Best of 2023

A playlist featuring these songs and albums can be found here on Spotify

This past year offered a lot of great new music but I missed most of it because my listening was heavily biased to the 1970’s, a decade that seems to be my natural musical habitat. Nevertheless, there were some great new albums, including one from my favourite recording artist, Incognito. Yussef Dayes also impressed with Black Classical Music, which in my opinion is one of the most ambitious and expansive jazz albums since Kamasi Washington’s The Epic.

Album Art Mosaic generated @ https://xsaardo.github.io/Album-Art-Collage–Creator/

Songs

1. Nothing Makes Me Feel Better, Incognito (Splash Blue)
2. Self, Cleo Sol (Forever Living Originals)
3. Paradise, Terrace Martin & Alex Isley (Sounds of Crenshaw)
4. Oropendola, John Carroll Kirby (Stones Throw Records)
5. So We Won’t Forget, Khruangbin (Dead OceansLive at Radio Music City Hall)
6. Bad Company, Yazmin Lacey (Own Your Own Records)
7. Return to Centaurus, Mildlife (Heavenly Recordings)
8. Windy City Theme, AC Soul Symphony & Dave Lee (Z Records)
9. Wait A Little Longer, Snoh Aalegra (Atrium Recordings LLC)
10. Numb, Stellar Echo (3441917 Records DK)
11. Natural Child, Jimpster & Crackazat (Freerange Records)
12. Gone Baby, Don’t Be Long, Jose James (Rainbow Blonde Records)

Albums

1. Into You, Incognito (Splash Blue)
2. Yussef Dayes, Classical Black Music (Brownswood Recordings)
3. Gold, Cleo Sol (Forever Living Originals)
4. Voice Notes, Yazmin Lacey (Own Your Own Records)
5. The Shores of Infinity, Menagerie (Freestyle Records)
6. Point of No Return, Malcolm Strachan (Haggis Records)
7. I Left My Heart in Ladera, Terrace Martin & Alex Isley (Sounds of Crenshaw)
8. Music for Your Soul, Maysa (Blue Velvet Soul Records)
9. City of Blue, Stellar Echo (3441917 Records DK)
10. Intergalactic Rhodemap, Orpheus a.k.a. Jarrod Lawson (iNViSiOn Records)
11. Late Again, Sven Wunder (Piano Piano)

New to me (Re)disovered

So much of the music I listened to this past year was from the 1970’s. I plundered the catalogues of some of my favourites like Azymuth, George Benson, and Weather Report but also dove to greater depths from artists like Azar Lawrence, Art Farmer, Hi-Tension, and Cal Tjader. Having recently inherited a derelict turntable and taken up what I would humbly call “minor league crate-digging”, I recently procured some Hi-Tension, Cal Tjader, and George Benson vintage vinyl.

A particular sound I was enamoured with this past year was the CTI and Kudu record label sound from the seventies. I created this CTI/Kudu playlist featuring many of those artists and the signature sound that came from Creed Taylor’s production style and the incredible talent on those labels – Bob James, Grover Washington Jr., and Idris Muhammad to name a few.

That Hi-Tension record also sent me down a Brit Funk rabbit hole. I loved the revival of that sound in the Str4ta recordings from the Brownswood label and wanted to learn more about that era, especially since one of its pioneers was Jean-Paul ‘Bluey’ Maunick, co-founder of Incognito. I was fascinated to learn that Hi-Tension’s use of rhythm guitar, saxophone, and driving beats formed a template for eighties bands like Spandau Ballet and Haircut 100. I created this BritFunk playlist to explore that movement from the late-seventies and early-eighties.

Passings

We said goodbye to some absolute legends this past year. Ahmad Jamal, who I called the “patient pianist” was a unique stylist and produced an astounding body of work in his 70+ years as a recording artist and performer.

Wayne Shorter was a contemporary of Jamal’s and came to fame as a member of Miles Davis’ second great quintet. Shorter quickly rose to jazz greatness as a band leader and co-founder of Weather Report. A three-part documentary entitled Zero Gravity was released this year around the time of his passing. The film is remarkable for the mood it creates, the way it tells Shorter’s story, and how it resonates with his philosophy of music and life.

Other greats who passed this year were Brazilian legend Joao Donato and R&B/Soul singer/songwriter, Bobby Caldwell.

Ahmad Jamal (1930-2023)
[Photo: REMY GABALDA/AFP via Getty Images]

Anticipating in 2024

The British R&B/Soul collective Sault has created a new wave of raw and beautiful music these past few years, their most recent album being 11 (Forever Living Originals, 2022). Rumors of a new album are not confirmed but the group has announced a limited international tour that kicked-off in London last month.

Best of 2022

A playlist of my favourite music from the past year can be found here on Spotify

2022 was our collective “coming out” year after the tragedy and doldrums of the pandemic. Social gatherings, concerts, and a general shift to optimism started to take hold, albeit in the shadow of Russia’s invasion of Ukraine. Musically, it was a steady year but for me was skewed more to singles than albums.

It also marked the return of live performances. After two COVID related postponements, The Doobie Brothers finally brought their 50th Anniversary Reunion Tour with Michael McDonald to Toronto. It was a quintessential rock & roll show with McDonald bringing the intensity and original singer Tom Johnston belting out the many classics he is known for. I was especially moved by an old tune, “Eyes of Silver” from the album What Once Were Vices Are Now Habits (Warner, 1974).

My musical highlight of the year was seeing Earth, Wind & Fire live for the first time. It was a bucket list experience and they were absolutely “elemental”. Santana was on the same bill and serenaded us late into the evening. Santana’s wife, Cindy Blackman Santana, 63, wailed on the drums like a spry 20-year-old, stealing the show more than a few times during the night.

