Phil Carson, Covering the Uncovering of the Truth of Notorious B.I.G’s Death - an Official FBI Scoop of What Truly Happened or Just Another Conspiracy?
In the world of 2020, it seems as if every day is another day we step further into understanding how truly f’d up and out of control the world is with itself. As of October 2020, Don Sikorski, Phil Carson, and Michael Carlin debut an Apple podcast titled, The Dossier. Hosted by Compton-originated journalist Don Sikorski, this Podcast features former FBI agent Phil Carson, where they let him unravel the long-shut case of Biggie Smalls’ death. But just who really are these people running this podcast and how did they get their hands on such exclusive information?
Don Sikorski broke onto the scene with his feature-length documentary RAP SHEET: Hip-Hop and the Cops. The film was bought by Universal/Screen Media Ventures and was released on July 31, 2007. Sikorski spent three years writing, directing, and producing the project that traces the story of a NYPD-FBI intelligence unit that had the Hip-Hop industry under surveillance. The only information I could gather of Phil Carson is that he is a former FBI agent from sources that are discussing The Dossier. On the Apple podcast site, there is a myriad of mixed reviews. One listener rated it two stars, commenting the podcast had “ Some interesting details and interviews are sprinkled in but it’s mostly a sensational rehashing of the LAPD killed Biggie narrative. The final episode then devolves into a wild conspiracy about Tupac/Deathrow.No doubt the LAPD was corrupt but this doesn’t offer any solid proof to justify its bold accusations.“
Small’s mother Voletta Wallace pursued a $500 million lawsuit with the accusations of a cover-up of the true murder of B.I.G. Emma Parry’s article JUSTICE FOR BIGGIE the ‘bombshell’ Notorious B.I.G murder case may be re-investigated and police officers charged over ‘cover up’, former FBI agent claims.
Carson says as soon as he "solved" the crime, authorities in Los Angeles conspired to discredit him and cover up the murder - to save the city from potentially having to pay out $500 million to Biggie's family. Phil Carson was talking about his interactions with the LAPD at the time the murder case was still under investigation. There was a blurry photo of a man who was suspect to be the alleged killer "Every single time that I reviewed the murder book I always had another FBI agent with me. So it never came down to save my word against somebody else's word. So when we were there, the first time we saw all these photos, the photo was there. The second time we went back, after I talked to Big Gene, the photo is not there. It was obvious as day it had been taken out. "We set up a meeting a couple of days later - and this is all documented in the FBI file - the DA's office specifically stated that if Agent Carson were to testify in this civil lawsuit, the city of Los Angeles has at least a 50- 50 chance of losing a $500 million civil lawsuit. And they said 'We cannot afford to have him testify'.” Carson continues, "But these higher up people, they took it upon themselves to cover up this whole case. And what else are they covering up? I don't know. I can't speak on that, but it does make you stop and think that the depths that they went to to cover up this case is mind-blowing.
The deepest part that is the hardest for me to understand and believe are the ‘crooked cops’ involved in this podcast. Carson essentially states that the head officers of the LAPD are also working for the Bloods, the infamous and largest gang in America. It is hard to come to a position on this issue when there is a strong lack of real evidence by Carson. One would think that one that was so involved with the case would have any information left over. At the time Carson was investigating the case, did he simply just not care enough to hold onto evidence? Was this just another murder case for this FBI agent? After listening to the podcast, I cannot help this feeling of speculation that is utterly overwhelming. I wish I could simply accept Carson’s take on the matter, considering it is supposed to be information from the horse’s mouth; yet part of me will not let go of the thought that maybe it is all a façade. Is Carson trying to get some extra retirement funds from his work on these podcasts? Is Carson at heart simply a social justice warrior, and he was just waiting for a time where he could state the facts and not get killed physically or socially? Overall, this podcast for me raises more questions than it provides answers- yet maybe my speculation is just the affect of actually hearing the truth and wishing not to believe it.
If you see Luques on the streets of Greenwich Village, you would not recognize his level of musicianship and musical success. When I first met him in 2017, this was surely the case. I was a freshman at Rutgers University, where my concentration was Jazz Studies: the constant buzz of excitement to learn and to be thrust into a world that I have never seen before was all that was on my mind. On the first day, there was a department-wide meeting in which they introduced the faculty and staff. Once the musical director (and my trombone professor) Conrad Herwig finished introducing the staff, he introduced the Graduate students- one of them being Luques Curtis. He simply grinned and waved at us, with no words to be said- not in a way that was stand-offish, but in a vulnerable and humble way. Conrad went on to say that Luques is a world class bassist that has many musical successes under his belt, which was the beginning of my understanding of the true status of this wonderful musician and human being.
