Tag: Makaya McCraven

Makaya McCraven is a Paris-born Chicago-based jazz drummer, beatmaker and producer, who has released a run of critically applauded, genre-defying and re-defining albums that includes 2017’s Highly Rare, 2018’s Where We Come From (Chicago x London Mixtape) and 2018’s Universal Beings through Chicago-based International Anthem Records. Highly Rare caught the attention of XL Recordings‘ Richard Russell, who recruited the acclaimed Chicago-based drummer, beatmaker and producer to re-imagine Gil Scott-Heron’s I’m New Here.  

Released earlier this year, McCraven’s We’re New Again places the original I’m New Here sessions in a new context. using samples collected from McCraven’s improvised live sessions with new wave Chicago jazz musicians and vintage samples taken from the acclaimed Paris-born, Chicago-based drummer, beatmaker and producer’s parents’ recordings.  It’s meant to reconnect Scott-Heron with his birthplace and hometown, as well as a lineage of jazz and blues that perfectly compliments the Chicago-born legendary artist’s imitable voice.

Slated for a July 31, 2020 release through his longtime label home. Universal Beings E&F Sides serves as an addendum to the critically applauded 2018 effort of the same name — but while featuring fourteen new organ beat music compositions that were cut from the original sessions and prepared and produced by McCraven as a soundtrack to a documentary on the recording of the original album. (The physical album will see a September 25, 2020 release.)

The Mark Pallman-directed Universal Beings documentary follows McCraven as he travelled to California, Chicago, London and NYC in a behind-the-scenes look at the creation and recording of his breakthrough album, taking the viewer through the story of his life, his process and the community of musicians that brought the album’s material to life.

So to build up buzz for the new album and the documentary, McCraven and International Anthem have released Universal Beings Sides E&F‘s first single, the angular and percussive “Mak Attack.” Clocking in a little under two minutes, the breakneck composition is centered around complex and rolling polyrhythm, a sinuous bass line and twinkling bursts of keys.  The composition finds the musicians managing to walk a tightrope between chaos and order, free-flowing improvisation and structured composition and as a result, it explodes with a forceful and vital energy.

 

 

 

Fold is a Leeds-based collective currently centered around its core quartet Seth Mowshowitz (beats, keys), Kane Rattray (drums), Ben Walsh (bass) and Sam Hutchinson (guitar) with contributions from collaborators like Emma Johnson (saxophones), Simon Dennis (trumpet), Rosie Nicholl (trombone) and Kieran O’Malley (violins). The act’s sound is informed and influenced by hip-hop, trip-hop, downtempo, soul, Brazilian and funk and others — and as a result, they employ as many organic instruments as possible, avoiding the use of click tracks or pre-sequenced material in any context.

The act explores different ways in which narrative and poetry can be interwoven into music — with the aim of honestly reflecting out contemporary world, to speak truth clearly and to represent diverse perspectives across space and time, encouraging a sense of empowerment, understanding and unity among listeners. Focusing on diverse voices and perspectives has allowed the rising British collective an opportunity to collaborate with an eclectic array of emcees, poets, vocalists and historical figures. Since their formation, the act has quickly developed a reputation as a rising act in England: BBC 6 Music‘s Lauren Laverne chose the collective to represent Leeds and the region for a special Record Store Day eve broadcast at Huddersfield‘s Vinyl Tap Records

Fold’s forthcoming album is a concept album that pays tribute to Civil Rights activist and acclaimed playwright Lorraine Hansberry. Hansberry is best known as the author of A Raisin in the Sun — and as the first Black woman to have her work performed on Broadway. As a result, Hansberry’s voice and ideas is the heart and core of the album’s material. Featuring some old-school turntabilism and scratching, a sinuous bass line, stuttering boom bap-like drumming, soulful horns played through delay and reverb, the  track is centered around Hansberry’s husky voice imploring the listener to use their cognitive gifts to steer themselves towards the light. But perhaps more important, as the band notes, Hansberry reminds us that in order to progress — hell, even to survive at this point — that we must always be adaptable. Sonically, the track reminds me a bit of Makaya McCraven‘s bold reimagining of Gil Scott-Heron‘s We’re New Here but with a J. Dilla-like swagger. Both efforts put each visionary’s voice and work in a new and very different context but while reminding contemporaries that their work is even more vital and necessary than they could have ever imagined.