Album Art Mosaic generated @ https://xsaardo.github.io/Album-Art-Collage-Creator/

Songs

1. Repettos for you my Lord, John Carrol Kirby (Stones Throw Records, 2022)
2. Footsteps in the Dark, Jarrod Lawson (Dome Records, 2022)
3. I Don’t Care, Arrested Development (Vagabond Productions, Dec 2021)
4. Woman Like Me, Chaka Khan (The SoNo Recording Group, 2022)
5. Twin Flame, KATRANADA & Anderson .Paak (Kaytranada Music & Publishing, 2022)
6. Just Stay, Brandon Coleman (Brainfeeder, 2022)
7. Fallback, Phife Dawg (Smokin’ Needles Records / AWAL Recordings, 2022)
8. Like When We Were Kids, Harrison & TOBi (Last Gang Records / MNRK Music Group, 2022)
9. Faith, Sault (Forever Living Originals, 2022)
10. Black is…, Tall Black Guy (Coalmine Records, Dec 2021)
11. All Talk, Brian Jackson (BBE Music, 2022)
12. Something for Byrd, Eric Hilton (Montserrat House, 2022)
13. City Sounds, Str4ta (Brownswood, 2022)
14. Right Now, Waajeed (Tresor Records / BMG, 2022)
15. Searching, First Beige (First Beige / Community Music, 2022)
16. Amalgamation, DoomCannon (Brownswood, 2022)
17. Freedom, Searchlight (Fallen Tree 1Hundred, 2022)
18. December Morning, Stellar Echo (3441917 Records DK, 2022)
19. Higher, Sault (Forever Living Originals, 2022)
20. This Life, Kendra Morris (Karma Chief / Colemine Records, 2022)
21. Guili – Art of Tones Remix, Souleance (First Word Records, 2022)
22. Finish The Sun, Shane Cooper & MABUTA (Dox Records, 2022)
23. Lobbo, Vieux Farka Toure & Khrangbin (Dead Oceans / Night Time Stories, 2022)
24. Noble Metals, Adrian Quesada (ATO Records, 2022)
25. Dasha, Fusion Affair (Chuwanaga, 2022)
26. Electric Dreams, Pt. 1, The Greg Foat Group (Blue Crystal Records, 2022)
27. Little Orphan Boy – Two Soul Fusion Remix, Brian Jackson (BBE Music, 2022)
28. In 2 The Light, Lakeshore Commission feat. Bluey (Z Records, 2022)
29. Atlantia – Dave lee Mix, Mike Lindup (Knapdale Records, 2022)
30. Maybe More – Ralf GUM Main Mix, Tortured Soul (GOGO Music, 2022)
31. Face The Love, The Sunburst Band feat. Angela Johnson (Z Records, 2022)
32. I’m a Believer, Idris Muhammad (Craft Recordings / Concord, 2022)
33. Tubby Chaser, Chip Wickham (Gondwana Records, 2022)
34. Feminina, Joyce Moreno (Far Out Recordings, 2022)
35. Alone on the Rooftop, Stellar Echo (3441917 Records DK, 2022)

Albums

1. Forever, Phife Dawg (Smokin’ Needles Records / AWAL Recordings, 2022)
2. Searchlight, Searchlight (Fallen Tree 1Hundred, 2022)
3. Sometimes It Rains, Stellar Echo (3441917 Records DK, 2022)
4. Str4tasfear, Str4ta (Brownswood, 2022)
5. 2022 the EP, DijahSB (DijahSB, 2022)
6. Dance Ancestral, John Carrol Kirby (Stones Throw Recoreds, 2022)
7. Memoirs of Hi-Tech Jazz, Waajeed (Tresor Records / BMG, 2022)
8. Peace and Rhythm, Idris Muhammad (Craft Recordings / Concord, 2022 – Reissue)
9. Cloud 10, Chip Wickham (Gondwana Records, 2022)
10. Untitled (God), Sault (Forever Living Originals, 2022)
11. Produced with Love II, Dave Lee (Z Records, 2022)
12. Ali, Vieux Farka Toure & Khruangbin (Dead Oceans / Night Time Stories, 2022)

New to Me – (Re)discovered

My favourite twitch DJs continued to nurture me with musical discoveries, old and new. Dorothy Ashby was one such treat. The jazz harpist who released her seminal work, Afro-Harping (Cadet, 1968) more than 50 years ago is synonymous with her enigmatic instrument. I had first heard of Ashby at a Stevie Wonder show where he credited her as the original soloist on “If It’s Magic” (Tamla, 1976) but I was unaware of her solo body of work until I heard tracks from this remarkable album this past year.

My most indulgent trip to the musical past plundered the depths of jazz drummer Idris Muhammad. Active mostly in the 70s but with his last release stretching to 1998, Muhammad stands out to me because of the company he kept and the jazz-funk sound he cultivated. Spending several years with the excellent Prestige and Kudu labels, Muhammad benefited from a stable of pioneering sidemen like Bob James and Grover Washington Jr. The album, Power of Soul (Kudu, 1974) is a timeless classic. Hearing “Piece of Mind” for the first time this past year was like finding hidden treasure that was simultaneously novel and comfortable. The whole album, only 4 tracks and 34 minutes long is an immersive trip, warm, joyful, and reflective. A reissue of Muhammad’s 1971 Peace & Rhythm album made it on my best albums list. The track, “I’m a Believer”, features the vocals of Muhammad’s then wife, Sakinah Muhammad (a.k.a Dolores “LaLa” Brooks), famous for her 1963 hit, “Da Doo Ron Ron” (Philles Records).

Passings

This year saw the passing of more musical greats. Vangelis, who’s soundtrack to Blade Runner (Atlantic, 1994) remains my most favourite use of music in any film ever, even edging out Johann Strauss in 2001: A Space Odyssey. Jazz sax great Pharoah Sanders passed at the age of 81, only months after releasing a much anticipated collaboration with UK producer Floating Points. Brazilian great Gal Costa also left us, her vocal legacy unmistakable to anyone who loves the music of Brasil past, present, and future.

The most striking loss for me was jazz pianist Ramsey Lewis, 87. I saw him live in Toronto a few years back and his performance was a masterclass in, well, class. Lewis had an easy touch on keys, recorded prolifically, and had a knack for finding the right rhythm, swing, and meter to make any performance special. What’s more, Lewis was a mentor to another musical hero of mine, Maurice White. I’m grateful for Lewis’ extensive body of work, his lasting influence on jazz and pop music, and that I was able to witness his magic in person. Apparently, a biography was in the works at the time of his passing and will likely be released next year. It’s at the top of my reading list.

Ramsey Lewis (1935-2022)

Anticipating in 2023

Anything new by Herbie Hancock is worth the wait. Shall it be ’23?

