I was at Brooklyn Bowl last night to catch Soul Rebels Brass Band for an amazing night of brass band funk and hip-hop as they’re about to finish a three night stop that featured Big […]
Category: funk
Over the last half of 2015 and the beginning of this year, you’d likely come across one of JOVM most recent mainstay artist, Raleigh, NC-based funk and soul artist Jamil Rashad and his solo recording project Boulevards. Describing his sound as “party funk jams for the heart and soul to make you move,” Rashad’s work caught my attention as it draws from the classic funk sounds of Earth, Wind and Fire, Prince, Rick James, Chic, the production work of Quincy Jones – most notably Off the Wall and Thriller-era Michael Jackson, as well as Talking Heads, Grace Jones, and Cameo among others. Unsurprisingly, those acts were the sounds that he listened to as a child — although his teenage interest in punk, hardcore and metal also influenced his own songwriting and production work. And with the release of his Boulevards EP, Rashad quickly put himself on the map as part of a growing neo-disco/neo-funk movement that includes several other JOVM mainstays including Dam-Funk, Escort, Rene Lopez, and several others.
April 1 will mark the highly-anticipated release of Rashad’s Boulevards full-length debut, the aptly titled Groove! Now you may recall that last month, I wrote about Groove!‘s first single “Cold Call,” an 80s synth R&B and pop-inspired single comprised of layers of wobbling and shimmering synth stabs paired with a sinuous bass line, Rashad’s seductive cooing, warm blasts of horn and an anthemic hook in a slow-burning jam that channels Cameo’s “Word Up!” and “Candy,” Oran “Juice” Jones‘ “The Rain” Adding to the period specific feel, are the brief interludes with Rashad seemingly flirting and coming on to the listener. The album’s second and latest single “Up On On Your Love” continues Rashad’s burgeoning reputation for dance party worthy, sensual funk as it pairs shimmering synths, propulsive drumming, shimmering Nile Rodgers-like funk guitar chords, handclaps around the infectious hook and Rashad’s sexy come ons — and although the song sonically manages to resemble The Jacksons “Can You Feel It?,” it may arguably be the sexiest single on the album to date. Like the rest of Rashad’s work it’s sexy yet incredibly danceable, especially around the percussive “Burn This Disco Out” like bridge.
Over the six year history of this site, I’ve written quite a bit about New York-based singer/songwriter and multi-instrumentalist Rene Lopez, who is not only among a group of artists I first wrote about when I started things here, he is also one of JOVM‘s earliest mainstay artists. And throughout the past six years, Lopez has uncompromisingly refused to be pigeonholed into one particular genre — Lopez has managed to mesh salsa, boogaloo, old-school hip-hop, meringue and electronica into one cohesive whole on E.L.S. (short for Electric Latin Soul); salsa and 7os Brazilian music on his most deeply personal effort Paint the Moon Gold; and slinkily seductive synth-based R&B and funk, inspired by Prince, The Gap Band, Rick James, Chic and others on Love Has No Mercy and its subsequent releases. This shouldn’t be surprising as Lopez has told me in an interview, he grew up in a household where salsa, merengue and disco were frequently played — and his first band The Authority was deeply influenced by his love of Prince and funk. So in some way, Lopez has come back full circle.
Now, if you’ve been frequenting JOVM you may recall that I’ve written about Lopez’s “Heavy, Baby Heavy” and “Trouble Lovin’ Lady,” the first and third singles of his continuing Jam of the Month Series. Interestingly, monthly single series allows artists to be incredibly creative without concerning themselves with the strict thematic and lyrical structures of an album — while having firmly set deadlines to complete and release material. The latest single in the series “Watch Me Turn It Up” is a warm, strutting and marching New Orleans meets Parliament Funkadelic and The Meters funk that features Lopez teaming up with the legendary George Porter, Jr. and Ivan Neville, and a ridiculous horn section. If it doesn’t make you want to get up and shout from your seat, nothing in this life will.
