Roy Ayers Brings Toronto True Neo-Soul
By Ryan B. Patrick
Pride Entertainment Writer
Dec 7 2005
It’s called “breakjazz”, and it’s a relatively new subgenre of jazz – a live improvisational mix of turntable loops and samples, trumpet, keyboard, sax and bass. It’s jazz for a new generation, and judging from the crowd response at the launch of the NuJazz Society’s JazzByGenre event at the Mod Club in Toronto recently, it’s here to stay.
According to the Toronto-based Nu Jazz Society, the JazzByGenre initiative is a new jazz series of events created to represent and showcase jazz through various genres of music.
Headlined by legendary jazz icon Roy Ayers, the show mixed a little of the old with the new.
The acid jazz and funk bandleader, and master of the vibraphone – descendent of the African xylophone instrument – is vastly underrated. The Los Angeles native’s innovative acid jazz grooves paved the way for funk artists like George Clinton and Parliament.
Ayer’s oft-sampled hits (he’s one of the most sampled music artists in history, with tracks such as “Running Away” and the classic, “Everybody Loves the Sunshine”) make him a founding father of today’s dance and hip hop generation. Even the “neo-soul” genre owes a debt to Ayers as fusing soul and jazz is Ayer’s forte. He’s worked with artists Diddy, A Tribe Called Quest, Whitney Houston and Mary J. Blige.
“I’m very proud of it,” Ayers said of his body of work recently.
“I was talking to Erykah Badu, and she was telling me that I was the ‘neo-soul man’. She said people like herself, Jill Scott, Alicia Keys and The Roots, all consider me the one who created that sound, that ‘neo-soul’ sound. I was just like, ‘Wow’.
“You know, she’s so positive anyway, the way she says things. I was just like, ‘Wow, this is a compliment and a half’.”
And, although Ayers may be getting up there in age, he’s still got that funk.
He performed his signature blend of latin jazz, R&B, funk and soul, with a rousing and well-received performance of seminal hit, “Everybody Loves The Sunshine” at his Mod Club show.
Jazz may be unfairly known as a stodgy medium, but events like The Nu Jazz Society’s JazzByGenre may well dispel that theory.
With the JazzByGenre (www.jazzbygenre.com) launch, the newly-created NuJazz Society’s goal is twofold: 1) to introduce jazz to a younger demographic; and 2) to raise the profile of jazz music in Toronto.
To that end, the night featured spoken word artists Anne-Marie Woods and Al St. Louis, who set the mood with a poetic history of the jazz genre.
But the official introduction to breakjazz was through opening act Kush. The live DJ/turntablist and groove ensemble is an all-star line-up of musicians (featuring bandleader Etric Lyons, Eddie Bullen, Robert Sibony, with special guests Nick “The Brownman” Ali and world-renowned Barbadian saxophonist Arturo Tappin).
The group performed a blend of soul/funk/house/hip hop and R&B jazz with DJ J-Tec’s improvisational mixing and scratching being an integrated part of the band.
It’s something that must be experienced live to really appreciate. Picture your traditional jazz set – trumpet, bass, sax, keys – with a hip hop DJ in the mix, interspersing “traditional” hip hop, funk and house music loops and sample breaks.
It wasn’t flawless, and didn’t always blend, but the overall sound was never discordant. To the contrary – once you realize that the Kush collective essentially “play as they go”, (the band says they don’t pre-rehearse) and coordinate the rhythm, live on stage, one gets a great appreciation for the emerging subgenre. The end result is a frenetic jazzy-house and hip hop-jazz hybrid that the crowd ate up.
The JazzByGenre series will run, every three months, and then launch its annual jazz festival this coming summer. According to the organization, the next installment in the series is slated to put the spotlight on Caribbean jazz.
Tuesday, December 13, 2005
Canadian Urban Music Awards Still A Step Up
Canadian Urban Music Awards Still A Step Up
By Ryan B. Patrick
Pride Entertainment Writer
Dec 7 2005
It was an evening punctuated by technical difficulties, audio gaffes and extended delays, yet, the seventh annual Canadian Urban Music Awards (CUMAs) still went on November 29, a tribute to a blossoming urban music industry.