A Playlist From My Father

My dad died last week after a short illness. He was 87. Processing his death is not coming naturally to me. What is easier to do right now is think about what he gave us – my sister and me – and one of those things is a love of music. He always listened to music on our family road trips. By simply by enjoying the music he loved, my father revealed it to us as a source of joy and solace.

Our musical tastes rarely overlapped. He was a staunch classical music enthusiast. He loved his orchestral easy-listening records (Percy Faith, James Last, Henry Mancini) and was an avid collector of MGM, Rogers & Hammerstein, and Gilbert & Sullivan musical soundtracks. The big band era was another favourite – Glenn Miller especially. He recounted as a young lad in the late 1940’s, whenever “In the Mood” (His Master’s Voice, 1939) could be heard emanating from the family radio, he would rush forth and listen intently. As my musical taste broadened, jazz became our common ground. Ahmad Jamal’s At the Pershing: But Not For Me (Argo, 1958) was among the vinyl in his proud collection and one of my favourites too.

So, this is not a playlist for my father but rather from him. Why do I love the music I love? Did it stem from those long road trips and vibrations heard through my childhood home? What germs of orchestration, melody, and mood were implanted in me to later flourish in my own musical library? My father’s taste was an essential ingredient in forming my own. My selections reflect that DNA.

This is not a playlist for my father but rather from him. His taste was an essential ingredient in forming my own. My selections reflect that DNA.

Playlist From My Father (listen on Spotify)

Part I: Orchestral

I find the lush sound of a 50-piece orchestra familiar and comforting. Be it classical, easy-listening, or jazz, my father often gravitated toward the sound of strings, big horn sections, and the grandeur of a large orchestra. In my youth, I often found it boring, not really appreciating the delicate balance arrangers must strike to make the orchestra work as one while featuring the right elements at the right time. Over the years, I came to appreciate what skillful orchestration can do for a tune and developed an affinity for great string arrangements in any genre.

1. Lujon, Mr. Lucky & Mr. Lucky Goes Latin, Henry Mancini (BMG, 1960)
2. Fuji, Breeze from the East, Cal Tjader (Verve, 1964)
3. Give Me a Song with a Beautiful Melody, The Essential Sarah Vaughan, Sarah Vaughan (CoolNote, 2006)
4. Lost My Love, Clap, Clap! The Joyful Noise, Kenny Cox (180 Proof, 2013)
5. Islands in the Sky, The Many Moods of Murry Wilson, Murry Wilson (Capitol, 1967)
6. Scary Times, Untitled (Rise), Sault (Forever Living Originals, 2020)
7. Antiquity, Timeless: Suite for Ma Dukes, Miguel Atwood-Ferguson & Suite for Ma Dukes Orchestra (Mochilla, 2022)

Part II: Jazz

My taste in jazz is constantly developing. My father’s influence exposed me to the big band sound and my taste leans heavily toward jazz-funk and anything Herbie Hancock touches. Lately, I’ve been following newer musicians like Ashley Henry, Kamaal Williams, and Makaya McCraven. With each step in my exploration, I’m thankful for the nudge my father gave me toward jazz and its expanding universe.

1. Poinciana, Ahmad Jamal Trio at the Pershing: But Not For Me, Ahmad Jamal (Argo, 1958)
2. Like It Is, The Blue Yusef Lateef, Yusef Lateef (Atlantic, 1968)
3. Les Fleurs, Maiden Voyage, Ramsey Lewis (UMG Recordings, 1968)
4. Gentle Thoughts, Secrets, Herbie Hancock (Columbia, 1976)
5. Wind Parade, Places and Spaces, Donald Byrd (Blue Note, 1975)
6. Ahmed, Beautiful Vinyl Hunter, Ashley Henry (Sony Music, 2019)
7. Autumn in New York, Deciphering the Message, Makaya McCraven (UMG Recordings, 2021)
8. Better Late Than Never, About Time, Malcolm Strachan (Haggis Records, 2020)
9. 1974, Jukka Eskola, Jukka Eskola (Free Agent Records, 2005)
10. High Roller, The Return, Kamaal Williams (Black Focus, 2018)

Part III: Latin

My father emigrated from India in the late 1950’s, around the time Mongo Santamaria was changing American pop music forever. The Cuban percussionist brought Afro-Cuban rhythms to the continent and inspired popular musicians of the day to adopt the style and record prolifically in the genre. My father’s collection features a vinyl recording of Malaguena, which I always loved. It set me on my journey of discovery of Latin music and an even deeper love of music from Brazil.

1. Malaguena, Malaguena: Music of Cuba, Percy Faith & His Orchestra (Sony Music, 1959)
2. Indestructible, Indestructible, Ray Barretto (Craft Recordings, 1973)
3. Guaraguao, Rey del Bajo, Bobby Valentin (Craft Recordings, 1974)
4. Canto de Ossanha, Os Afro Samba (feat. Vinicius de Moraes), Baden Powell (Baden Powell Producoes Artisticas, 2008)
5. Recado Bossa Nova (Remastered), Dippin’, Hank Mobley (Blue Note, 2005)
6. Super Strut, Deodato 2, Deotato (Sony Music, 1973)
7. Amajour, Touching You, Touching Me, Airto Moreira (WEA International, 1979)

Part IV: Vocal Performance

One could not be thirty-something in the 1960’s, as was my father, and not have more than a few Frank Sinatra records in their collection. Sinatra was a sure thing whenever he appeared on the car radio on our family road trips. I also have a faint memory as a child of getting a kick out of High Hopes (Capitol, 1959) because of the lyric, “anyone knows an ant can’t move a rubber tree plant.” Sinatra was my gateway to many other iconic vocalists including Sarah Vaughan, Nina Simone, and more recently, Gregory Porter and Michael Bublé.

1. Baubles, Bangles and Beads, Sinatra/Jobim: The Complete Reprise Recordings, Frank Sinatra & Antonio Carlos Jobim (Frank Sinatra Enterprises, 2010)
2. Waters of March, Giants of Jazz: Mark Murphy, Mark Murphy (Savoy Records, 2004)
3. I Wish I Knew How It Would Feel To Be Free, Silk & Soul, Nina Simone (Sony Music, 1967)
4. That’s All, Crazy and Mixed Up, Sarah Vaughan (Fantasy, 1982)
5. See You When I Git There, Unmistakably Lou, Lou Rawls (Sony Music, 1977)
6. Kissing a Fool, Michael Bublé, Michael Bublé (Reprise, 2002)
7. Giving You the Best That I Got, Giving You the Best That I Got, Anita Baker (Atlantic Recordings, 1988)
8. 1960 What? – Edit, Still Rising – The Collection, Gregory Porter (Gregory Porter, 2021)

Eipilogue

Whether by accident, intention or a bit of both, my son has become an accomplished musician, recording under the moniker, Stellar Echo. My playlist closes with a song composed, performed, and produced by my father’s grandson.

