Category Archives: black music

RIP Manny Oquendo (1931 – 2009)

Grupo Folklorico Y Experimental Nuevayorquino.

“Little Sunflower,” Freddie Hubbard original

Manny Oquendo was an American percussionist. His main instrument was the timbales, and was strongly influenced by Cuban drumming. He especially holds interest as the percussionist with own Conjunto Libre and Grupo Folklorico Y Experimental Nuevayorquino. His work can be classified as latin jazz, but he expanded the limits of his own genre by working with such artists as August Darnell and DJ Spooky. He had a worldwide hit with Freddie Hubbard’s “Little Sunflower” in 1983.

I discovered Manny Oquendo in the 1990s (my disco period) via Mericana Records, which was a sublabel of Salsoul Record. I listened to Grupo Folklorico Y Experimental Nuevayorquino and related groups a zillion times. Brilliant.

RIP Uriel Jones (1934 – 2009)

[Youtube=http://www.youtube.com/watch?v=IVFT7i94zQU]

“Ain’t No Mountain High Enough” (1967) by Marvin Gaye & Tammi Terrell

Uriel Jones (13 June 1934 – March 24, 2009) was an African-American musician. Jones was a recording session drummer for Motown Records‘ in-house studio band, The Funk Brothers, during the 1960s and early 1970s.

Jones was first hired by Motown as a fill-in for principal drummer Benny Benjamin; along with Richard “Pistol” Allen, he moved up the line as recordings increased and Benjamin’s health deteriorated. Jones had a hard-hitting, funky sound, best heard on the tracks for the hits “Ain’t No Mountain High Enough” – both versions, by Marvin Gaye & Tammi Terrell in 1967 and the 1970 remake by by Diana Ross, “I Heard It Through the Grapevine” by Marvin Gaye, “Cloud Nine” by the The Temptations (in which he was augmented by “Spider” Webb), Junior Walker‘s “Home Cookin’,” “I Second That Emotion” by Smokey Robinson & the Miracles, “For Once In My Life” by Stevie Wonder, and many more. His influences included Art Blakey. Jones became better known to music fans through his memorable appearance in the feature documentary film, Standing In The Shadows Of Motown.

“Rap das Armas,” or, Parapapapapapapapapapa

“Rap das Armas” (1990s) by MC Cidinho and MC Doca

MC Cidinho and MC Doca

Rap das Armas (Rap of Weapons) is a Brazilian “proibidão” song by that has become very popular through the film 2007 film Tropa de Elite, however the original song was already very popular in the early 1990s (there is no info on original release dates on discogs). The song illustrates the elite police who invade the favelas (shantytowns) on a daily basis to fight the drug dealers, with lyrics about fireweapons such as the AK47 popular among said dealers and their confronts with the police and other drug dealer factions, but clearly being on the side of bad guys.

Because of the allegations that the songs are an apology for crime, they are banned from recording and broadcasting. The obvious analogy here is with its American counterpart gangsta rap.

The song was produced by MC Cidinho and MC Doca. The song, despite its popularity, is never played on the radio, and was taken out of the movie’s soundtrack after 2 weeks. The motive behind this was that the lyrics in “Rap das Armas” praise the use of drugs, the criminal factions of Rio de Janeiro, and the drug dealers themselves.

The song illustrates the violence of everyday life in the favelas. Brazilians are in danger not only when they take drugs but also when they take the bus or attend funk dances.

Proibidão, which literally translates to “strongly prohibited,” is a genre of Brazilian funk (pronounced “funkee”) music originating from the favelas of Rio de Janeiro where it began in the early 1990s as a parallel phenomenon to the growth of drug gangs in the many slums of the city. The drug gangs sponsored DJs and baile funks in the favelas they controlled to spread respect and love for their gang as well as hate to the other gangs. The music that resulted is proibidão and its most famous example is Rap das Armas.