The more that I researched Luques, the more starstruck I became. Luques has been performing nationally and internationally with artists such as Eddie Palmieri, Ralph Peterson, Jr, Christian Scott, Gary Burton, and others. He is one of the owners and co-founders of independent jazz label Truth Revolution Records. He began playing the bass at 12 years old and attended the Greater Hartford Academy of the Arts and the Artists Collective, Inc. founded by Jackie McLean and Paul (PB) Brown. After high school, he earned a full scholarship to the prestigious Berklee College Of Music, where he studied with John Lockwood and Ron Mahdi. While in Boston, he was also able to work with great musicians such as Gary Burton, Ralph Peterson, Donald Harrison, Christian Scott, and Francisco Mela. Luques collaborated with his older brother Zaccai Curtis and formed a group called Insight. The group released their first album ‘A Genesis’ in 2006 and then also formed The Curtis Brothers and The Curtis Brothers Quartet. They have released multiple records with their groups on their record label Truth Revolution Records. (Wikipedia)
*Here is a little fun fact- Luques went to Berklee at the same time as Eric Andre, where they have worked together.*
In 2018 at Rutgers, I saw and played with Luques every Monday and Wednesday in the AM Jazz Ensemble, which was one of my favorite musical experiences in a jazz setting. Luques’ sound is representative of his personal characteristics- strong, yet humble and supportive. The woodiness of his instrument rang true, laying down a concrete foundation for the rhythm section and the band as a whole. Whenever he needed to shine and play solos he would show out, yet his ultimate role was being a team player. His time, sound, and musical choices on the bandstand feel as if he is musically stating, “I got you”. I can not speak enough on his ability to create an amazing foundation.
In passing conversation and mini-lessons we had together, his demeanor was one of coolness and poise. He took his time thinking about what you asked him and answered questions with a sense of vulnerability and critical thinking. It felt as if you were his best friend for that moment in time, giving clear attention, critique, and support.
On Wikipedia alone, there are over 60 well-praised recordings that Luques appeared on. The ones that have received the most critical acclaim are the Grammy-winning works he has done with the great salsa icon Eddie Palmieri. The sound of Luques’ bass creates the classic drive that is found in traditional salsa, yet with a sound that is dark, cool, and not rushed, like the effortless power of a fast-flowing river, and the band is riding a pontoon boat on top, letting Luques’ sound drive the boat.
Although his contributions to salsa music are very important to note, it is also imperative to recognize Luques’ amazing contributions to Latin jazz, straight-ahead jazz, and soul jazz. A couple of years back, I saw Luques play with trumpeter Christian Scott with some of my friends from Rutgers. We drove up and when we arrives, Luques got us a table for free. With the Blue Note being a small venue, there are very few bad viewing angles and every note and stage direction given by Scott and fellow bandmates was heard. There is virtually no room between the tables and the stage, which created an intimate experience between the audience and the artists, as if you were temporarily stepping into the musicians’ world. You could feel the energy radiating from the group even in the rests right before they played the songs. Although the type of music is vastly different from salsa, Luques’ role of creating a concrete foundation and being a team player is a constant. His sound and style stays essentially the same - yet it is NOT because that is all Luques Curtis can do - it is because it is the best thing to do.
The Soundcloud track above is an interview I conducted with Bassist, Mentor, and friend Mike Noordzy. At his front porch in Highland Park, we struck a very intriguing and fun conversation about his musical career and how his life has been affected by his career path.
We first begin our journey through Noordzy’s career all the way from the beginning to days where he played clarinet in public school. Although Noordzy’s parents were not musicians or ‘musical’ people, he has come up to be a full-time musician and mentor. From playing bar gigs, to musicals, to weddings, to writing film scores, Noordzy is truly a character of many hats. His perception of how the music scene works and his ability to make a living as a musician even amidst a global pandemic is an inspiring story; and Noordzy is one hell of a crackup.
For this interview, I made sure of it to be a conversation with Noordzy and let him dig deep into why he loves music and what he has learned about music, the entertainment industry, and being a human being throughout all of it. Since we were on mike’s porch, In the background you can hear the sound of a guitarist singing and playing across the street at Pino’s wine bar, some cars passing by, and occasional pedestrian banter. This interview is a window into the world of what it is like to be a part of the music industry and the community surrounding it.
RugBurn, the New Brunswick Funk Rock Band: Where we are Now and Where we are Going
Rugburn- Apple Music link
Rugburn- Spotify link
Rugburn Facebook Page
Rugburn Instagram Account
Rugburn YouTube Channel
As the bass player in this band, I know too much about this group. Rugburn us a local New Brunswick band which was formed in 2017 by guitarist Josh Siegel, saxophonist Carter Vames, and percussionist Jem Seidel. We all started going to Mason Gross School of the Arts, the art conservatory program of Rutgers University, and we all shared the same concentration of Jazz Studies. Since I was in a number of classes with them, we all naturally started hanging out and jamming outside of school. After a few months, they all contacted me and asked if I would be interested in playing electric bass in a band called RugBurn. I eagerly obliged, and from then on we have been rehearsing, recording, and performing consistently. In this post I will discuss where we are now as a band, what the limitations of COVID-19 has done to our processes of rehearsing, performing, and recording, and where we are going now.
Where we are Now
As a four-piece band, we have done quite a bit since we have first assembled. We started rehearsing consistently in the winter of 2017-18. We played a great deal of basement shows in the New Brunswick area. We played live for Rutgers radio stations such as The Core and WRSU. We played at the Stone Pony in Asbury Park in a battle of the bands competition. We played in Highland park considerably for public events such as the Fourth of July Fireworks. We took our first steps into the studio and recorded our first Album together, titled Trainwreck. Although we would make some money sometimes, we would put all of our money back into the band- investing in equipment and saving money to fund our next recording project.