1. December Morning, Sometimes It Rains, Stellar Echo (Stellar Echo, 2022)

Dilla Time

Book Review & Playlist

Dilla Time: The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm, by Dan Charnas (Farrar, Straus, & Giroux, 2022)

Having recently read Dizzy Gillespie’s autobiography, this book about James Dewitt Yancey (a.k.a J Dilla a.k.a Jay Dee) was in many ways an echo. Dizzy accelerated tempo. Dilla fucked with it. Both are revered as pioneers who changed their genres forever.

This book was hotly anticipated among hip-hop, jazz, and R&B musicans and fans. Finally, someone has written a book about J Dilla! Who was he, why is he so important, and what journey did he take to influence so many marquee musicians, including A Tribe Called Quest, D’Angelo, Erykah Badu, Kendrick Lamar, and, um, Michael Jackson?

Author Dan Charnas is a music educator and writer with a certain degree of credibility for writing James Yancey’s story. With blessing from Yancey’s mother, Maureen, and a historical relationship with the Detroit scene where Yancey came up, Charnas had access to many primary sources, including meeting J Dilla himself many years ago.

The book’s title signals a reoccurring theme around time and rhythm. Dilla shifted it, sprinkled it with magic, and made us all move like we’d never moved before. Like a time lord of beats, Dilla transcended musical space-time and showed us the future. Charnas is particularly adept at describing this in practical terms with helpful diagrams, analogies, and examples from well-known recordings.

Like a time lord of beats, Dilla transcended musical space-time and showed us the future

But Charnas is not just a music wonk. He’s provides an intimate portrait of Yancey and his relationships with family, friends, and collaborators. There are wonderful stories featuring a who’s who of R&B and hip-hop. Detroit native and Parliament alum Amp Fiddler was one of the first to introduce Yancey to the drum machine. Years later, Yancey showed Erykah Badu how to manipulate a classic jazz record to make one of her most iconic songs. Stories like these abound and make for a delicious read.

I didn’t know much about Dilla when he was alive. Like many artists known for their production more than their performance, their celebrity lags the release of their work. When he died of a rare blood disease in 2006, musical circles were shaken and his legacy started to reverberate more widely. In recent years, I’ve come to appreciate his body of work and Dilla Time illuminated even more about his innovation and import.

At the end of the book, Charnas includes a selected but extensive listing of Dilla’s musical output. My playlist includes some personal favourites of Dilla’s music as a member of Slum Village, as a solo artist, and as a producer/collaborator.

J Dilla Playlist (listen on Spotify)

The playlist opens with a Sly and Family Stone track, “Sing a Simple Song” that was reportedly J Dilla’s first choice as a sample to use when he was being introduced to beat making by Amp Fiddler. Prince’s “Lady Cab Driver” is another influence that features Prince using the bass to play off-beat against a machine-driven rhythm.

There are several selections from Slum Village, A Tribe Called Quest, and other collaborators/contemporaries that revered Dilla and employed his techniques in their music. “Rico Suave Bossa Nova” is a short but catchy track influenced by Brazilian jazz. It’s one of Dilla’s first productions using traditional instruments with key collaborator, Karriem Riggins on drums. More remarkable is the remake 20 years on by Brazilian legends Azymuth, inspired by a kid from Detroit in the genre they’ve dominated for decades.

“Really Love” by D’Angelo and “Telephone” by Erykah Badu are odes in a way to Dilla, both songs inspired by him and recorded after his death. The Robert Glasper, Kendrick Lamar, and Hiatus Kaiyote tracks are all representative of a new crop of disciples of the Dilla sound.

I included some recordings of old source material that Dilla would have mined for some of his better known productions. The sample of Vince Guaraldi in The Pharcyde’s “Splattitorium” is particularly inspired. The sample is from a cover of “Fly Me to the Moon” but the short segment Dilla chose is arguably the most beautiful snippet of an otherwise conventional interpretation of a jazz standard.

I close the playlist with an orchestral version of one of Dilla’s best known songs, “Fall in Love.” This version was arranged by Miguel Atwood-Ferguson and performed live in Detroit with a 60 piece orchestra. Dilla’s mother, Maureen Yancey, sat in the audience surrounded by friends, musicians, and admirers alike.

James Dewitt Yancey (1974 – 2006)

Mark Murphy

Profile & Playlist

Mark Murphy (1932 – 2015) | Photo credit: Syracuse News Times

What makes a jazz voice iconic? Nat King Cole, Frank Sinatra, Ella Fitzgerald – they and many others had a distinctive vocal quality that made an indelible mark on jazz. I would add Nancy Wilson for her brilliance, Sarah Vaughan for her range, Billy Holiday for her heart, and in the current era, Michael Bublé and Mario Biondi for their addictive timbres and coolness.

Mark Murphy is lesser known but perhaps most emblematic of the special quality I’m trying to describe. Murphy was an American jazz vocalist active from the 1950s through 2012. He spent the 1960s in London, U.K. and gained a strong following in Europe.

Murphy can croon smoothly, scat playfully, and sing conversationally. His stylistic range stretches across a catalogue of jazz standards, original compositions, and vocal adaptations of jazz instrumentals. I assembled this playlist to offer a glimpse into the breadth of his career. It is by no means comprehensive but rather a sampling of what I think makes him unique.

I start the playlist with “Stolen Moments”, one of his biggest hits, featuring lyrics he penned for the conventionally instrumental composition. Murphy has a remarkable ability to fit more syllables into a musical phrase than any sane lyricist would attempt. Vocal versions of jazz standards “Red Clay”, “Cantaloupe Island”, and “Lil Darlin'” are also among my selections.

