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Now, if Tyondai Braxton and his dad start collaborating, THAT would be different. Lamar seems able to find a connection between his own soul-searching and a broader social context. Ghetto Music was reissued on CD a few years back by the very good Water Music label of San Francisco. The totality of this very big and complex picture is what counts, but among the individual highlights for me are the sudden explosion of hard bop in “For Free? From the jazz perspective, there are extremely interesting interviews about the making of To Pimp a Butterfly with the participants here (with Natalie Weiner of Billboard) and here (with Jay Deshpande of Slate). When I saw “WordPress – To Pimp A Butterfly” arrive in my inbox I was intrigued when I saw it was you, and read it immediately. Ok, we’ve had a 35-year-old from Stevenage whose dad took three jobs to support his career taking an all-time recor…, Tao Geoghegan Hart in front of the Duomo in Milan, celebrating victory in the 2020 Giro d’Italia.
V good to have a jazz perspective on this excellent album. In jazz terms, it stays mostly “inside”: the moves are the familiar ones of modal jazz from the era of A Love Supreme, before Coltrane cut loose in 1965 with Ascension, which took him into the final phase of his career. Martin, Steven Ellison (Flying Lotus), Washington, Coleman and the Bruner brothers are around 30 years old and, like Lamar, grew up in Los Angeles. Thanks for your perspective. Sometimes, as with the Charles Lloyd Quartet of the late ’60s, Miles Davis’s post-1968 music, Herbie Hancock’s Headhunters and, in a lighter tone, the work of Ramsey Lewis, Ronnie Laws and Roy Ayers, jazz has edged closer to the relationship it enjoyed in the ’20s and ’30s, when it maintained a balance between mind and body. In an interview with The New York Times , Kendrick explains the meaning behind the art. I’ve also been listening to an advance copy of Washington’s extraordinary debut album, a three-CD set called The Epic. Nicely made observation re. * The photograph is from the insert accompanying To Pimp a Butterfly. I feel blessed to have experience the likes of Stevie, Marvin, Sly et al, at their awe-inspiring peaks but I almost envy young people discovering To Pimp A Butterfly and converting friends to its funk, melodies, fiercely adventurous – and deeply serious – brilliance. The title of this blog is taken from my book The Blue Moment, published by Faber & Faber in 2009, in which I tried to look at how Miles Davis’s Kind of Blue had influenced half a century of modern music, from La Monte Young and Terry Riley through James Brown, John Cale and Brian Eno to Arve Henriksen and the Necks. I’ll be doing the same. Written By – K. Ducksworth, G. Clinton, B. Gardiner, Written By – K. Ducksworth, T. Martin, R. McKinney, Written By – K. Ducksworth, M. Spears, T. Lane, D. Blake, M. Jackson, A. Lewis, S. Gordy, Written By – K. Ducksworth, C. Smith, S. Barsh, F. Halldin, Written By – K. Ducksworth, T. Martin, L. Dopson, J. Fauntleroy, R. McKinney, A. No track durations mentioned on the release. Glad to hear (and see) that they are letting Cuba back in. The Epic will be released at the beginning of May on the Brainfeeder label. Glasper is in his mid-thirties and was born in Texas and studied in New York. Stay with it through to the conclusion, where the textures grow sparser but the groove intensifies. I just can’t see it. An excellent summary. Kendrick Lamar’s To Pimp a Butterfly feels and sounds like one of the most important albums in years. You might find that the trumpet-trombone-tenor sound puts you in mind of the front line on Coltrane’s classic Blue Train, but there’s nothing to object to in that: why not use it as an available colour, offset by a very differently orientated rhythm section? It’s too early to be definitive about all this, to claim that this new development represents the future, or to dismiss it because the kind of jazz they’re exploring/exploiting isn’t, of itself, new and challenging. Change ), You are commenting using your Facebook account. ( Log Out / To Pimp A Butterfly was already on my buy list but after reading your piece, as humble and respectful as it was insightful and informative, I was moved to buy it immediately. What it reminds me of — and this is about as high a compliment as I can pay — is a group of albums that came out in the late ’60s and early ’70s, reflecting black America’s various states of mind in that turbulent era: the proud isolationism of Eddie Gale’s Ghetto Music, the deep lament of Art Ensemble of Chicago’s People in Sorrow, and the rage within the Last Poets’ debut album (the one containing “Niggers Are Scared of Revolution”). Akinmusire, who is a similar age, was born in Oakland. Find the latest shows, biography, and artworks for sale by Denis Rouvre Drum Programming [Additional Drum Programming], Engineer [Additional Engineering] –, A&R [A&R Administration - Interscope Records], Coordinator [A&R Coordinator - Interscope Records], Other [General Manager - Aftermath Entertainment], Other [Top's Homies - Interscope Records], Buy CD, 21 21st century albums that might be doing for music what Ulysses did for the novel, some history of inescapable discs (not in order), Matrix / Runout ((Variant 1)): DIDX-1072790 1 B02. I hadn’t spotted the Alexis Petridis review of Kendrick Lamar’s ‘To Pimp a Butterfly’ but I am sufficently intrigued by your comparison with Eddie Gale’s late 60s recordings to add it to my ‘must buy’ list. And wow agai…. It, too, speaks of a turbulent time. 1) direction of travel (given that his last UK shows were essentially quite traditional rap events it will be interesting to see if Lamar now hangs around in this fertile terrain or strikes off in another direction) Several of them received an informal education at the late Billy Higgins’ regular World Stage gig in Leimert Park. ( Log Out / Tupac talks about the imminence of conflict: “I think that niggas is tired of grabbin’ shit out of stores and next time it’s a riot there’s gonna be, like, bloodshed for real. James Brown in Boston 5/4/68. (Interlude)”, the appearance of Ronald Isley to sing a single resonant verse at the end of “How Much a Dollar Cost”, and the extraordinary passage in the closing “Mortal Man” where Lamar edits in sections of an interview given by Tupac Shakur, interposing his own voice in the place of the original interviewer (we don’t know whether he has rephrased the questions, or is merely repeating them). I think people are reading far too much into some young folks importing a few dated Jazz flourishes into their music. Change ), You are commenting using your Google account. Forty years later, however, there’s a great deal more self-assurance about this project, and the solos — particularly those of Washington, who has a sound as big as his ideas, and the trumpeter Igmar Thomas — never lack conviction or substance. Change ), You are commenting using your Twitter account. View at Medium.com.
In its layering of the combo and the choir, The Epic has some of the sweep of Max Roach’s It’s Time and Donald Byrd’s I’m Tryin’ to Get Home, both of which were arranged, in 1962 and 1964 respectively, by the African-American composer Coleridge-Taylor Perkinson. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. In his excellent Guardian review, Alexis Petridis invoked the names of Marvin Gaye, Curtis Mayfield and Sly Stone. Denis Rouvre has photographed the strong bodies, the tense, perpetually defiant faces of the wrestling apprentices of suburbs of Dakar. They belong to one of the 77 stables of the country and they daily practice this unique sport activity as a subtle mix of traditional wrestling and bare hands boxing. Easier for me to talk about is the contribution made by people such as the trumpeter Ambrose Akinmusire, the pianists Robert Glasper and Brandon Coleman, the saxophonists Terrace Martin and Kamasi Washington, and the bassist Stephen Bruner (known as Thundercat) and his brother, the drummer Ronald Bruner Jr.
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