This year marked the first time that the annual awards show, put on by the Urban Music Association of Canada (UMAC), was split up into a two-night affair. This year’s awards were handed out in 25 categories – at either a dinner on November 28 or at November 29’s “live” recorded-for-TV show – running the urban music gamut from reggae to gospel.
In particular, the event made a good stab to showcasing genres outside of hip hop and R&B.
Show host and comedian Russell Peters’ lethal improv kept the crowd in stitches at the November 29 event, which featured standout performances by Divine Brown, a rousing “greatest hits” medley by rapper Maestro, and performances by R&B diva Jully Black, Fito Blanko, ending with a typically energetic set from “Everyday Rudebwoy”, Kardinal Offishall.
This year’s big winner was Toronto’s own Divine Brown.
The R&B/soul vocalist, who has been experiencing national success with her debut album, picked up New Artist Of The Year honours, along with winning in the R&B Recording Of The Year category for her hit single, “Old Skool Love”.
Another huge victor was hip hop’s k-os, who nabbed Songwriter Of The Year and The Fan’s Choice Award.
In a minor upset, newcomer K’naan beat out k-os, Kardinal Offishall, Maestro and Rochester aka Juice to win the Hip Hop Recording Of The Year award. The Somali-born, Toronto-based rapper has been making waves lately with his single “Strugglin’”, off his The Dusty Foot Philosopher debut.
Urban music icon Farley Flex was a double winner, grabbing Media Personality Of The Year (for TV’s “Canadian Idol”), and was also honoured with a Special Achievement Award for the manager/promoter’s extensive effort in the Canadian music industry.
Yet, unfortunately, certain technical and sound issues threatened to put a damper on the event, and made the show run much longer than anticipated.
Still, most attendees noted that the show was a success, particularly in showing that the domestic urban music industry is finally maturing and proving sustainable. The show also did a tasteful job in addressing local issues, with an emotive performance by local spoken word artists and the bringing on stage of a mother whose child had been affected by violence. For spoken word to be included in the awards show says a lot about the growth of the subgenre and the overall diversity of the urban music community, said Toronto-based spoken word artist Dwayne Morgan, who won Spoken Word Recording Of The Year for “Mother I Understand.”
“What we’re doing is growing…There was a time where (one artist) dominated anything that had to do with rap or hip hop,” Morgan told Pride News Magazine. “[The CUMAs are about] having that outlet where artists can record something and know that it can be recognized. It’s definitely a good thing and something that can inspire others.”
The show also attempted to bridge the gap (so to speak) between the older African Canadian music generation and the current “urban” music scene by presenting a Lifetime Achievement Award to local jazz icon Archie Alleyne.
The legendary African Canadian drummer – who has played with such luminaries as Billie Holiday, Lester Young and Donald Byrd – has been a mainstay of the local music scene for over five decades. The musician is also an avid historian, and is actively pushing for the development of a permanent facility for African Canadian music, one that archives and promotes the contributions of local artists.
“I’m glad that my own community is starting to recognize me, which is rather important,” Alleyne told Pride News Magazine about winning the CUMA.
“Sometimes (Black) music doesn’t get the same respect as it should, as far as social contributions are concerned.”
The CUMAs are a valuable step towards empowering the community and getting the musical contributions of African Canadians acknowledged, Alleyne added, noting that, despite the technical problems the show had, the CUMAs have come so far, and he’s proud to see African-Canadians getting a platform to be recognized for their art.
“Jazz and blues are the foundations of this music,” Alleyne said. “I’m really proud of the new generation of music that is out there.”
The musician currently leads the acclaimed hard bop jazz band Kollage and operates the Archie Alleyne Youth Mentorship Program, which provides innercity students the opportunity to develop as jazz musicians, vocalists and dancers, under the guidance of professional jazz artists.
It’s incumbent on the older African Canadian generation to connect with the younger set, Alleyne said, adding, that there is a thriving community of young African Canadian musicians that need to be supported.
“We have to get rid of the gunslingers and give them an instrument to play instead,” the jazz icon said. “They’ll bring happiness, not only to themselves, but also our community.”
Other winners included Blessed (Reggae Recording of the Year for hit single, “Reggae Time”); Ranee Lee/Oliver Jones (Jazz Recording of the Year); Patricia Shirley (Gospel Recording of the Year for “Real Love”); Jully Black (Dance/Electronic Recording of the Year for “Sweat of Your Brow”); and a well-deserved win for Soca’s King Cosmos, who won for his “Island Girl” track.