I’ve been repeatedly listening to this song, enthused by the sheer simplicity of it. Researching its history brings memories of the film Pixote (1980) by Hector Babenco, an arthouse hit when it came out and my first exposure to the favelas. The favelas were recently depicted in Cidade de Deus, one of the best films of the 2000s.

[Youtube=http://www.youtube.com/watch?v=SrAZ48gHJII&]

Parapapapapapapapapapa,

papara papara papara clack bum,

Parapapapapapapapapapa!

The original lyrics:

Morro do Dendê é ruim de invadir
Nós com os alemão vamos se divertir
Porque no Dendê eu vou dizer como é que é
Aqui não tem mole nem pra DRE
Pra subir aqui no morro até a BOPE Treme
Não tem mole pro Exército, Civil nem pra PM
Eu Dou o maior conceito para os amigos meus
Mas morro do Dendê, também é terra de Deus
Vem um de AR15 e outro de 12 na mão
Vem mais um de pistola e outro com 2 oitão
Um vai de Uru na frente, escoltando o camburão
Vem mais dois na retaguarda mas tão de crok na mão.
…
De AK47 na outra mão a metralha
Esse rap é maneiro eu digo pra vocês
Quem é aqueles caras de M16
A Vizinhança dessa massa já diz que não agüenta
Nas entradas da favela já tem ponto 50
E Se tu tomar um “PÁ” será que você grita?
Seja de ponto 50 ou então de ponto 30 …

Translated and annotated lyrics[2]

The neigbourhood of Dendê is hard to invade
We with the Germans (German from enemy in the WWII meaning, by analogy, the police; it could also refer to gangs from the Complexo do Alemão favela) will have some fun
Because here in Dendê I will tell you how it is done
Here there is no “easiness” to the DRE (special police)
To climb up this neigbourhood even the BOPE (Police Special Forces) is afraid
Here there are no “easiness” to the Army the Civil(ian police) or to the P.M. (Military Police)
I give the best advice to the friends of mine
But Dendê neighbourhood, is also God’s land
There comes one with AR15 and another with a 12 (gage) in their hands
One cames with a pistol and another with two big eights (heavy arms again)
One comes with a “Uru” in the front, escorting the dumb ass (police officer)
Two more follow with Glocks in their hands

…

With an AK47 and the other with a machine gun
This rap is really cool, I can tell to you
Who are those guys with M-16
The neighbours of all our people (the Favelas) are already saying that they can not handle it (here it refers to the white middle and high classes of Rio who live properly in the city)
At the doors of the favelas there is already .50 (caliber)
And if you get a Pá! (BOOM!) will you scream?
Being of .50 or .30 (weapons’ calibers).

RIP Eddie Bo (1930 – 2009)

RIP Eddie Bo.

Edwin Joseph Bocage (“Eddie Bo”) (September 20, 1930 – March 18, 2009) was an American singer and one of the last New Orleans junker-style pianists. Schooled in jazz, he was known for his blues, soul and funk recordings, compositions, productions and arrangements.

[Youtube=http://www.youtube.com/watch?v=ANoc-TghlWM]

“From This Day On”

He debuted on Ace Records in 1955 and released more single records than anyone else in New Orleans other than Fats Domino.

His song “Hook & Sling” was featured on the breakbeat compilation “Ultimate Breaks and Beats” and on the rare groove compilation Rare Grooves Vol. 1.

Rare groove is an umbrella term that refers to relatively obscure and hard-to-find jazz-funk, funk and soul, soul jazz and jazz-fusion tracks from the 1970s. Originally coined by Kiss FM DJ Norman Jay in 1985 through his show The Original Rare Groove Show, ‘rare groove’ tracks have been influential on the musical genres of hip hop, techno, house, breakbeat, jungle and others.

Cecil Taylor @80

[Youtube=http://www.youtube.com/watch?v=cP5L8tjnB6w]

Excerpt from Ron Mann‘s 1981 “Imagine the Sound” documentary.

Cecil Percival Taylor (born March 15 or March 25, 1929 in New York City) is an American pianist and poet.