Led by its founding members and bandleaders singer/percussionist Irving “Honey” Banister, Big Chief of the Creole Wild West Tribe and drummer Joe Gelini, who have both been involved with New Orleans‘ Mardi Gras Indians for years, the members of the funk septet Cha Wa have developed a reputation for a sound and aesthetic that combines the Mardi Gras indian tradition and the area’s reputation for rhythm and blues and funk. And after playing countless shows in their beloved hometown, the septet’s long-awaited debut album Funk ‘n’ Feathers is slated for an April 1, and the album reportedly draws from the seminal Mardi Gras Indian-inspired work of the 1970s — Wild Magnolias (backed by The Meters), The Neville Brothers and Dr. John‘s Nite Tripper albums; however, the material also has a contemporary twist as the album was produced by Galactic‘s Ben Ellman, who has also worked with the likes of Trombone Shorty, and mixed by San Francisco, CA‘s go-to engineer Count, who has worked with DJ Shadow, Radiohead, Lyrics Born and others.
The album’s first single is a loose, stomping and swinging cover of Dr. John’s “All On A Mardi Gras Day” that feels as though you’re following a hot and jamming band with the marching Indians in their featured costumes marching down the streets of Uptown New Orleans — but with a slick, studio polish that doesn’t scrub away the inherently gritty, street-level funk and the ebullient, let the good time roll-feel within the song. If the song doesn’t make you want to stomp around and dance, then you have a cold, cold heart.
The band has a number of live dates coming up throughout the next few months. Check out tour dates below.
UPCOMING SHOWS:
02/08- Riverwalk – New Orleans, LA [Lundi Gras Celebration]
02/08- Tipitina’s Mardi Gras Stands – New Orleans, LA
02/09- 30×90 – New Orleans, LA
02/27- Universal Studios Orlando – Orlando, FL
03/05- Howlin’ Wolf – New Orleans, LA
03/31- Lafayette’s – Memphis, TN
04/01- Blue Nile [Album Release Show] – New Orleans, LA
04/07- French Quarter Fest – New Orleans, LA
04/10- d.b.a – New Orleans, LA
04/21- Ogden Museum of Southern Art – New Orleans, LA
04/23- New Orleans Jazz & Heritage Festival – New Orleans, LA
04/30- French Broad River Festival – Asheville, NC
06/04- Michael Arnone’s Crawfish Festival – Augusta, NJ
Comprised of Nicolaaas Oogjes, Andrew Noble, Adrian Vecino, Mitch McGregor,
Daphne Camf, Kieran O’Shea, Cayn Borthwick, Becky Sui Zhen, the Melbourne, Australia-based octet NO ZU have developed a reputation in Australia for a sound the consists of elements of no wave, funk, house, African and indigenous percussion — and as you’ll hear on “Spirit Beat,” the first single off Afterlife, the follow up to their acclaimed 2012 release, Life, the single manages to sound as though it were released in early 1980s as old school, hip-hop-leaning breakbeats, sinuous bass lines, sultry female vocals and pitched down male vocals chanting in call and response, shimmering synths and warm blasts of horns are paired together in a way that channels Tom Tom Club, early house music and synth funk in a way that feels dimly familiar yet alien — and yet oh so dance floor worthy.
If you were frequenting this site over the last four to six months of 2015, you’d likely be familiar with Raleigh, NC-based funk and soul artist Jamil Rashad and his solo recording project Boulevards. Describing his sound as “party funk jams for the heart and soul to make you move,” Rashad’s work caught my attention as it draws from the classic funk sounds of Earth, Wind and Fire, Prince, Rick James, Chic, the production work of Quincy Jones – most notably Off the Wall and Thriller-era Michael Jackson, as well as Talking Heads, Grace Jones, and Cameo among others. Unsurprisingly, those acts were the sounds that he listened to as a child — although his teenage interest in punk, hardcore and metal also influenced his own songwriting and production work. And with the release of his Boulevards EP, Rashad quickly put himself on the map as part of a growing neo-disco/neo-funk movement that includes several mainstays including Dam-Funk, Escort, Rene Lopez, Mark Ronson (in particular, his mega-hit “Uptown Funk”) and several others.