“We’ve grown quite a bit this past year...There were a lot of artists that came out this year,” Jully Black told the Canadian Press. “We’re building soldiers. It’s great for the urban community.”
The CUMAs are scheduled to be televised on SUNTV on December 21.
By Ryan B. Patrick
Pride Entertainment Writer
Dec 7 2005
It was an evening punctuated by technical difficulties, audio gaffes and extended delays, yet, the seventh annual Canadian Urban Music Awards (CUMAs) still went on November 29, a tribute to a blossoming urban music industry.
This year marked the first time that the annual awards show, put on by the Urban Music Association of Canada (UMAC), was split up into a two-night affair. This year’s awards were handed out in 25 categories – at either a dinner on November 28 or at November 29’s “live” recorded-for-TV show – running the urban music gamut from reggae to gospel.
In particular, the event made a good stab to showcasing genres outside of hip hop and R&B.
Show host and comedian Russell Peters’ lethal improv kept the crowd in stitches at the November 29 event, which featured standout performances by Divine Brown, a rousing “greatest hits” medley by rapper Maestro, and performances by R&B diva Jully Black, Fito Blanko, ending with a typically energetic set from “Everyday Rudebwoy”, Kardinal Offishall.
This year’s big winner was Toronto’s own Divine Brown.
The R&B/soul vocalist, who has been experiencing national success with her debut album, picked up New Artist Of The Year honours, along with winning in the R&B Recording Of The Year category for her hit single, “Old Skool Love”.
Another huge victor was hip hop’s k-os, who nabbed Songwriter Of The Year and The Fan’s Choice Award.
In a minor upset, newcomer K’naan beat out k-os, Kardinal Offishall, Maestro and Rochester aka Juice to win the Hip Hop Recording Of The Year award. The Somali-born, Toronto-based rapper has been making waves lately with his single “Strugglin’”, off his The Dusty Foot Philosopher debut.
Urban music icon Farley Flex was a double winner, grabbing Media Personality Of The Year (for TV’s “Canadian Idol”), and was also honoured with a Special Achievement Award for the manager/promoter’s extensive effort in the Canadian music industry.
Yet, unfortunately, certain technical and sound issues threatened to put a damper on the event, and made the show run much longer than anticipated.
Still, most attendees noted that the show was a success, particularly in showing that the domestic urban music industry is finally maturing and proving sustainable. The show also did a tasteful job in addressing local issues, with an emotive performance by local spoken word artists and the bringing on stage of a mother whose child had been affected by violence. For spoken word to be included in the awards show says a lot about the growth of the subgenre and the overall diversity of the urban music community, said Toronto-based spoken word artist Dwayne Morgan, who won Spoken Word Recording Of The Year for “Mother I Understand.”
“What we’re doing is growing…There was a time where (one artist) dominated anything that had to do with rap or hip hop,” Morgan told Pride News Magazine. “[The CUMAs are about] having that outlet where artists can record something and know that it can be recognized. It’s definitely a good thing and something that can inspire others.”
The show also attempted to bridge the gap (so to speak) between the older African Canadian music generation and the current “urban” music scene by presenting a Lifetime Achievement Award to local jazz icon Archie Alleyne.
The legendary African Canadian drummer – who has played with such luminaries as Billie Holiday, Lester Young and Donald Byrd – has been a mainstay of the local music scene for over five decades. The musician is also an avid historian, and is actively pushing for the development of a permanent facility for African Canadian music, one that archives and promotes the contributions of local artists.
“I’m glad that my own community is starting to recognize me, which is rather important,” Alleyne told Pride News Magazine about winning the CUMA.
“Sometimes (Black) music doesn’t get the same respect as it should, as far as social contributions are concerned.”
The CUMAs are a valuable step towards empowering the community and getting the musical contributions of African Canadians acknowledged, Alleyne added, noting that, despite the technical problems the show had, the CUMAs have come so far, and he’s proud to see African-Canadians getting a platform to be recognized for their art.
“Jazz and blues are the foundations of this music,” Alleyne said. “I’m really proud of the new generation of music that is out there.”