 

 

 

 

 

 

 

 

 

 

 

New Audio: Makaya McCraven Re-Interprets and Re-Imagines Gil Scott-Heron’s Last Album

Gil Scott-Heron was a Chicago-born, New York-based poet, author, spoken word artist, singer/songwriter and musician, best known for his critically applauded and influential spoken word work in the ’70s and ’80s, which fused elements of jazz, blues and soul paired with lyrics that focused on race, poverty and other sociopolitical concerns. Much ink has been spilled on how Scott-Heron’s Pieces of a Man, which features his most famous, most well-known piece “The Revolution Will Not Be Televised,” and Winter in America have influenced hip-hop and neo-soul.

In the last decade of  his life, Scott-Heron battled drug addiction and had several stints in prison;  however, he still managed to be a remarkably prolific artist, recording, writing and touring when he was able. Interestingly, the Chicago-born, New York-based poet, author, spoken word artist, singer/songwriter and musician’s last album, Richard Russell-produced  I’m New Here was first conceptualized in 2005 and was recorded in a series of recording sessions that started in January 2008. Released in 2010, the critically applauded I’m New Here was Scott-Heron’s first album in 13 years. Arguably, one of the most personal albums of his lengthy and influential career, I’m New Here featured introspective and confessional lyrics touching upon and expressing themes of regret, reconciliation, redemption, pride, dignity, defiance and acceptance paired with sparse arrangements and a minimalist production.

During the last year of his life, the influential, Chicago-born, New York-based poet, author, spoken word artist, singer/songwriter and musician finished work on a memoir and returned to the studio with Richard Russell to record stripped down versions of some of his best known material. Both the memoir and the material, which was released as Nothing New was released posthumously on what would have been Scott-Heron’s 65th birthday.

Makaya McCraven is a Paris-born Chicago-based jazz drummer, beatmaker and producer, who has released a run of critically applauded, genre-defying and re-defining albums that includes 2017’s Highly Rare, 2018’s Where We Come From (Chicago x London Mixtape) and 2018’s Universal Beings through Chicago-based International Anthem Records. Interestingly, Highly Rare caught the attention of XL Recordings‘ Richard Russell, who recruited the acclaimed Chicago-based drummer, beatmaker and producer to re-imagine Gil Scott-Heron’s I’m New Here.  Slated for release this Friday through XL Recordings, We’re New Again marks the second full-length interpretation of the album, following Jamie xx’s remix, 2011’s We’re New Here. (Coincidentally, We’re New Again will be released exactly a decade to the day of the original’s release.)

McCraven’s We’re New Again places the original I’m New Here sessions in a new context: using samples collected from McCraven’s improvised live sessions with new wave Chicago jazz musicians and vintage samples taken from the acclaimed Paris-born, Chicago-based drummer, beatmaker and producer’s parents’ recordings.  McCraven’s re-imagining of the material attempts to reconnect  the legendary and deeply influential artist with his birthplace and hometown, as well as a lineage of jazz and blues that perfectly compliments Scott-Heron’s imitable voice. 

Clocking in at about 74 seconds, I’m New Here album track “Where Did The Night Go” is a hauntingly sparse and uneasy track in which Scott-Heron’s grizzled baritone recites half-sung, half-spoken observations on insomnia, loneliness, desperation and writer’s block. Last month, I wrote about We’re New Again’s first single, “Where Did The Night Go” found McCraven pairing Scott-Heron’s voice with a sample from Stephen McCraven Quartet’s “Silhouette of Eric,” gorgeous, fluttering flute and thumping boom-bap meets bop jazz-like drumming.  McCraven’s take on the song creates a warmer vibe than the original while giving it a deceptively anachronistic sound, as though it could have been recorded during the Pieces of a Man or Winter in America sessions. 