April 1, 2016 will mark the anticipated release of Boulevard’s full0-length debut, the aptly titled Groove!, and the album’s first single “Cold Call” is indebted to 80s synth R&B and pop as layers of wobbling and shimmering synth stabs are paired with a sinuous bass line, Rashad’s seductive cooing, warm blasts of horn and an anthem hook in a slow-burning jam that channels Cameo’s “Word Up!” and “Candy,” Oran “Juice” Jones‘ “The Rain” Adding to the period specific feel, are the brief interludes with Rashad seemingly flirting and coming on to the listener. Simply put, it’s the sort of song that you can do that old-fashioned two step to — while flirting with hat pretty young thing you saw across the club.
Over the almost 6 year history of this site, Dam-Funk has not only seen his profile grow both nationally and internationally for a sound that channels Parliament Funkadelic, 80s synth-based funk and R&B, Parliament Funkadelic-inspired G Funk and for collaborations with Slave’s Steve Arrington and Snoop Dogg in their funk project 7 Days of Funk, but he’s also become a JOVM mainstay artist, who I’ve written about on a number of occasions.
Last year was a rather prolific year for one of Stones Throw Records better known artists as Dam-Funk released a 4 song instrumental EP STFU that he wrote and recorded while on tour opening for Todd Rundgren. His long-awaited solo effort, Invite the Light was one of my favorite albums last year — and I’m looking forward to the sophomore 7 Days of Funk album. But in the meantime, In the meantime, Stones Throw Records and Dam-Funk released album single “O.B.E.” on vinyl with the B side single “Special Friends,” a track that pairs shimmering layers of cascading synth stabs, squiggly and funky bass with handclap led percussion. Sonically, the song will further cement Dam-Funk’s reputation for crafting silky smooth and danceable funk that channels the synth funk that I remember listening to when I was a child.
Istanbul, Turkey-based multi-instrumentalist and producer Gunes Alpman first won the attention of the blogosphere and this site in 2011 with his then-solo recording project Alpman, which was heavily influenced by 60s psychedelia, funk, surf rock, cinematic scores and 60s recording techniques in a sound that he has publicly described as “spychedelic.”
Last year, Alpman recruited Umut Çetin, Ali Somay and Baran Göksu to assist in fleshing out his sound as his backing band, The Midnight Walkers and have been writing, recording and performing across Turkey. His latest single “After Work,” is the second release of a monthly release series, pairs propulsive percussion, handclaps, twinkling synths and a throbbing bass line in a song that not only may arguably be the funkiest single he’s released to date, but also a single that sounds as though it’s indebted to 70s and 80s funk, complete with a dusty, analog-like sound and a cinematic flair. Interestingly, listening to this single reminds me of Shawn Lee and Tim “Love” Lee‘s funky, analog era-sounding collaboration New York Trouble/Electric Progression.
New Video: Check Out the Roll Bounce-Inspired Video for Chicago-based Soul act The Main Squeeze’s New Single “Angelus”
Over the past couple of years, the Chicago-based neo-soul and funk quintet The Main Squeeze have become something got a mainstay act on this site as I’ve written about them on a handful of occasions. The quintet originally […]
New Video: The Infectious, Girl Power Video for Escort’s “My Life”
New York-based neo-disco/electronic dance music/funk collective Escort have been mainstays on this site, since its inception 5 years ago. And over the course of that period, the collective founded by producers Eugene Cho and Dan Balls featuring frontwoman […]
Over the course of this site’s five year history, I’ve written quite a bit about New York-based singer/songwriter and multi-instrumentalist Rene Lopez, who is among a group of incredibly talented and shamefully under-appreciated artists I’ve covered and have gotten to know in some fashion. And throughout those five years, Lopez has uncompromisingly refused to be pigeonholed into one particular genre. E.L.S. (short for Electric Latin Soul), Lopez’s 2011 release, saw the New York-based artist meshing salsa, boogaloo, old school hip-hop, merengue and electronica to create a sound that was a loving homage to Latino New York and to old school New York I grew up in, but with an inventive, modern re-interpretation. It’s an amiably swaggering, upbeat party album with sounds that grab you by the hand and pulls you towards the dance floor.
