Archives for posts with tag: Snoop Dogg

Album Review: Velvet Portraits, Terrace Martin (Ropeadope, 2016)

tmvpTerrace Martin is in good company. Affiliations with hip-hop royalty like Snoop Dogg and Kendrick Lamar put him squarely at the centre of today’s musical sweet spot. A producer, recording artist, and multi-instrumentalist, Martin pivots into the spotlight again with the release of his sixth studio album, Velvet Portraits.

Martin’s prior albums were a mix of hip-hop and R&B. Portraits is more jazz-centric but features some tracks squarely in the R&B and Soul genres. “Push” and “Patiently Waiting” are classically executed soul tracks, the latter featuring Uncle Chucc on vocals. “With You” and “Oakland” are more R&B but with an innovative edge, not unlike Robert Glasper’s Black Radio 2 album (Blue Note, 2013). “Reverse,” featuring Glasper and vocalist Candy West is a completely immersive ballad. These R&B/Soul tracks stand on their own and serve as more conventional interludes on an album whose deepest appeal is in the jazz at the heart of the remaining cuts.

Collaborators like Thundercat (a.k.a. Stephen Bruner), Kamasi Washington, and Robert Glasper are brought to bear throughout the album both as composers and virtuosos. Convergence is especially high on the track “Curly Martin.” Broken beats and Thundercat’s signature bass sound underlay warm keyboards and a simple melody carried by Washington’s saxophone. Similarly, “A Tribe Called West” and “Bromali” present a jazz fusion sound defined by this cadre of musicians and songwriters.

Martin closes his album with a version of Kendrick Lamar’s “Mortal Man,” an etherial track with nearly 12 minutes of beats, saxophone, lush keyboards, and vocalizations that remind us: great musicians can do great things when given a platform on album like this.

Terrace Martin is not only in good company. He is the perfect host.

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Album Review: Black Radio 2, Robert Glasper Experiment (Blue Note, 2013)

Robert-Glasper-Experiment-Black-Radio-2When Black Radio was released in early 2012, it made an immediate impact, upping the already respectable cool factor at Blue Note and delivering a surprisingly cohesive album for a hip-hop/R&B/jazz fusion project.

I was surprised to see a follow-up album, Black Radio 2, so soon after the first. To be this prolific in such a short time, one wonders what Glasper and his collaborators left on the table. Were they rushed because of the pressures of a multi-album deal? Did the success of Black Radio force his hand to replicate his formula without the same attention to detail?

None of these fears are founded. Black Radio 2, like its predecessor, delivers an impressive variety of jazz, hip-hop, and R&B. His collaborators are amazingly as diverse, notable, and suitable as with Black Radio.

The sound ranges from the Quiet Storm opener, “Baby Tonight” to the devotional closer, “Jesus Children” to the rousing rally cry of “I Stand Alone” featuring Common and Patrick Stump. Overall, R&B emerges as the dominant genre while Glasper’s distinctive piano feathers nearly every track.

A notable pattern on the album is that many tracks contain refrains or interludes that Glasper uses to varying effect — the best of which is Wayne Brady’s hysterical cameo phone message at the end of “Let it Ride,” sung by Norah Jones. And if you ever wondered what happened to Theo Huxtable, Malcolm Jamal Warner contributes to the spoken word outro on “Jesus Children.” On a more intense note, a reading from Georgetown University’s Michael Eric Dyson closes out “I Stand Alone.”

Thank God we’ve still got musicians and thinkers whose obsession with excellence and whose hunger for greatness reminds us that we should all be unsatisfied with mimicking the popular rather than mining the fertile veins of creativity that God placed deep inside each of us. – Michael Eric Dyson Interlude on “I Stand Alone”

Including this somewhat preachy missive reveals what may be Glasper’s inspiration for this album and its predecessor. Here is an accomplished jazz pianist who has stepped well outside the jazz genre. Black Radio 2 doesn’t really blur Jazz’ boundaries (like Herbie Hancock did) but may contribute to the expansion of what people perceive as jazz (like Guru did with his Jazzmatazz projects).

Musically, this album delivers so much good R&B that a debate over genre is quickly rendered inconsequential. These collaborators surely emptied out the pantheon of contemporary female vocal greats: Jill Scott, Faith Evans, Brandy, Norah Jones, Marcia Ambrosius, and Lalah Hathaway. Male vocalists Anthony Hamilton and Dwele also make solid contributions. On the Hip Hop front, Common, Snoop Dogg, and Lupe Fiasco appear (Fiasco wins extra points for incorporating F1 driver, “Kimi Raikkonen” into a rap verse).

The last time one man got this much talent to guest on his record, it was Quincy Jones.

Perhaps Glasper has risen to Dyson’s challenge, not by innovating and expanding on jazz, but by using his current standing at the apex of “jazz’ coolness” to attract A-list collaborators and make great music on his terms.

Related Posts: Black Radio, Album Review