Check out my review of the lovely and lyrical, exceedingly smart Superbigmouth LP out on Pyrcoclastic Records in the current issue of DownBeat magazine. Thanks to all for the opportunity to be published in the print edition.
So sad to hear the news about Ras G yesterday. We had brief contact trying to set up an interview for this site related to his 2017 album My Kinda Blues, one of my favourite releases of that year and a record that still stands up in all its muted intent/musical intelligence.
Ras G was simple to interact with then, unassuming; gentle in his words and manner, open to the idea of talking with me even though there was no record to promote, no obvious benefit to him. The same qualities - simplicity, dedication to his music - memorialised yesterday online. I deeply regret not speaking to him when I had the opportunity to do so. That quiet presence, embodied in his person and heard in his music is rare, of real value.
I won’t write on My Kinda Blues here for the simple reason there’s a risk if I get started it won’t get done, and end up being filed in all my other half-written pieces (to be returned to). Though I recommend you listen to it in full, here’s the link.
Listening to the album again this afternoon, I was struck by how good the songs were and how distinctive; it is as the title has it, a personal Blues as felt by Ras G, filtered via hip-hop consciousness. I kept adding links of songs I liked to this draft, track 3, and 4 and 5 and 8 and it kept going on and on … Here’s track 8 - an amazing sound, no need to over-complicate anything, present it as it is:
Rather than an Afro-futurist cosmic vibe, as it appears was his wont, this album is intimate, sketches and ruminations with its own intensity. Far removed from that cliché of lo-fi – that enervates me so much, as music to chill to/to read a book to – this is music with depth and strong emotion coming through. It has its own distinctive voice and tone.
I liked this quote included in the Pitchfork story on his passing yesterday:
“My relationship with sci-fi is from a creational standpoint,” he told MerryJane in 2018. “My label is called Ghetto Sci-Fi Music, which is how I identify my studio and music-making methods. It’s Ghetto in terms of set-up/layout, but it’s a science to how it all works together and fiction to most who come from a more professional studio setting.”
Here’s an interview from February 2018 with Ras G sharing some of his dub picks, the genre he describes as the great-grand-daddy (if I heard it right) of all contemporary Black music genres … dub as a form of music that is felt, not seen or heard.
And here’s another great album, Beats of Mind - this is really fantastic (release info below the video).
As someone who appreciated his music but didn’t know him personally this news comes as a shock; the best way for me to pay my respects here is to put up his music.
Condolences to his friends and family in Los Angeles and fans/listeners across the globe. Please also consider donating to the GoFundme page for Ras G here, set up by his family to maintain his memory.
A desire to reinterpret South Asian music traditions for the modern era courses through Sarathy Korwar’s music. The drummer’s Day To Day, a 2016 release on Ninja Tune, embedded recordings from the Sidi people of Ratanpur (descendants of East Africans who came to India as merchants, sailors and indentured servants beginning in the 7th century) in a soundtrack provided by London’s new jazz generation. And on last year’s My East Is Your West (Gearbox), Korwar’s UPAJ Collective sought to correct what the bandleader sees as spiritual jazz’s misappropriation of Indian classical music through live renditions of pieces by Alice Coltrane, Don Cherry and Pharaoh Sanders, among others.
“The mistake, or the problem with a lot of this kind of music is that a lot of jazz musicians back in the day—or even now, to be honest—think of the East as the repository of knowledge, where you can spend a week, learn a couple of scales, then come back and put it in your music,” Korwar said. “But these are musical traditions that take years to master and go back centuries.”
The percussionist recently spoke with DownBeat from London about More Arriving, his forthcoming album on The Leaf Label, and what pre-Brexit Britain feels like today.
To read the interview on the DownBeat site, and hear some other Korwar tracks, please go here.
Constant Elevation/ Maintain And Build 12'' Prod. Maniac Mob 1996
Perhaps you’ve noticed that the amount of website entries has reduced here. I haven’t moved to a Nepalese cave, or shack near a Lombok beach (or hiding out on a fire-escape in some major urban centre in the United States) where the Internet is tricky, even if the connection in Paris remains highly irregular. (Tech support faults my computer).
The past 18 months have been a mix for me following the death of my sister in late July 2017. Passing within a fog, at times – not depression’s stark certainty, but harder to define emotions such as confusion, doubt and loneliness. Splintered, exaggerated feelings and reactions, marked by pain. Where the suffering is cumulative, thick with the past, held within disorienting realisations: I am older today than my sister when she died, though her birth preceded my own by two years.
Writers writing about themselves writing after loss are not my interest. Though I appreciate memoirs of writers experiencing extreme circumstances: imprisonment, political exile and the like. Sentimentality is always the main risk with this kind of writing, alongside falseness, egotism. Seeking out the “silver lining” when the cloud is more pertinent. Looking for meaning and transcendence when there is none. Ignoring the fact that it is never only this.
Suffering is malleable, shifting to fit within the lives we lead. Children need to be fed, jobs attended, bills paid. Ambivalence about this continuation of life when confronted by pain does interest me; as another example of the in-between emotion that shapes much of our lives - some refer to it as aversion. But the truth is as I was coming to terms with this loss, other aspects of my life were moving forward. I was working more as a journalist than before, for Passion of the Weiss and The Wire mainly, but other places too.
This “outside” writing as a music journalist is the principal reason for the decrease for posts on my site. Since December 2018 too I’ve also been working on a project that I hope to finish this June. I won’t detail it here. One of the most useful pieces of online psych knowledge I’ve picked up is the danger of sharing projects (and success) prematurely – the chorus, or absence, of hosannas lessening the intensity required to complete something; the fact that there needs to be something to push against for us to complete the work. I’ll keep it quiet for now (“pray for me,” though that I get it done).
Some of this journalism I’ve published during this time can be read here at my Muck Rack page, but it’s not all here. The site provides a great service, compiling portfolios of journalists. Over time, I’ll put up some of this writing and will also keep you in the loop re a future by-line, which marks a new/old direction and for that reason means a lot for me.
Feel free to check out Passion of the Weiss - please consider donating to the Patreon so the site can only get stronger - and read/subscribe to The Wire, a print magazine dedicated to the underground and those making music because it means something to them, others is something precious in this era of the disposable, trivial-hysteric and slapdash.
Thanks to the great editors at Passion of the Weiss and The Wire, for the commissions and responsiveness to my ideas/work; to my family and all those in the Paris circle too.
For x-number of months I did a “Madlib” (on Madlib’s discography). With numerous interruptions, living my life, doing my work, listening to other music, I focussed my attention on trying to hear as much as I could of his music, across the various releases, genres, decades, inspirations. This partly reflects my OCD-aspect, the desire to hold onto an essence of something as a system, to see how it works together. When gaining knowledge, I like to be able to get a sense of how things fit, as if there’s always a broader logic waiting to be uncovered.
It also reflects the fact that this discovery came about via YouTube - a bossy task-mistress insisting on certain tracks, repeating them over and over as recommendations until I heard them. Many of these picks, coming from some algorithm consciousness were Madlib tracks, or Madlib associated projects. The process took on a life of its own and lasted for a while.
The process was also a way of assessing the constancy of my own preferences and tastes; as a barometer, litmus test. Allowing for diversity, among genres, but being constant within them. This sounds egotistical perhaps, but I think it’s useful for writers to be simple and upfront in terms of all this. It’s much more interesting (for me) to think about what this/that preference says about the person, rather than to hear aspects of autobiography in the critical appraisals, in that this music helped a writer psychologically, when they were down or something. (Let alone some writer presenting themselves as the arbiter of universal taste).
I really don’t trust this self-disclosure either. If, when you’re affected by something painful the last thing you’d want to do is listen to someone else go deep into their suffering. What you want is to forget. But this might again reflect something about the way I listen to music. There are plenty of songs that I might have listened to in bad times, but it wasn’t because I could relate to the lyrics, usually it was something about the quality of the sounds, or the voice of the singer.
I sincerely believe that we are all predisposed to liking certain sounds, and this says something about ourselves and our histories. It’s as if these sounds click with something internal in us, as if making manifest something in our DNA. It’s not the music itself that we like, but how it activates something in us. This reaction does not have to be anything particularly deep, or representative of anything bigger (I’m with Cage here, a sound is a sound it does not have to mean anything).
Throughout this “Madlib immersion”, I was surprised by something: I had thought that with my background listening to a lot of jazz over the decades, it would be the jazz-inspired Madlib work that would impress me most. What I found there – often, not always, was that this music seemed a little contained, as if he was self-conscious about his own debt, or admiration. This limited the achievement and squashed what makes Madlib’s music most interesting for me, the experimentation and freedom you can find there. Of course, there were exceptions, such as this:
This is an extraordinary piece of music, listen to the thwack of that bassline/drum interplay, something that has come back more recently in Madlib’s beats – see many of the Bad Neighbor instrumentals, for instance or the forthcoming Bandana album with Freddie Gibbs. Here, containment is a positive quality in itself: the way it simplifies the original melody from the 1975 album.
What’s striking is the way Madlib doesn’t use the trumpet line at all, or if he does it’s there as a detail, rather than the central focus. This is interesting and perverse (considering that it’s by Donald Byrd – why use the piece to ignore its central motif and the essence of its origins?) Madlib’s reworking simplifies it, makes it dense and uncomplicated.
The original piece was similarly simple – in its intention, but not its execution. Listening to it now, perhaps this is enhanced by my bad sound system, it’s all fluttery and high-end, wavery, which is attractive, but far removed from the way Madlib turned it into an almost late 70s disco-funk song.
The first piece from Shades of Blue: Madlib Invades Blue Note that I was kind of obsessed with was “Distant Land” – now it feels like a photograph almost, it’s not so important to me. This is the one with the drums that break the music, sounding over-present, but also add to the overall feeling of naivety. Just over two minutes in, I liked the way the sounds separated from each other – becoming individualised, solitary elements on display – but what I really loved and still appreciate is the way you expect the trumpet to come back, again it’s Donald Byrd after all, but it doesn’t.
This is wonderful and strange; the entire piece seems to be so accessible (that boom bap type drum pattern etc) and then denies our expectations at the crucial moment. This appeals to me, I like this. Then, when the trumpet does return about a minute later, it’s so quiet, you can hardly hear it.
The original (unreleased) Donald Byrd piece from 1972 has a very distinctive quality, it sounds half-asleep, but the trumpet line as you’d expect is clear and prominent (unlike the way it was re-imagined by Madlib, three or so decades later):
Listening to the original Donald Byrd track now, after a few months from my previous time listening to it – I didn’t like it much before, it struck me as overly smooth, easy listening, lacking spirit - my instincts are proven right, as in expecting the trumpet to return or be more prominent in the Madlib version. The track follows a traditional jazz set up, two or perhaps more solos (what sounds like a vibraphone, then piano solo, there might be a solo before this) to return to the leader of the group on trumpet, in what is deeply satisfying, as expected. Byrd returns with a majestic half-solo around 5’30” (you can almost imagine the audience applause).
There are other songs, which I might even like more than the two I’ve written about here, “Mystic Bounce” say or “Montara” but this writing is a good example of what I was mentioning at the outset. What you end up writing on often is different to what the original impulse was, for questions of ease or simplicity, or getting carried away with something. Rather than discussing the album in full, I’ll leave it there: two songs inspired by Donald Byrd. That makes sense.
This was meant to be an introduction to writing on some Madlib instrumentals, no problem, I’ll come back to them another time.
Coda x 2:
“Composer: Johann Sebastian Bach Artists: Emmy Verhey (violin), Camerata Antonio Luco, Rainer Kussmaul (violin), Henk Rubingh (violin), Thomas Hengelbrock (violin), Amsterdam Bach (Soloists)
About this album: Available as a separate release: all concertos for 1 violin by Bach. They are BWV 1041 and 1042: the well-known concertos. BWV1052, 1056 and 1064 are reconstructions. The latter one being for three violins. Soloists are among others Emmy Verhey and Rainer Kussmaul.”
Information taken from the YouTube video
Not much information on Bileo – Bill Williams, Bobby Love, Joe Farnis, horn arr: Maceo Jackson – other than the group released two singles, this being one of them. The single was re-issued by Athens of the North in 2014. As the promo material for the re-issue states the single sells itself, the song too writes itself; it’s all there, the message of uplift and continuation. It’s a lovely thing.
Movin' up now
To higher ground now
Can use my stride! (?)
When I get there, yeah
I'm gonna smile now
Cause I'll be high!
High on love
That's all I need, yeah
To make my day!
I am happy
Happy now I'm
I'm on my way!
You can be there
If you want to, yeah...
You can be there
If you want to, yeah...
Another track credited to Bill William’s Bileo’s lead vocalist (under the name Bill Williams & Billeo is “Robot People” out on WCM, 1983), probably only of real interest for those seeking to “complete their collection.”
Ditto for another Bill Williams’s track: “Things WIll Be Better Tomorrow,” also from 1983. That said, this remix of “You Can Win” - Dorsi Plantar’s French Kiss Edit – is great:
First published at Ambrosia for Heads, 29 September 2017, read the article on the AFH site
That highly distinctive deep-atmosphere, kept so twitchy and tense, that defines the Griselda Records sound is on full display in “Bullet Club” – the first single taken from Conway The Machine’s upcoming G.O.A.T. The track sees him paired up with G-Unit MC Lloyd Banks and fellow Griselda affiliate Benny.
Produced by Griselda beat-maker Daringer, the track perfectly captures the menace we now associate with the Buffalo, New York crew. “Ni**as know something, don’t play stupid…” the sample at the start begins, setting the scene for Conway’s more measured than usual verse, against the trademark hysterical laughter and simulated gunfire.
Conway addresses the listener, or to be more accurate, the competition directly, telling us he’s “dropped the hardest tapes since ’94.” And that even though his face might be “twisted,” no other rapper can “spit it the way [he] spit it.” At one point, Conway challenges us to come up with a name equal to his, even stopping for “a minute” – literally. This adds a humorous touch to his earlier riff on people getting stabbed in the face and all the other elements that typically make up his dark musical head-space.
Lloyd Banks, who with 50 Cent dominated the East Coast Gangsta Rap game through the 2000s is fully at ease here with this next generation kindred spirits, setting it up perfectly for Griselda stable-mate Benny to close, as he makes a strong showing.