Paint the Moon Gold, his last and most recent full-length released in 2014 was comprised of stripped down compositions consisting of live instrumentation only — vocals, guitar, bass, percussion, horns, flute, etc. — while drawing deeply from salsa, and 70s Brazilian music. In some way, that material brought Lopez back to the music that his father played as a member of Tipica 73 — and is just as danceable; but importantly, the material on that album seemed to come from a deeply personal place, as lyrically and thematically, the material expresses the thoughts, sentiments, regrets, compromises and desires of a worldly, experienced man, who has looked back at his life with a sense of amazement and disbelief and the recognition life is at times remarkably painful, remarkably strange and incredibly, profoundly wonderful — sometimes simultaneously.
Lopez’s most recent recorded effort, Love Has No Mercy was released at the end of last year, and from his previous efforts it would seem to be the most dramatic change of sonic direction in his career as the material is comprised of slinkily seductive synth-based R&B and funk, inspired by Prince, The Gap Band, Rick James, Chic and others. However, as Lopez had told me in an interview, he grew up in a household where salsa and merengue and disco were routinely played, and his first band The Authority was deeply influenced by his love of the aforementioned Prince. So in some way, Lopez has come back full circle.
Now, if you’ve been frequenting JOVM over the past couple of months, you may recall that I wrote about Lopez’s then-recently released single “Heavy, Baby Heavy,” a single that not only continues Lopez’s long-held fascination and love of all things funk, but was also the first released single in his Jam of the Month series. (Presumably, the Single of the Month series is meant to build up buzz for a new recorded effort, which he and his backing band have been working on for quite some time.) The third single of the Single of the Month series, “Trouble Lovin’ Lady” consists of squiggling and trembling synths, a brass section that punctuates the song’s chorus, a sinuous and funky bass line, propulsive drums in a song that channels Rick James’ “Ghetto Life,” “Give It To Me,” and “Superfreak,” The Gap Band’s “You Dropped A Bomb On Me” and others — but with a sexy horn solo at the song’s bridge; in fact, the song sounds as though it could have easily been released in 1982. Simply put it’s a funky, party-friendly song that drive you to the dance floor — right now.
Interview: A Q&A with Jamil Rashad, a.k.a. Boulevards
As the son of a renowned jazz radio DJ, Jamil Rashad grew up in a musical household in which, a passionate interest in music was fostered and encouraged. And as a result, the young Rashad […]
Currently comprised of Eric Krasno (guitar), Adam Smirnoff (guitar), Neal Evans (keyboards, Hammond B-3 organ, piano), Adam Deitch (drums), Erick Coomes (bass), Ryan Zoidis (saxophone) and Eric Bloom (trumpet) and Rashawn Ross (trumpet), the acclaimed funk/jam-band octet Lettuce can trace their origins back to 1992 when several members of the band met and bonded over a mutual love of Herbie Hancock‘s jazz fusion work in the 1970s, Earth, Wind & Fire and Tower of Power, while attending a summer program as teenagers at Berklee College of Music. And as you can imagine they jammed together over the course of the summer and then went off on their separate ways at the conclusion of the program.