Another favourite is his off key version of the Brazilian classic, “Desafinado.” It really is performed off key, on purpose, and I can’t help but smile when I hear it. Murphy does vocal gymnastics to hit exactly the wrong notes at the right time to make the experience fun, unsettling, and oddly satisfying to listen to. Closing the playlist is the track that introduced me to him, “Twelve Tribes” by 4hero. His spoken word performance weaves a mystic story of time and human knowledge. It’s a mesmerizing performance and typifies what I find so special about his voice.

Mark Murphy Playlist (listen on Spotify)

Most albums are compilations as Spotify does not have the original albums in their catalogue

1. Stolen Moments, Stolen Moments (Muse, 1978)
2. It’s Like Love, It’s Like Love – Single (Dig It!, 2015)
3. Both Sides Now, This Must Be Earth (Phoenix, 1970)
4. Cantaloupe Island, Timeless: Mark Murphy (Savoy Records, 2003)
5. Waters of March, Giants of Jazz: Mark Murphy (Savoy Records, 2004)
6. Desafinado (off key), Songbook (Savoy Records, 1999)
7. Lil Darlin’, Mark Murphy: The Jazz Singer (Ornithology Records, 2012)
8. I Get a Kick Out of You, The Latin Porter (Go Jazz, 2000)
9. Moody’s Mood, Timeless: Mark Murphy (Savoy Records, 2003)
10. This Could Be the Start of Something, Mark Murphy (Fresh Sound Records, 2011)
11. Fascinating Rhythm, Meet Mark Murphy the Singing ‘M’ (2013)
12. Why Don’t You Do Right, It’s Like Love – Single (Dig It!, 2015)
13. Red Clay, Live in Athens Greece feat. Spiros Exaras (Harbinger Records, 2016)
14. Twelve Tribes, 4Hero, Creating Patterns (Mercury, 2001)

Dizzy Gillespie

Book Review: To be or not…To Bop, Dizzy Gillespie with Al Fraser (Doubleday, 1979)

A playlist based on significant events in the book can be found on here on Spotify

John Birks ‘Dizzy’ Gillespie is foundational to jazz music. Widely regarded, in tandem with Charlie ‘Bird’ Parker, as the inventor of bebop, Gillespie changed how players played, listeners listened, and dancers danced to music. His autobiography takes the reader on a lyrical journey that tells the tale of the man and the musical movement he spawned. Gillespie’s first-hand accounts are interspersed with stories written by dozens of his contemporaries from the jazz pantheon – Ella Fitzgerald, Cab Calloway, Miles Davis, and Roy Eldridge to name a few.

Dizzy Gillespie, 1967
(AP Photo/Frank C. Curtin)

Dizzy Gillespie, as household name and popular figure, was best known for his inflated cheeks and his trumpet’s turned up bell. These stylistic markers were iconic but superficial in the greater context of his contribution to music. His historical and musical significance is forever entwined with bebop, an evolution of jazz characterized by fast tempo, complex chord progressions, and numerous key changes in a much more compressed form than jazz performance and composition had historically expressed. One might also argue that without bebop, there would be no hip hop. Quincy Jones writes in his own autobiography (Doubleday, 2001) that he sees echos of his generation’s affinity to bebop in today’s hip hop community.

Gillespie’s book expounds on the origins of bebop, his relationship to Charlie Parker and Thelonious Monk, and how the three of them became the vanguard of jazz’ transformation in the late 40’s and early 50’s. Better than an academic treatise of what bebop really is, you can read story upon story as told by the likes of Count Basie, Sarah Vaughan, Max Roach, Billy Eckstine, and Gillespie himself on why and how bebop was new and different. One such passage by American saxophonist Budd Johnson surmises the origin of the term, ‘bebop.’

“…Dizzy would be trying to explain something or show you how to play it, he would hum it to you. And he would say, ‘no, no, it goes like this – ump-de-be-de-bop-be-bop-be-bop-be-doo-dop-de-de-bop.’ So they would come up to Dizzy and say, ‘Hey, play some more of that bebop music.'”

Budd Johnson

“Undanceable” was another label applied to Gillespie’s music in the early days of bebop. Post-war, Americans were in the mood to dance but bebop was a form of concert jazz played by “young, crazy cats,” proclaims Gillespie. He recalls a gig where the promoter, unimpressed by what he heard, offered to give Dizzy some money so he could buy some stock arrangements of popular tunes of the day. Dizzy rebuffed in character, “Man, I got money to go downtown and buy some stocks, if I wanna buy some stock arrangements…I don’t want no stock!”

Dizzy the man was sassy, convivial, and scrappy. There are numerous accounts of run-ins with unsavoury characters and brushes with injury or worse. On a tour to the South in 1955, Gillespie took his band to perform as part of the Jazz at the Philharmonic series, an effort to popularize jazz as a serious art form, migrating from nightclub to concert hall. On the tour’s Houston stop, there was an element in the local police force unhappy with a band playing to mixed race audiences, something Gillespie insisted on and promoter Norman Granz supported. That night, between sets, the band killed time by played craps in Ella Fitzgerald’s dressing room. Suddenly, plainclothes policemen raided the room, took the cash for themselves, and hauled everyone off to jail. Cheekily, when the police asked his name, Gillespie replied, “Louis Armstrong.” They were eventually released. Dizzy would not let the incident go, hiring lawyers to right the wrong that had been committed that night and winning in court. A galling postscript to the story: one of the arresting officers had the nerve to ask Fitzgerald for her autograph while she was being held.

Publicity pin, Associated Booking Corporation

In 1963, after the March on Washington, Gillespie was unsatisfied with the political status quo. Egged on by fans, he took up the cause to run for President of the United States. His platform was simple – Voting rights, Abolish income tax, Dissolve the FBI, and Legalize the ‘numbers’ racquet. Serious as he was, he kept the masses wondering with tongue-in-cheek pledges such as putting Miles Davis in charge of the CIA and replacing all foreign ambassadors with jazz musicians [author supports that last one]. In the end, he almost got on the State ballot in California.

Dizzy Gillespie & Lorraine Willis

Dizzy Gillespie was a long-standing member of the Baha’i faith. He was married to Lorraine Willis for 53 years, until his death in 1993. He credits Lorraine with keeping him straight and managing his business affairs. “Without her, I wouldn’t have a quarter.”