I’m New Here’s album title track “I’m New Here” is a folksy-leaning track in which Scott-Heron’s grizzled baritone is paired with a gorgeous and easy-going strummed guitar, which gives the song a contemplative, autumnal feel. Knowing that the legendary artist died a year after the release of I’m New Here gives the track an aching sense of mortality, just under the surface. McCraven’s re-imagining of the song gives the material a dreamy and ethereal air, as Scott-Heron’s voice is paired with a shimmering harp arpeggios, squiggling blasts of keys, some expressive guitar lines and boom-bap like drumming. But along with that it finds McCraven and company making a vital connection between hip-hop, jazz and poetry while pointing out Scott-Heron’s momentous influence. 

New Audio: Acclaimed Jazz Drummer, Beatmaker, and Producer Makaya McCraven Reinterprets Gil Scott-Heron’s “I’m New Here”

Gil Scott-Heron was a Chicago-born, New York-based poet, author, spoken word artist, singer/songwriter and musician, best known for his critically applauded and influential spoken word work in the ’70s and ’80s, which managed to fuse elements of jazz, blues and soul paired with lyrics that focused on race an other sociopolitical concerns. Much ink has been spilled on how Scott-Heron’s Pieces of a Man, which features his most famous, most well-known piece “The Revolution Will Not Be Televised,” and Winter in America have influenced hip-hop and neo-soul.

In the last decade of  his life, Scott-Heron battled drug addiction and had several stints in prison;  however, he still managed to be a remarkably prolific artist, recording, writing and touring when he was able. Interestingly, the Chicago-born, New York-based poet, author, spoken word artist, singer/songwriter and musician’s last album, Richard Russell-produced  I’m New Here was first conceptualized in 2005 and was recorded in a series of recording sessions that started in January 2008. Released in 2010, the critically applauded I’m New Here was Scott-Heron’s first album in 13 years. Arguably, the most personal albums of his lengthy and influential career, I’m New Here featured introspective and confessional lyrics touching upon and expressing themes of regret, reconciliation, redemption, pride, dignity, defiance and acceptance paired with sparse arrangements and a minimalist production.

During the last year of his life, the influential, Chicago-born, New York-based poet, author, spoken word artist, singer/songwriter and musician finished work on a memoir and returned to the studio with Richard Russell to record stripped down versions of some of his best known material. Both the memoir and the material, which was released as Nothing New was released posthumously on what would have been Scott-Heron’s 65th birthday.

Makaya McCraven is a Paris-born Chicago-based jazz drummer, beatmaker and producer, who has released a run of critically applauded, genre-defying and re-defining albums that includes 2017’s Highly Rare, 2018’s Where We Come From (Chicago x London Mixtape) and 2018’s Universal Beings through Chicago-based International Anthem Records. Interestingly, Highly Rare caught the attention of XL Recordings’ Richard Russell, who recruited the acclaimed Chicago-based drummer, beatmaker and producer to re-imagine Gil Scott-Heron’s I’m New Here.  Slated for a February 7, 2020 release through XL Recordings, We’re New Again marks the second full-length interpretation of the album, following Jamie xx’s remix, 2011’s We’re New Here. (Coincidentally, We’re New Again will be released exactly a decade to the day of the original’s release.)

McCraven’s We’re New Again places the original I’m New Here sessions in a new context. using samples collected from McCraven’s improvised live sessions with new wave Chicago jazz musicians and vintage samples taken from the acclaimed Paris-born, Chicago-based drummer, beatmaker and producer’s parents’ recordings.  It’s meant to reconnect Scott-Heron with his birthplace and hometown, as well as a lineage of jazz and blues that perfectly compliments the Chicago-born legendary artist’s imitable voice.

Clocking in at about 74 seconds, I’m New Here album track “Where Did The Night Go” is a hauntingly sparse and uneasy track in which Scott-Heron’s grizzled baritone recites half-sung, half-spoken observations on insomnia, loneliness, desperation and writer’s block. We’re New Again’s first single finds McCraven pairing the legendary and influential artist’s imitable vocals with a sample from Stephen McCraven Quartet’s “Silhouette of Eric,” gorgeous, fluttering flute and thumping boom-bap meets bop jazz-like drumming.  And while giving an eerie and uneasy track a subtle bit of warmth, McCraven’s take manages to feel deceptively anachronistic, as though it could have been recorded during the Pieces of a Man or Winter in America sessions.