Along with saxophonist Ornette Coleman, he is generally acknowledged as on of the innovators of free jazz. Taylor’s music is cited by critics, however, as some of the most challenging in jazz, characterized by an extremely energetic, physical approach, producing exceedingly complex improvised sounds, frequently involving tone clusters and intricate polyrhythms. At first listen, his dense and percussive music can be difficult to absorb, and his piano technique has often been likened to drums and percussion rather than to any other pianists, and resembling modern classical music as much as jazz.

RIP Claude Jeter (1914 – 2009)

Maurice Bottomley says: RIP Claude Jeter.

Click for credits

Listen to him here[1] on “Stand By Me“.

Claude A. Jeter (October 26, 1914 – January 6, 2009) was an African American gospel music singer.

Jeter was best known for his falsetto with the Swan Silvertones in which his graceful high melodies served in contrast to the rougher voices of the group’s other members. The group recorded for the several different labels, but never achieved financial success, despite its widespread influence. (I have a very special fondness for this category of artists, the ones whose influence osmotically make their own name disappear).

During the 1950s the group was popular and many of the elements of the group’s style resembled the then-prevalent rhythm and blues vocal group style. Jeter received many offers to perform R&B or rock and roll, but rejected them all, citing a commitment he had made to his mother that he would always sing for the Lord.

Elements of his performances in songs were picked up by later singers such as Al Green and Eddie Kendricks of The Temptations and another of his songs served as Paul Simon‘s inspiration to write his 1970 song “Bridge over Troubled Water“. Paul Simon subsequently gave Jeter a check for $1,000 for inspiring Simon to write “Bridge over Troubled Water”. See for this last trope: cultural appropriation in western music.

Contemporary voices in black music

This is Carl Hancock Rux‘s “No Black Male Show” mixed with “I Recall (There I Am)” from Rux’s Rux Revue album. Most readily, it seems to refer to “The Revolution Will Not Be Televised“.

[Youtube=http://www.youtube.com/watch?v=XirwjeOJaqM]

The video by Philipp Virus and Ian Kerkhof under the alias Aryan Kaganof.

Ian Kerkhof was brought to my attention by Valter when he pointed me to The Dead Man 2: Return of the Dead Man.

Carl Hancock Rux is probably familiar with Saul Williams whose “List of Demands”[1] was one of the finds of 2008. See also contemporary voices in black music.

Fly Girls!

Soul Jazz Presents Fly Girls: B Boys Beware – Revenge of the Super Female Rappers (2008) [Amazon.com]
[FR] [DE] [UK]

I’ ve mentioned this before, that the majority of releases in my cd-collection are anthologies. One of the finest anthology labels since the 1990s is Soul Jazz Records. That British company has just released
Fly Girls! (full title Soul Jazz Presents Fly Girls: B Boys Beware – Revenge of the Super Female Rappers), anthology of female rap artists that celebrates the genre’s 30th anniversary. What follows is a wikified version of the liner notes, of which I could not identify the author. Please fill me in on that blank if you own the cd. The liner notes are hyperlinked to Youtube entries.

The compilation is worth its price alone for featuring the below track by Camille Yarborough.

[Youtube=http://www.youtube.com/watch?v=zg1oh45n5iI&]

“Take Yo’ Praise“

The history of female rap on record begins in 1979 in New York City as the clamour of the city’s artists, record companies and producers strove to make it onto vinyl in the wake of The Sugarhill Gang’s squillion-selling hit, “Rappers Delight“[1] – released that year on the former soul singer Sylvia Robinson’s Sugarhill Records. It would be the Winley family – comprising sisters Tanya, Paulette – who made the first female rap record produced by their mother Ann and released on their father’s label, Paul Winley Records.