Annotated Playlist (Open in Spotify)

This playlist draws from references Gillespie makes in the book to recordings and events that struck me as particularly consequential to his musical journey. There are many more references in the book, including a voluminous selected discography. My playlist closes with a few of my personal favourites, starting with a cover of Joe Cuba’s “Bang Bang.”

1. After You’ve Gone, Roy Eldridge – Roy Eldridge was the trumpeter that Dizzy admired and emulated as a young musician. They would eventually record an album together, Roy and Diz (Clef, 1954)
2. Ain’t Misbehavin’, Fatts Waller – Fatts was Dizzy’s idol. He writes, “The bridge in Ain’t Misbehavin’. Where did he get that from?…That’s some hip shit. I haven’t heard anything in music since that’s more hip, harmonically and logically.”
3. King Porter Stomp, Dizzy Gillespie – His first recording, made with Teddy’s Hill band in 1937
4. Stompin’ at Savoy, Dizzy Gillespie – Dizzy played with the Savoy Sultans, the house band of this famed venue
5. The Honeydripper, Alberto Socarras – The cuban bandleader hired Dizzy for his band and recounts, “It was easy for Diz to go between American music and Cuban music…Dizzy’s solos were very nice, very cubanlike.”
6. Cuban Nightmare, Tito Puente – Not a Gillespie recording but a tune he played while in Cab Calloway’s band, noting, he “tore up” the number.
7. Hot Mallets, Lionel Hampton – Dizzy described his style on this record as close to Roy Eldridge’s.
8. Bye Bye Blues, Cab Calloway – His style still developing, Gillespie’s playing starts to break away from his Eldridge influence.
9. Algo Bueno (Woody’n You), Dizzy Gillespie – Influenced by Thelonious Monk to use a minor sixth chord, Dizzy wrote this tune and used a similar chord in the intro he wrote to Monk’s classic, Round Midnight
10. Round Midnight, Dizzy Gillespie – From the Giants of Jazz in Berlin ’71 recording, featuring the intro penned by Gillespie
11. Little John Special, Lucky Millinder – Dizzy played in Millinder’s band in 1942 and recorded this number, which he credits as a rhythmic influence to one of his best known compositions, Salt Peanuts
12. Goodnight My Love, Ella Fitzgerald with Chick Webb – Dizzy started writing arrangements on commission to earn some money between gigs. This was the first he did for a big band.
13. Pickin’ the Cabbage, Cab Calloway – An early composition of Gillespie’s written for Cab Calloway’s band in 1940. Elements of this song would later be used in his future hits, Manteca and Nights in Tunisia
14. Rosetta, Earl Hines – Dizzy and Charlie Parker became close while in Hines’ band in 1942. This was a theme tune for that band.
15. Red Cross, Charlie Parker – A tune Parker wrote and recorded in the hotel room of engineer Bob Redcross when Bird and Dizzy were playing at the Savoy together.
16. Max is Making Wax, Charlie Parker – Arranged by Dizzy, some deemed it “undanceable” because it was so far out from conventional rhythms and arrangements of the day.
17. Things to Come, Dizzy Gillespie – The fastest tempo Gillespie’s band had played to date, trying to outdo Woody Herman’s band in 1945.
18. Lady by Good, Ella Fitzgerald – Fitzgerald credits Gillespie with inspiring her to take risks. Indeed, her scatting on this tune skews a little zany.
19. St. Louis Blues, Dizzy Gillespie – Gillespie’s recording of this classic was arranged by Bud Johnson on Dizzy’s behest. Write’s Johnson, “I had everything in it. I had dissonance and a lot of movement and Dizzy loved it.” When W.C. Handy, the original composer of the tune, heard Dizzy’s version, he didn’t want the record company to release it because it was so unlike his original tune.
20. Manteca, Dizzy Gillespie – Chano Pozo was a congo player that brought Dizzy to Afro-Cuban music and its complex polyrhythms. Pozo wrote this tune and Dizzy wrote the bridge.
21. Tin Tin Deo, Dizzy Gillespie – This was one of the first recordings for Gillespie’s own label, Dee Gee Records, formed in 1951. John Coltrane happened to be one of the studio musicians in this recording session.
22. Rio Pakistan, Dizzy Gillespie – In 1956, attempting to curb the spread of communism, the US State Department arranged an international tour of jazz musicians as ambassadors of American culture abroad. Gillespie was inspired to write this tune after spending time with staff musicians at Radio Pakistan. Quincy Jones happened to be on the same tour.
23. Tangorine, Dizzy Gillespie – Influenced by trip to South America and the music of the Tango, Gillespie wrote this tune in 1957.
24. Gillespiana Suite, Dizzy Gillespie – Written by famed composer and bandleader Lalo Schifrin on Dizzy’s commission. Schifrin, a successful musician in his native Argentina, came to and remained in the US because of the opportunity to work with Gillespie.
25. Bang Bang, Dizzy Gillespie
26. Unicorn, Dizzy Gillespie & Lalo Schifrin
27. Incantation, Dizzy Gillespie & Lalo Schifrin
28. Umbrella Man, Dizzy Gillespie
29. Salt Peanuts, Dizzy Gillespie & Charlie Parker
30. Night in Tunisia, Dizzy Gillespie

Further Viewing

Jivin’ in Bebop, a 1947 film featuring Dizzy Gillespie’s big band and various guests. It was a success in theatres that catered to African-American audiences.

Dizzy Gillespie and Louis Armstrong’s first public appearance together, on the Timex All-Star Jazz Show (CBS, 1959)

Best of 2020

A PLAYLIST of my favourite music from 2020 can be found here on Spotify.

Sault, Untitled (Rise)

As unrelentingly brutal a year 2020 has been, it did offer some respite in music. Some spectacular albums struck a chord with me, including my pick for album of the year, Untitled (Rise) by Sault. Jarrod Lawson’s sophomore studio album, Be the Change was a close second. I also loved new jazz from Malcolm Strachan and the sweeping multi-genre work in Greg Foat’s Symphonie Pacifique.