The musician currently leads the acclaimed hard bop jazz band Kollage and operates the Archie Alleyne Youth Mentorship Program, which provides innercity students the opportunity to develop as jazz musicians, vocalists and dancers, under the guidance of professional jazz artists.
It’s incumbent on the older African Canadian generation to connect with the younger set, Alleyne said, adding, that there is a thriving community of young African Canadian musicians that need to be supported.
“We have to get rid of the gunslingers and give them an instrument to play instead,” the jazz icon said. “They’ll bring happiness, not only to themselves, but also our community.”
Other winners included Blessed (Reggae Recording of the Year for hit single, “Reggae Time”); Ranee Lee/Oliver Jones (Jazz Recording of the Year); Patricia Shirley (Gospel Recording of the Year for “Real Love”); Jully Black (Dance/Electronic Recording of the Year for “Sweat of Your Brow”); and a well-deserved win for Soca’s King Cosmos, who won for his “Island Girl” track.
“We’ve grown quite a bit this past year...There were a lot of artists that came out this year,” Jully Black told the Canadian Press. “We’re building soldiers. It’s great for the urban community.”
The CUMAs are scheduled to be televised on SUNTV on December 21.
Saturday, December 03, 2005
No Common Sense, Not 50 Cent, The Cause Of T.O.’s Gun Problem
No Common Sense, Not 50 Cent, The Cause Of T.O.’s Gun Problem
nov 30 2005
By Ryan Patrick
Pride Entertainment Writer
Whitby MP Dan McTeague’s recent call to ban popular gangsta rapper 50 Cent from performing in Canada is your classic case of political grandstanding.
Whether you agree with the notion or not is, frankly, immaterial. It’s a tried and true formula: make a wildly controversial and polarizing statement, whip the media into a frenzy, stand back and pat yourself on the back for doing your “part” in tackling the issue.
On November 22, McTeague asked Immigration Minister Joe Volpe to restrict Curtis “50 Cent” Jackson from entering the country on the grounds that he glorifies gun violence. The hardcore rapper has a criminal record and would need a ministerial permit to enter Canada.
“I don’t think people in Toronto, or any urban centre, need or want to hear Mr. Jackson’s message right now…I think it’s time we send a message of our own to those who glorify violence that their gratuitous violence and movies are not welcome in our country,” McTeague says.
McTeague claims he’s “trying to protect impressionable young men in our communities who are being destroyed in the prime of their lives.”
I’ll admit, I’m not a huge fan of 50 Cent’s music. But I am, also, not a fan of censorship, nor do I agree with the suggestion Jackson’s music amounts to an incitement to commit violence. And, if you are a proponent of free speech, you will defend his right to free expression; to suggest that there is a direct link between lyrics and an increase in gun violence is reaching.
If you ban 50 Cent, why stop there? Why not ban the multitude of artists that cross the border every year? Where would it stop? And what would it accomplish besides raising the notoriety profile of the particular artist?
Problem is, even if we weren’t on the eve of an election call, McTeague’s rhetoric does precious little to stem the growing gun violence in our city.
It also does little to address the deep-rooted evils that are associated with the anti-Black racism and institutional racism that has contributed to Toronto’s gun crime.
Besides, where was McTeague this past summer, when 50 Cent was practically living in the city during the filming of his crime drama, Get Rich or Die Tryin’?”
It’s far too easy to blame hip hop for youth violence.
Recently, I interviewed Toronto rapper Kardinal Offishall, who pointed out the guns have always been a constant on Toronto streets.
What’s changed, he suggested, is the mentality of today’s youth, who seem to be even more disenfranchised and disillusioned than the generation before them.
Black youth have been alienated and marginalized by government cutbacks and neighborhood neglect. McTeague’s blaming of 50 Cent is a convenient method to score publicity, because it’s bound to be a controversial statement. For McTeague to use 50 Cent to sidetrack valid discourse on the real problems contributing to the crisis – inadequate schools and housing, a desperate need for social programs, and high unemployment rate – is irresponsible.
No one is suggesting that, by simply building a basketball court, the situation will be resolved.
But it’s a start.
Also, at this stage in the game, the African Canadian community should be beyond pointing fingers and move towards healing. It should be beyond taking stock in those outside the community who feel compelled to cluck their tongues and wonder aloud why the Black community isn’t doing more.
