only the beginning as it turned out.

In 2012 he released the first in what’s been two separate volumes of his Black Radio series. The subtext for this,which I read in interviews Glasper gave to a music magazine of my fathers, went for the Miles Davis angle that the jazz genre needed to improvise over new standards. Both volumes of this album contain covers of songs such as Sade’s “Cherish The Day” alongside his own material. This year,Glasper appeared with surviving members of Miles’ 60’s quintet in the Don Cheadle film Miles Ahead. And one of the grooves on his upcoming Miles tribute album Everything’s Beautiful is called “I’m Leaving You”.

Drums playing at a five beat pattern with a break between each rhythm lay the bedrock for this song. The bass comes out as a round,ascending bottom while the very scratchy guitar samples play as a purely percussive element. Also on that groove,Miles’ trademark horse speaking voice is re-sampled saying “wait a minute,wait a minute” throughout the song. A reedy whistle,a wah wah guitar and Scofield’s bluesy guitar assist Ledisi’s soulful vocals. On the bridge,Scofield takes a full guitar solo after which Ledisi responds to her own backup vocals while the bass line and drum fade the song out in a silent way.

Having not heard a lot of Robert Glasper, this is by far the funkiest song I’ve ever heard him do. The musical bedrock of John Scofield,who of course played with Miles Davis, is held down by a core rhythm section. As well as what sound like metallic rhythm guitar looped from Miles’ 1972 song “On The Corner”. During his lifetime,Miles tended to deal with funk as rhythm vamps to solo over. Here Glasper takes samples of Miles’ music,voice and puts them into a more structured hard funk context. I have a feeling the late trumpet player would’ve found this groove one that came at people with plenty of attitude.

 

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Filed under 2016, Don Cheadle, drums, Funk Bass, hip-hop jazz, jazz funk, John Scofield, lead guitar, Ledisi, Miles Ahead, Miles Davis, Nu Funk, nu jazz, Robert Glasper, Sampling, wah wah guitar