Albums

1. Sault, Untitled (Rise) (Forever Living Originals)
2. Jarrod Lawson, Be the Change (Dome Records)
3. Malcolm Strachan, About Time (Haggis Records)
4. Yakul, Kaleidoscope EP (Yakul)
5. Greg Foat, Symphonie Pacifique (Strut Records)
6. Kamaal Williams, Wu Hen (Black Focus)
7. Angela Munoz, Introspection (Linear Labs)
8. Thundercat, It Is What It Is (Brainfeeder)
9. Sault, Untitled (Black Is) (Forever Living Originals)
10. RAC, Boy (Counter Records)

Songs

Nat Birchall, Mysticism of Sound (available on Bandcamp)

1. Celestial Spheres, Nat Birchall (Nat Birchall)
2. Manhattan Skyline, AC Soul Symphony (Z Records)
3. Tenderly, Wipe the Needle feat. Josh Milan (Makin Moves)
4. Streetlight, Yakul (Yakul)
5. Thinking of You, Citrus Sun featuring Deborah Bond (Dome Records)
6. Hey, This Must be Deep, Nikitch & Kuna Maze (Tru Thoughts)
7. Rare Air, Mildlife (Heavenly Recordings)
8. The Joys of Love, Steve Arrington (Stones Throw Records)
9. Like Nobody Else, Soulista (Groove Culture)
10. Perdoname, The Sunburst Band & Sunlightsquare (Z Records)
11. Fall Into My Love, Francisca Thomas feat. Incognito (Splash Blue)
12. Hold On, H.E.R. (RCA Records)
13. The Cure, Oddisee (Outer Note Label)

New to Me (Redisovered)

Early in the year, I heard the track, “Take That to the Bank” by disco-era R&B and dance group, Shalamar. That inspired me to dig into their catalogue and I was happy to find more great songs like “The Second Time Around,” “Make that Move,” and the surprisingly good 2017 reunion single, “The Real Thing.”

The Real Thing, Shalamar (Real Thing Music, 2017)

On a more classic note, I dove into and appreciated Horace Silver’s body of work, especially in the summer when creating this evening jazz playlist.

Quarantine Music

Hit particularly hard by the pandemic’s quarantine measures, musicians and music venues found new ways to engage their audience and remain relevant. Isolation mixes, quarantine sessions, and other home-made music were shared widely this year.

I really enjoyed this virtual duet by Tom Misch and Marcos Valle on Valle’s classic tune, “Parabens.”

“Parabens” – Tom Misch & Marcos Valle

My live music highlight was the Citrus Sun livestream from Ronnie Scott’s, London UK on October 31 2020.

@francishylton instagram

Passings

The agony of 2020 was made worse by the passing of some beloved legends in music: Bill Withers, Ronald Bell of Kool & the Gang, and Toots Hibbert of Toots & The Maytals.

Bill Withers (July 4 1938 – March 30 2020)

Anticipating in 2021

We’ve learned to lower expectations in 2020 so I’m cautiously hoping next year brings a return to a new normal. I’m still anticipating a new Terrace Martin produced album from Herbie Hancock but there is no sign of when it will drop. I’m also curious to see what funk, soul, and disco classics Dave Lee gets his hands on to remix. This year’s rework of David Shire’s Manhattan Skyline was spectacular.

Though it may not be in 2021, I’m also hopeful for the return of live music performance. I missed out on two concerts planned in 2020: The Doobie Brothers 50th Anniversary Tour and Incognito.

A Midsummer Evening’s Playlist

Playlist: Modal and Midsummer Evening Jazz

As summer sets in, dusk lingers and warm evening air pulses through open windows. I wanted a playlist to evoke that atmoshphere and I think this one does it justice.

Featured are Yusef Lateef and Horace Silver as well as the sound engineering of Rudy Van Gelder. A wider range of artists and labels are represented, some popular favourites and some recordings I had never heard before.

I drew ideas from Gilles Peterson’s “The 20” series on Modal Jazz at Worldwide FM, some from browsing the catalog of artists knew, and others from exposure through radio play, especially Jason Palma’s Higher Ground radio program, heard on ciut.fm Thursdays at 8pm ET.

One conspicuous absence is a wonderful new recording from Nat Birchall’s new album, Mysticism of Sound. The track, “Celestial Spheres” would be a perfect opener to this playlist but it is not available on Spotify. I made a point of purchasing a digital download from Birchall’s bandcamp page directly.

Midsummer Evening Jazz Spotify Playlist, by TorontoArm. I hope you enjoy it on a warm summer’s night of your choosing.

 

My ‘Q’ Playlist: Inspired by the Autobiography of Quincy Jones

Playlist: The Autobiography of Quincy Jones, Quincy Jones (Doubleday, 2001)

Having recently read this account of producer Quincy Jones, a.k.a. ‘Q’s life, I’m inspired to assemble a playlist from his far-reaching and remarkable career. Taken from moments that struck me in the book as particularly germane to his becoming a living legend, the playlist covers influences, legacy recordings, and turning points that slingshotted him further and further into the straosphere of jazz and pop music.

The book itself is a quick read, especially for those like me who are jazz history wonks. Jones has worked, it seems, with nearly everyone to make a mark on jazz music and has set the stage for countless pop sensations, notably Michael Jackson. Jones writes about his humble beginnings, his brother Lloyd, his beloved father, and the troubling mental health saga that plagued his relationship with his mother. Various chapters are also contributed by guest writers and offer insights into his life story from those that see him differently than he does himself.

The book is a few years old but I found it timely and a fitting complement to the “Quincy” documentary currently streaming on Netflix (2018). Jones turns 86 on March 14, 2019.

My Quincy Jones Playlist

Listen on Spotify

[Jones’ credits: PD-Producer, CP-Composer, AR-Arranger]

“Fly me to the moon,” Frank Sinatra with the Count Basie Orchestra, 1965 [AR] // Jones had idolised and met Basie at the age of 13; they enjoyed a long professional and personal friendship.

“What I’d Say,” Ray Charles, 1959 // Charles was one of the first musicians that inspired Jones; they were 16 and 14 respectively when they first met.

“Kingfish,” Lionel Hampton, 1951 [CP] // Written by Jones at the age of 18; He joined Hampton’s band around this time, which was one of the hottest big bands of the time.

“Wail Bait,” Clifford Brown, 1954 [CP] // Jones toured Europe with Clifford Brown while they were both part of Lionel Hampton’s band; Brown included this Jones composition on his first album.

“L’il Darlin’,” Count Basie, Composed and Arranged by Neal Hefti, 1957 // Hefti wrote and arranged this number for Count Basie; Jones states that it was a master class of “in-the-pocket tempo,” and served as a lesson that stayed with him all through his life.