By the fall of 1994, the members of the band had reconvened as undergraduate students at Berklee, and during that time, they attempted to pick up gigs with local musicians and at local clubs. Ironically, the band’s name is derived from this period, when the band would walk into a club and would ask a club owner or a band leader if they would “let us play.” Mainly through word-of-mouth, the band developed rather fervent followings in Boston, NYC, San Francisco, Chicago and Tokyo, and their profile grew even larger as the band released their debut effort, Outta Here (2001), followed by Live in Tokyo recorded at the Blue Note Jazz Club’s Tokyo location. Over the past seven or eight years, the members of Lettuce have been balancing a number of different projects with busy touring schedules. Krasno along with Evans and Evans’ brother Alan play together in Soulive, a jazz fusion/jam-band act, perhaps best known these days for their annual Brooklyn Bowl residency. But lately, Krasno has been exceptionally busy as he’s picked up roles as a producer, songwriter, released a solo album, and has played on a couple Grammy Award-winning albums by Tedeschi Trucks Band. Smirnoff has been a member of Lady Gaga‘s touring band and has had a stint as a touring member of Robert Randolph and The Family Band. Zoidis is a member of Rustic Overtones but he also joins Soulive during live shows as a member of The Shady Horns. Coomes has been a session player for Britney Spears, The Game, and has contributed to Dr. Dre‘s Compton. Deitch drums for and has produced a number of artists including Pretty Lights, Talib Kweli and has collaborated with John Scofield and Wyclef Jean. And Ross has been a full-time member of Dave Matthews Band since 2010. Of course, as a result Lettuce has had gaps between their recorded output with their sophomore studio effort, Rage! released in 2009, and Fly released in 2012.
Coincidentally during that time Lettuce developed a reputation for being one of the country’s best live acts — and as a result they’ve played at some of the country’s biggest festivals. Interestingly, the band’s forthcoming Crush is reportedly inspired and came to life during the band’s most recent stints on the road together — with a great deal of the material being road-tested. “Phyllis,” the first single off the new album continues the band’s reputation for jazz fusion and hip-hop inspired, psychedelic leaning funk — but with a subtly futuristic sheen as the song is comprised of spidery guitar lines that twist and turn paired with atmospheric and swirling electronics, hip-hop inspired beats and horn blasts. There’s a sense that the trippy composition comes from a basic idea and expanded upon during an expansive jam session, as the band builds up a tight, motorik-like groove — and in some way, the song is a subtle revision of the sound that has garnered the octet such attention.
The band is currently on a rather lengthy tour, which will include two NYC area shows. Check out tour dates below.
Tour Dates
10/14 at Newport Music Hall in Columbus, OH
10/15 at Turner Hall Ballroom in Milwaukee, WI
10/16 at The Pageant in St. Louis, MO
10/17 at Hillberry 2: Harvest Moon Festival in Eureka Springs, AR
10/18 at The Blue Note in Columbia, MO
10/20 at Slowdown in Omaha, NE
10/21 at Liberty Hall in Lawrence, KS
10/23 at Art Outside in Rockdale, TX
10/24 at Hangtown Halloween Ball in Placerville, CA
10/27 at Intersection in Grand Rapids, MI
10/28 at The Vogue Theatre in Indianapolis, IN
10/29 at Headliners Music Hall in Louisville, KY
10/30 at WorkPlay Theatre in Birmingham, AL
10/31 at Voodoo Music and Arts Experience in New Orleans, LA
11/1 at Suwannee Hulaween in Live Oak, FL
11/3 at The Chop Shop in Charlotte, NC
11/4 at Lincoln Theatre in Raleigh, NC
11/5 at The Orange Peel in Asheville, NC
11/6 at Buckhead in Atlanta, GA
11/7 at War Memorial Auditorium in Nashville, TN
11/8 at Track 29 in Chattanooga, TN
11/10 ay Rex Theater in Pittsburgh, PA
11/11 at Tralf Music Hall in Buffalo, NY
11/12 at State Theatre in State College, PA
11/13 at PlayStation Theater in New York, NY
11/14 at PlayStation Theater in New York, NY
12/3-12/6 at Dominican Holidaze in Punta Cana, Dominican Republic
12/31 at Riviera Theatre in Chicago, IL
1/6-1/10 at Jam Cruise 14
2/12-2/14 at Gem and Jam Festival in Tucson, AZ
New Audio: Kisses’ Disco-Friendly, New Single “Jam”
Comprised of Zinzi Edmundson and Jesse Kivel, the Los Angeles-based duo Kisses have developed a reputation for crafting records that had been intentionally and conceptually cohesive synth pop — with both Edmundson and Kivel assembling […]