#Kenneth Whalum
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Erykah Badu: NPR Music Tiny Desk Concert
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#Braylon Lacy#Cleon Edwards#Dwayne Kerr#Erykah Badu#Kenneth Whalum#Keyon Harrold#RC Williams#Youtube
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Listen to LIVE - Erykah Badu: NPR Music Tiny Desk Concert
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Aug. 15, 2018 | Felix Contreras -- Some folks around the NPR Music office said they felt an almost spiritual connection to Erykah Badu during her visit to the Tiny Desk. And that was before she and her band even played a single note. It came from the waft of earthly scents that followed in her wake, to the flowing dreads and clothes that hung on her like robes.
After her self-introduction, which included a rundown of her spiritual and creative aliases, Badu rolled into one of her earliest musical calling cards, "Rimshot." It's an ode to the sound the percussionist makes when a drumstick is struck against the metal edge of the snare drum. On this performance, as on her 1997 album Baduizm, it becomes a device to play with time — stretching it, stopping it, suspending it. Propelled by jazz chords on the piano and the steady pulse of the acoustic bass, the playful performance unfolded in the tradition of the best bebop.
But the panoramic song "Green Eyes" is the centerpiece of Badu's Tiny Desk performance. It's wide-ranging in scope and musical arrangement and brilliantly executed by the jazz and hip-hop musicians in her backing band. The story of heartbreak is striking enough, but her interpretation showcases her formidable vocal skills. By the time it was over, we were all just as emotionally and spiritually spent as she was from the experience.
Erykah Badu is an artist for the ages. To old-school jazz fans like myself, names like Nina Simone, Betty Carter and Shirley Horn come to mind as much as Billie Holiday because of Badu's singular approach to a lyric. They all cut their own creative path and left behind a legacy that you can identify with just one note. Erykah Badu is on that same path, and one day her name will be mentioned along with the other Elders who share her spirit of musical adventure.
Set List "Rimshot" "Green Eyes"
Musicians Erykah Badu (lead vocals), RC Williams (Keys), Braylon Lacy (bass), Cleon Edwards (Drums), Frank Moka (Percussion), Kenneth Whalum (Sax), Keyon Harrold (Trumpet), Dwayne Kerr (Flute)
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#song of the day#daily listen#big krit#this whole album is so fucking good#rap#hip hop#southern hip hop#jazz rap#Robert glasper#Spotify
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New Kenneth Whalum album, stream Broken Land 2!
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Follow me for more bass for your face. Peppermints and Water by Stalley, Kenneth Whalum https://ift.tt/2S1IjkJ
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Kenneth Whalum ft Big K.R.I.T. - MIght Not Be Ok
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Kenneth Whalum
Even though year 7 of the podcast is coming to an end, that doesn't mean we are skipping out on an amazing guest! Stopping by for episode 433 is a talented Musician, Songwriter, singer, and Mini golfer, the one and only Kenneth Whalum! Kenneth has a new album coming out July 16th called "Broken Land 2" and a live concert in New York City on July 22nd!
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#kenneth whalum#memphis#Soul#blues#r&b#alternative#HIP-HOP#jazz#musician#Singer#songwriter#BROKEN LAND 2#d’angelo#jay z#saxaphone#music#chat#interview#podcast#CMH#castingfortwo
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Christian aTunde Adjuah
Christian Scott
Concord, 2012
Christian Scott: trumpet;
Matthew Stevens: guitar;
Lawrence Fields: piano;
Kris Funn: bass;
Jamire Williams: drums;
Louis Fouche 111: alto saxophone;
Kenneth Whalum 111: tenor saxophone;
Corey King: trombone.