It’s no secret our community has to work harder to achieve the same gains. It’s a fact of life and we should start living up to it. We’ve got to start fighting back against the system instead of incessantly claiming victimhood.
On the other hand, if local politicians like McTeague are truly interested in finding solutions to gun violence, they should save the empty platitudes and look at the real issues, the growing disconnect between the haves and have-nots in Toronto. They should examine why the Black community’s relationship with the police is the way that it is. They should look at why a certain element of the Black community is drawn to criminal activity. They should look at re-implementing the recreational activities and job creation programs that contribute to a positive culture and a renewed sense of hope.
50 Cent isn’t the cause of Toronto’s gun problem – a lack of common sense is.
nov 30 2005
By Ryan Patrick
Pride Entertainment Writer
Whitby MP Dan McTeague’s recent call to ban popular gangsta rapper 50 Cent from performing in Canada is your classic case of political grandstanding.
Whether you agree with the notion or not is, frankly, immaterial. It’s a tried and true formula: make a wildly controversial and polarizing statement, whip the media into a frenzy, stand back and pat yourself on the back for doing your “part” in tackling the issue.
On November 22, McTeague asked Immigration Minister Joe Volpe to restrict Curtis “50 Cent” Jackson from entering the country on the grounds that he glorifies gun violence. The hardcore rapper has a criminal record and would need a ministerial permit to enter Canada.
“I don’t think people in Toronto, or any urban centre, need or want to hear Mr. Jackson’s message right now…I think it’s time we send a message of our own to those who glorify violence that their gratuitous violence and movies are not welcome in our country,” McTeague says.
McTeague claims he’s “trying to protect impressionable young men in our communities who are being destroyed in the prime of their lives.”
I’ll admit, I’m not a huge fan of 50 Cent’s music. But I am, also, not a fan of censorship, nor do I agree with the suggestion Jackson’s music amounts to an incitement to commit violence. And, if you are a proponent of free speech, you will defend his right to free expression; to suggest that there is a direct link between lyrics and an increase in gun violence is reaching.
If you ban 50 Cent, why stop there? Why not ban the multitude of artists that cross the border every year? Where would it stop? And what would it accomplish besides raising the notoriety profile of the particular artist?
Problem is, even if we weren’t on the eve of an election call, McTeague’s rhetoric does precious little to stem the growing gun violence in our city.
It also does little to address the deep-rooted evils that are associated with the anti-Black racism and institutional racism that has contributed to Toronto’s gun crime.
Besides, where was McTeague this past summer, when 50 Cent was practically living in the city during the filming of his crime drama, Get Rich or Die Tryin’?”
It’s far too easy to blame hip hop for youth violence.
Recently, I interviewed Toronto rapper Kardinal Offishall, who pointed out the guns have always been a constant on Toronto streets.
What’s changed, he suggested, is the mentality of today’s youth, who seem to be even more disenfranchised and disillusioned than the generation before them.
Black youth have been alienated and marginalized by government cutbacks and neighborhood neglect. McTeague’s blaming of 50 Cent is a convenient method to score publicity, because it’s bound to be a controversial statement. For McTeague to use 50 Cent to sidetrack valid discourse on the real problems contributing to the crisis – inadequate schools and housing, a desperate need for social programs, and high unemployment rate – is irresponsible.
No one is suggesting that, by simply building a basketball court, the situation will be resolved.
But it’s a start.
Also, at this stage in the game, the African Canadian community should be beyond pointing fingers and move towards healing. It should be beyond taking stock in those outside the community who feel compelled to cluck their tongues and wonder aloud why the Black community isn’t doing more.
It’s no secret our community has to work harder to achieve the same gains. It’s a fact of life and we should start living up to it. We’ve got to start fighting back against the system instead of incessantly claiming victimhood.
On the other hand, if local politicians like McTeague are truly interested in finding solutions to gun violence, they should save the empty platitudes and look at the real issues, the growing disconnect between the haves and have-nots in Toronto. They should examine why the Black community’s relationship with the police is the way that it is. They should look at why a certain element of the Black community is drawn to criminal activity. They should look at re-implementing the recreational activities and job creation programs that contribute to a positive culture and a renewed sense of hope.
50 Cent isn’t the cause of Toronto’s gun problem – a lack of common sense is.
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