“My Old Flame,” Dinah Washington from the album, For Those in Love, 1955 [AR] // The first album Jones did with Dinah Washington, who had advocated for him with her record label before he gained widespread notoriety as an arranger.

“I Can’t Stop Loving You,” Count Basie, 1963 [AR] // This recording earned Jones his first Grammy award.

“Firebird Suite,” Igor Stravinsky, 1910 // Jones has a second-degree connection to Stravinsky, via his tutelage by the great French teacher, Nadia Boulanger; Boulanger was a contemporary and friend of Stravinsky’s and was a teacher to many modern arrangers, including Aaron Copland, Philip Glass, and Michel Legrand; Jones had gone to Paris in part to work on arranging strings, an opportunity not afforded to black musicians in America.

“The Birth of a Band,” Quincy Jones, 1959 [CP] // Jones toured intensely through Europe with his own band and created this album around the same time period; The tour was a financial drain and lead to more commercial priorities for Jones upon his return to the USA.

“It’s My Party,” Leslie Gore, 1963 [PD] // Jones’ first hit as a Producer and of a pop song.

“Theme from ‘The Pawnbroker’,” Quincy Jones, 1965 [CP, AR] // Jones’ first major film score.

“Theme from ‘Ironside’,” Quincy Jones, 1967 [CP, AR] // The synthesizer used in the opening phrase was the first time the instrument was used for a TV score; In this period of his life, Jones was in demand for scoring but was simultaneously leading Frank Sinatra’s band at his residency at The Sands in Las Vegas.

“Walking in Space,” Quincy Jones, 1969 [CP, PD] // Shifting away from scoring and moving back toward Jazz, Jones recorded this early jazz fusion album. This was a year prior to Miles Davis‘ release of Bitches Brew, often said to mark the arrival of electric instrumentation in jazz music.

“Body Heat,” Quincy Jones, 1974 [CP, AR, PD] // Jones assembled a remarkable group of musicians for this steamy R&B/Jazz/Funk recording including Herbie Hancock, Hubert Laws, Bob James, and vocalist Leon Ware; The album was near-platinum, selling over 800,000 copies.

“Stomp!” The Brothers Johnson, 1980 [PD] // Jones produced all four multi-platinum albums by The Brothers Johnson; This song was co-written by Rod Temperton, a collaborator that would work with Jones and pen many of Michael Jackson’s monster hits, including “Rock with You” and “Thriller.”

“The Girl Is Mine,” Michael Jackson feat. Paul McCartney, 1982 [PD] // The first single from Thriller was a “red herring” according to Jones who worked with the team finishing the album while this track rose to Number 2 on Billboard’s Hot 100; Once released, the album and monster hits like “Billy Jean” and “Beat It” ‘inhaled the charts,’ writes Jones.

“We Are the World,” USA for Africa, 1985 [PD] // Jones’ account of this project and the now iconic recording session is a fun read.

“Beautiful Black Girl,” Quincy Jones, 1975 [PD, AR, CP] // This track from Jones’ Mellow Madness album featured spoken verse overtop beats and was a precursor to hip-hop. The rap on this track is courtesy of The Watts Prophets;  Q has often remarked that his generation and their fascination with be-bop is echoed in today’s hip-hop culture. The difference, he writes, is that hip-hop made it to the mainstream.

“Give Me the Night,” George Benson, 1980 [PD] // The only album Jones produced for Benson garnered three Grammy awards. The title track, which topped both R&B and Jazz charts was written by Rod Temperton. 

“Back on the Block,” Quincy Jones, 1989 [PD] // Jones won yet more Grammy’s, including Album of the Year, for this fantastic project that brought together masters of jazz and a newer generation of hip-hop artists. The album included a re-imagined version of Weather Report’s Birdland and featured its composer and Miles Davis protegee, Joseph Zawinul. Other greats like Ray Charles, Chaka Khan, George Benson and Miles himself also appeared on the album. 

“The Fresh Prince of Bel-Air,” DJ Jazzy Jeff and The Fresh Prince, 1992 [CP] // By this time, Jones had diversified into print media (Vibe Magazine) and numerous projects under his Qwest production banner. This foray into television was tremendously successful and, like many things Jones touched, made an indelible mark on pop culture.

“How Do You Want It,” 2Pac, 1996 // Tupac Shakur happened to date one of Jones’ daughters for a time. This track samples the title track from Jones’ Body Heat album and was released not long before Tupac’s murder.

“Setembro,” Quincy Jones, 1989 [PD] // This was the last recording by Sarah Vaughan; Jones has outlived many of his contemporaries and mentors; He was at Sinatra’s bedside in his final days and with Vaughan, who wanted to sing to the last.

 

Link to this playlist on Spotify

Loop de Loop

Playlist: Lovely Loops

Some songs have a repeating groove, rhythm, or melody that are so good, you could listen to them on endless repeat. I don’t mean a catchy song with a great hook – that eventually gets stale. Nor do I mean a particularly recognizable or highly sampled bassline – that in itself isn’t enough. What I mean is a vibe that takes a hold and lulls us into a pleasant trance. The closest musical term I know is “ostinato,” derived from the Italian for stubborn.

An ostinato pattern

I’ve compiled a playlist of my favourite ostinati. It is by no means comprehensive or definitive but these songs, in particular for me, have a quality that can be indulged with abandon.

1. “Summer Madness” – Kool & The Gang
2. “Blow Your Mind” – Jamiroquai
3. “People Make the World Go Round” – The Stylistics
4. “Sun Goddess” – Earth, Wind & Fire feat. Ramsey Lewis
5. “Oh Honey” – Delegation
6. “Funny How Time Flies” – Terrace Martin
7. “Chameleon” – Herbie Hancock
8. “Sweet Thing Reprise” – Build and Ark
9. “Back in the Day (Puff)” – Erykah Badu
10. “There’s Nothing Like This” – Omar
11. “Send it On” – D’Angelo
12. “Long Hot Summer” – The Style Council
13. “Please Forgive my Heart” – Bobby Womack
14. “Never Be Another You” – Lee Fields & The Expressions
15. “Tonight” – Kleeer
16. “Love Has no Time or Place” – MFSB
17. “Africa” – D’Angelo
18. “Sai” – Kanda Bongo Man