Aside from the singing/rap styles that earlier soul artists such as Aretha Franklin [2], Shirley Ellis [3], Millie Jackson [4] and Laura Lee [5] would occasionally adopt in their songs, female rap (like rap itself) had its antecedents in the groundbreaking black poetry of the 60s and 70s with radical, free-thinking poets such as Nikki Giovanni [6], Camille Yarborough [7] and Sarah Webster Fabio [8] – all of whom are included here – vocalising hitherto unheard expressions of female and black self-determination in their work. These strong, educated, political women not only led the way stylistically but also helped define how a female artist could make their own career path – weaving creativity, politics and family in a way that Missy Elliott [9], Queen Latifah [10] and others have since followed – establishing the boundary-breaking career paths of many female artists in rap. Hip-hop is a culture of which music is only a part; nowadays (and to an extent from the very beginning) the most successful female hip-hop artist is often singer, DJ, actress, manager, political and social agitator and more in multiple combinations.

Hip-hop’s story begins in the tenement blocks and community centres of the South Bronx. In the first three years-or-so history of hip-hop (1976-9) – before the first rap records were made – aspiring female artists could watch onstage the early female MC role models of Sha-Rock (the first female MC in the group Funky Four Plus One [11]) or the Mercedes Ladies [12] (the first female MC and DJ crew). With Tanya and Paulette Winley’s ‘Rappin and Rhymin’ on vinyl by 1979 it would not be until the following year that the first all-female crew made it onto vinyl when The Sequence [13] (featuring a then unknown Angie Stone) was astutely signed, once again, by Sylvia Robinson to Sugarhill Records.

Robinson was not the only woman on the business side of hip-hop. There was Kool Lady Blue who first brought rap out of the Bronx and into downtown NYC at the Roxy nightclub and also later managed The Rocksteady Crew. Monica Lynch who rose to head of A and R and president of Tommy Boy Records, and later vice-president of Warners, comments that because hip-hop was new it did not have the hierarchy of the traditional music industry and women were thus able to move more easily into executive roles. Later, as we shall see, many of the artists moved into the business themselves taking control of their careers and aiding others.

Roxanne Shante is certainly the first female rapper to make a career out of her music. Shante and fellow Queens-resident and producer Marley Marl fought their corner for both their borough (taking on Boogie Down Productions and the Bronx) and anyone else who dared call themselves ‘Roxanne’ in a slanging-match known as The Roxanne Wars[14]. This verbal jousting had its antecedents dating back to the ‘dozens’ of the playground and tower-block (‘Your mother is a …’, ‘No, your mother is a …’) and to the Griot storytellers of Africa. Roxanne Shante, and many others here, effortlessly subverted this – and many other – male-dominated traditions to create and re-write new histories.

RIP Freddie Hubbard (1938 – 2008)

Moanin’ with Freddie Hubbard

Freddie Hubbard (1938 – 2008) was an American jazz trumpeter.

He was primarily known as a sideman to Art Blakey in the latter’s Jazz Messengers and many other jazzmen’s bands but achieved his greatest personal success in the 1970s with a series of albums for smooth jazz record label CTI Records. Although his early 1970s jazz albums Red Clay, First Light, Straight Life, and Sky Dive were particularly well received and considered among his best work, the albums he recorded later in the decade were bashed by critics for their commercialism.

Polar AC

A particularly accomplished track is Gibraltar, compiled by Ashley Beedle on the Grass Roots album.

RIP Odetta (1930 – 2008)

[Youtube=http://www.youtube.com/watch?v=n9s2Gy9lydk&]

“Sometimes I Feel Like a Motherless Child“

Odetta Holmes, (December 31, 1930 – December 2 2008), known as Odetta, was an African-American singer, actress, guitarist, songwriter, and a human rights activist, often referred to as “The Voice of the Civil Rights Movement.” Her musical repertoire consists largely of American folk music, blues, jazz, and spirituals. An important figure in the American folk music revival of the 1950s and ’60s, she was a formative influence on dozens of artists, including Bob Dylan, Joan Baez, and Janis Joplin.

She was known for her renditions of songs such as “Sometimes I Feel Like a Motherless Child“[1] and “Pastures of Plenty“.

Jahsonic

Burgemeester van Dodenstad