In 1959, when Whitney Balliett, the New Yorker's jazz critic, published a collection of his columns, he titled the book The Sound of Surprise. The promise of the unexpected, wrote Balliett, was jazz's most precious quality. In a year which went on to include the release of trumpeter Miles Davis' Kind of Blue (Columbia), saxophonist John Coltrane's Giant Steps (Atlantic), pianist Dave Brubeck's Time Out (Columbia) and saxophonist Ornette Coleman's The Shape of Jazz to Come (Atlantic), you could say Balliett was stating the obvious. Five decades on, surprises in jazz are harder to find; great swathes of the music are locked in replication, the endless rehashing of past glories. And five decades after Balliett's book, the DNA of the musicians has changed, too; college courses churn out alumni for whom jazz is more a career than a calling. There is nothing wrong with the preservation of repertory or the acquisition of technical excellence, but without passion, and an engagement with the wider world, no music will prosper. So thank God for Christian Scott. The New Orleans-raised, Berklee-educated, Manhattan-based trumpeter's fifth album as leader for Concord is an antidote to all that is wrong with jazz today. It is rooted in the tradition but it is also part of the modern world, musically and politically. Like Scott's previous disc, Yesterday You Said Tomorrow (2010), aTunde Adjuah hangs on to what is still relevant in jazz's legacy and mixes it up with a bag of twists: hip hop, rock, ambient, funk, Afrorock and the reassertion of jazz-as-protest. Scott is not the only young musician (he is 28) traveling this road, but the music he is creating may be the most magnetic around. Scott calls it "stretch music." He says he is attempting not to replace jazz conventions, but to create a sound that is "genre blind" in its acculturation of other forms, languages and cultures. With his mostly longstanding quintet (the only new player this time out is pianist Lawrence Fields), whose on-disc mix is built around Scott's Joshua-like trumpet and Jamire Williams' kick-and-snare drum style, Scott is making music that is all about breaking free. Extra-musically, too, aTunde Adjuah is a manifesto for change. Scroll down the track listing: the titles reference issues such as the rape of 400 African women in the Sudanese town of Rokero by Janjaweed militiamen ("Fatima Aisha Rokero 400"), the killing of an innocent black teenager in Florida earlier this year ("Trayvon"), the demonization of the homeless in the US ("Vs. The Kleptocratic Union: Mrs McDowell's Crime"), the trafficking of women for the sex trade ("Away: Anuradha And The Maiti Nepal"), conflict in the Middle East ("Jihad Joe"), the legacy of slavery in the US ("Dred Scott"), police killings of innocent people in New Orleans in the wake of hurricane Katrina ("Danziger"), and HIV/AIDS ("The Berlin Patient: CCR5"). Scott's music is instrumental rather than vocal, so he addresses these issues not with words, but with attitude and vibe; track titles and liner notes are the only words you get. His message is no less coherent for that, and, while it may not have the narrative literalism of "conscious" rap music, it has the same relevance, accessibility and immediacy. A few of his titles would actually sit comfortably on a rap album: "Jenacide: The Inevitable Rise And Fall Of The Bloodless Revolution," from Yesterday You Said Tomorrow, and "Vs. The Kleptocratic Union: Mrs McDowell's Crime" each read like they might be something by Public Enemy (whose 25th anniversary album, Most Of My Heroes Still Don't Appear On No Stamp, which is also being released in June 2012, includes a track titled "Beyond Trayvon"). Because he is engaged with the wider world, Scott's music has a chance of connecting with a similarly engaged audience, as personified, for instance, by the Occupy movement. It is telling that various jazz musicians who have supported the Occupy Wall Street action in Manhattan have reported that they were not, initially, made to feel welcome by the protestors, who let them know that they regarded the jazz establishment as part of the power structure they were there to oppose. By contrast, from the opening bars of "Fatima Aisha Rokero 400" through the near two hours of music that follow, there is no doubt where Scott is coming from—and he does not need lyrics to make his point.
CHRIS MAY in All About Jazz
#Christian aTunde Adjuah#Concord#Christian Scott#Matthew Stevens#Lawrence Fields#Kris Funn#Jamire Williams#Louis Fouche#Kenneth Whalum#Corey King#discos#spotify#CHRIS MAY#All About Jazz
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Ten Songs I’m Currently Obsessed With
I was tagged by @fourthy !!!! Thanks babes <3
1. Mohe Rang Do Laal from the Bajirao Mastani Soundtrack
https://youtu.be/XU3eFkY1BTI
2. Orion’s Belt by Sabrina Claudio
https://youtu.be/oC-iYZL0lkI
3. Stand Still by Sabrina Claudio
https://youtu.be/dw0sjXiU4IE
4. The Way I Keep Myself Together by Kevin Garrett
https://youtu.be/2pCjEl_EVvg
5. Ending by Isak Danielson
https://youtu.be/5qyGWyFnFC0
6. Ghost Town by Kenneth Whalum
https://youtu.be/WiNdj7D6vc4
7. My Boy My Town by Mabel
https://youtu.be/7X21ynBma6M
8. Les Berceaux by Gabriel Faure, sung by Veronique Gens
https://youtu.be/daEekPDe7Iw
9. Demons by Jacob Lee
https://youtu.be/2QTDcffpunY
10. Ocean by Jacob Lee
https://youtu.be/LbPiEs-N4Jk
I tag @rican @bergueda @tntwme @lady-bowser @emrysina @lagonegirl
#tagged#music#Jacob lee#Gabriel faure#Veronique gens#mabel#Kenneth Whalum#Isak Danielson#Kevin Garrett#Sabrina Claudio
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Kenneth Whalum - Ghost Name
Because once you’re gone, please be gone.
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