Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Album of the Day 1/27/11

Every day our 1000 best albums of all time countdown continues, all the way to #1. Thursday’s album is #733:

Naughty By Nature – Poverty’s Paradise

Ever now and then we feature something on this list that was popular nationwide: this 1995 smash (it made the Billboard top ten, for what that was worth) is one of them. Best known for their comedic 1989 hit O.P.P. (i.e. Other People’s Parts – the joke is that you can change the last “P” according to gender), this tight and amusing crew put New Jersey on the map for hip-hop during the golden age. This one perfectly balances hook-driven hits with surprisingly complex, pensive narratives about ghetto solidarity and survival through hard times – the title, and the brief narrative on the album, reflect that. The big party anthem is Clap Yo Hands; the drug-slinging ghetto entrepreneurs are represented on City of Ci-Lo, Hang out and Hustle, Slang Bang and Klickow-Klickow. Feel Me Flow, a huge radio hit, is a homage to technical excellence that lives up to its boasts; Craziest is an irresistibly catchy shout-out to fans around the world. The strongest and most memorable tracks here are the conscious ones: Holdin’ Fort, the suprisingly bitter, spot-on Chain Remains and the wry World Go Round. Here’s a random torrent.

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January 27, 2011 Posted by | Uncategorized | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Marcus Shelby’s Soul of the Movement: Best Album of the Year So Far?

Majestic, hard-hitting and intense, bassist/composer Marcus Shelby’s new civil rights-era themed big band album Soul of the Movement charges to the front of this year’s crop: it’s neck and neck for top billing with the Roulette Sisters’ new one right now. Shelby calls this a “meditation” on Martin Luther King, which makes sense in that the composer has obviously reflected deeply on King’s impact on his era, and vice versa. Shelby has strongly incorporated a Mingus influence, but also has an individual voice, vividly evoking struggle but also triumphant joy. The orchestra comprises Jeff Marrs on drums; Gabe Eaton and Marcus Stephens on alto sax; Sheldon Brown and Evan Francis on tenor; Fil Lorenz on baritone; Joel Behrman, Rob Ewing and Mike Rinta on trombones; Louis Fasman, Scott Englebright, Mike Olmos, Darren Johnston and Mark Wright on trumpets; Adam Shulman and Sista Kee on piano; Matt Clark on B3 organ and Shelby himself conducting from the bass. Contralto Faye Carol and Kenny Washington deliver passionate gospel vocals on a handful of songs as well.

They turn the gospel standard There Is a Balm in Gilead into a brief, balmy overture with vocalese and then launch into another gospel standard, Amen, ablaze with brass and call-and-response vocals. The first of Shelby’s compositions, Emmett Till, offers unexpected sweltery summer ambience in place of the expected dirge. It’s a feast of strong motifs, a tribute to the man rather than an attempt to evoke his martyrdom, imaginatively propelled and embellished by Marrs’ drums. Black Cab, a boisterous swing blues number sung by Carol, pays tribute to the car pools who drove Montgomery residents around during the 1956-57 Montgomery bus boycott, lit up by a tremendously affecting alto solo from Eaton. A cover of the Mingus classic Fables of Faubus is every bit as defiantly exhilarating as it could be, the band absolutely nailing that dark latin groove that emerges toward the end. Trouble on the Bus continues in a gorgeously brooding vein, building uneasily from Shelby’s ominous series of bass chords and taking flight on the wings of the alto sax.

The epic Birmingham (Project C) potently evokes the 1963 Birmingham marches and clashes with the police: it’s the strongest and most cinematic track here among many strong ones. Shifting from pulse-quickening suspense to frenetic chase scenes, it evokes the same kind of horror that Shostakovich portrayed in his numerous requiems for the victims of Stalin’s terror. The two-part Memphis (I Am a Man) illustrates King’s final act before his murder, in support of striking Memphis sanitation workers. Noirish atmosphere rising over a tense latin beat, Howard Wiley’s soprano sax struggles against its constrictions throughout a long, white-knuckle-intense solo; the second part bustles with ominous Mingus echoes and ends unresolved. The rest of the album includes the rousing organ riffage of the gospel funk song We’re a Winner, an inspired swing jazz version of Go Tell It on the Mountain and a tersely torchy, stripped-down version of Precious Lord, Take My Hand to close on an aptly contemplative note. For maximum impact, you may want to separate out the upbeat gospel-flavored tracks from the stormy big band stuff when uploading to your ipod. It’s out now on Porto Franco Records.

January 27, 2011 Posted by | gospel music, jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment