With the addition of a new network card, via a new computer, and the inclusion of an Apple Time Machine to my world, I’ve finally restored some normalcy to my own WWW. No more manipulating the rabbit ears to check my email.
My inconsistent WWW over the previous month has left me feeling a bit out of the loop. I’m not sure how accurate my own perception is, however. I’ve still managed to procure Tanya Morgan’s The Bridge, Kidz in the Hall’s, The In Crowd, Al Green’s Lay It Down, Jackson Conti’s Sujinho, and most recently, Common Market’s Black Patch War. I’d say that’s a pretty good yield for a month. Isn’t it interesting that there’s an apparent correlation between my WWW access and music acquisition? I can’t say I saw this coming in 1998, when I was still racing to Music in Your Ear on Thayer St. with my boy Skillz to cop Blackstar and The Love Movement.
Thanks to WTR for throwing that Common Markets track out there. I’ve been listening to Black Patch War for literally 24 straight hours. Sabzi’s production is a subtle throwback. Kind of reminds me of late 1990’s Shawn J. Period, employing lots of floating horns, flutes, scratches, etc. And RA Scion makes me think of Talib Kweli without the nasal congestion. Feel of album is akin to the contemporary-old school-feel goodness that has been coming out of the Pacific NW, see Blue Scholars & Ohmega W-W-Watts, Watts. (Note: I’ve also added Common Market, conveniently located on the WWW too).
Al Green’s Lay It Down. Talk about a throwback. Maybe I’m an ageist, but I usually don’t get too amped when old school cats come out with new albums. It’s a long story I suppose, but in short, it has something to do with the given, now-aged artist, attempting to contemporize their style in a new context. It’s a tough task. Or…maybe I am just an ageist…(or maybe I just have the bad tastes of Mariah Carey and Mary J. Blige in mind). Whatever the case, Lay It Down exudes the familiar Al Green of I’m Still In Love With You…30+ years later. Much of this credit of course is due to the man himself. His voice is as smooth as ever. Green’s adlibs are fresh. The man is soulful. The title track, featuring Anthony Hamilton, has Green all over the musical scale, but it works just as it did on “Call Me.” On the production side, The Randy Watson Experience (James Poyser & Questlove) continue to make amazing music. The backdrop they provide Lay It Down preserves Al Green’s soulful crooning. Some how they manage to capture soul of Green’s early days within a 2008 context. At points through Lay It Down, it’s difficult to date the song. That’s the definition of timeless.
Sujinho brings together Madlib and Brazillian drummer/percussionist Mamao, as Jackson Conti (their respective last names). Sujinho is Madlib doing his homework. This isn’t him simply diggin’ through some crates and putting a YNQ spin on some old standard, or concealing some 1964 drumline in some far-out, Quasimoto-Monk Hughes amalgamation. This is Madlib, as Otis Jackson, being the music fan and doing his homework; traveling to South America; eating local cuisine; and kickin’ with an old-school drummer. The result plays like a jam session. Sure, it’s got that now-classic YNQ style to it – the indiscrete shifts in tracks, the occasionally discordance of sounds – but this time, you can hear that more than one person and his imaginary friends are playing together. Madlib and Mamao have made what I presume all jazz-fusion albums of the 60’s and 70’s were like. A few dudes getting together and trading industry secrets, and experimenting. This is nicely demonstrated on “Brazillian Sugar.” Honestly, I’m still digesting the final product. While I’m not a music theorist and cannot dissect the the technicalities, I can judge feelings sounds provide; the overall sound is dynamic, feel-good, & is a perfect Spring-Summer soundtrack.