From 2018-2019, Josh Siegel signed his lease for a house in downtown New Brunswick. When Josh was looking for a place to stay, his main concern was that the house needed a large basement they could throw multi-band basement shows. The house was then dubbed The Roadhouse, and we would rehearse there every week. The basement truly was massive and we were able to rehearse almost any time we were all available. We then cooked up song ideas and cleaned up our act in that basement.
Essentially, every weekend there was a show at the Roadhouse, featuring RugBurn and several other bands each night. this process of playing every week and rehearsing every week really cut our teeth and gave us a level of confidence and connection that made us feel comfortable on stage. Throughout every performance, it was a test to see what musical ideas the crowd enjoyed, what concepts were cool or not, and it was a test of focus and connection between me and the other members. As a band, we would never play the same song exactly the same twice - we were always taking our artistic liberties and risks to challenge ourselves and the listeners that attended.
While we were practicing, playing shows, and getting a college education, we were also getting our foot in the door of the recording studio. With the direction, production, and love of Vincent Troyani of VTX studios, we were able to create albums and singles of quality we could only dream of without him. The albums TrainWreck, Mellow-D, and singles such as Sleep Walking and Bad Brew all come under fruition with the help of Troyani and VTX. All of our published works are made available on Spotify, Apple Music, and on our YouTube Channel.
Below are some other links to check out of our content:
Rugburn “Sleepwalking” single release(Facebook post)
Rugburn Mellow D Album Release Party Promo (Facebook)
Rugburn Live at Chamber 43 record store
How COVID-19 Changed our Plans: Rehearsals, Recordings, and Performances:
Our approach to being an active band has changed quite a bit since March of 2020. Here are some things that we have done in lieu of live performances and crowded rooms...
Rehearsing
When spring came around, we were able to rehearse pretty frequently outside and masked up - in public parks, people’s backyards, and we even played some live outdoor performances for some restaurants in downtown New Brunswick!
Recordings
Recording a live band all in one room with no ventilation has now become a major obstacle. I am excited to say that as a product of our outdoor rehearsals, we have developed enough material for a whole new album. We are beginning the recording process now, and the final product will be coming out early 2021.
Live Streaming Performances
Another interesting avenue we have went down were livestream performances. We started in late April for Rock New Brunswick (facebook), and have played a handful of other live performances on Instagram.
Earth, Wind and Fire’s “All in the Way”- the R&B Banger
YouTube Link
Earth, Wind and Fire is a name that speaks for itself. From funk, to jazz, to R&B, to soul, to hip-hop, this group does it all with poise, intensity, and sparkle. The epic skin-tight production is by Kalimba records, and the track, “All in the Way” was written by Wayne Vaughn, Wanda Vaughn, and Maurice White. This song stuck out to me in particular because this song out of any other EWF works that I have listened to really dove into what I think of as the modern R&B sound. In this post, I will talk about what I found to be the key factors that make EWF sound like who they are, while discussing what about this track in particular makes it sound so much more like mainstream R&B than the other tracks that the band has put out, both in the production stages and more detailed musical choices.
What makes EWF sound like EWF
In order to talk about the different stylings of the EWF sound, we must identify what exactly EWF’s iconic sound is comprised of:
As a trombone player, the first thing I notice on a track that makes me know it is a EWF track is the TIGHT horn section. The trumpets, trombones, and saxophones all mesh together into one sparkling back-up choir, sitting in the mix just below the vocals. Another part of the horns are the super close voicings of the chords, which makes it hard to tell which instrument is playing which note and which notes are sounded.
Another part of the EWF sound is the production technique of all of the voice parts. The way that the voices are mixed into the track along with the way that the EQ and reverb is set makes the voices sound like they are singing to you directly into your ear canals. Every syllable, breath, overtone, and mouth shape is present in the vocal sound.
Now for more nuanced aspects- the prominent use of Kalimba (or thumb-piano) is a part of the EWF sound that I have never heard in other Funk or R&B groups. It adds an interesting bell-like ring to the sound and is even used to add more rhythmic content and syncopation.
Verdine White, the bassist of EWF has such a tasteful way of adding perfectly timed high pitch trills, glissandi (sliding notes) and laying it down when it needs it. His timing is impeccable and his tone stays relatively consistent throughout all of the EWF recordings I have ever heard.
One last part of the EWF vibe is the classic studio-fade ending. Whereas many artists choose to create elaborate or simple endings, EWF has the ending of no ending. The song slowly fades out on the main groove; instead of ending the song, the EWF fade-out makes it feel as it the band is playing the groove to the ends of time and space.
What makes “All in the Way” it sound like R&B:
As a bassist, I was surprised as to how sparse the bass line really is in “all in the way”. Although Verdine White is always a pocket bass player, this song in particular was very simplistic in the overall bass line. Who would have thought that playing a simple root-only bass line that is only on quarter notes with wide rests would be so grooving? The same thing can be said about the drum part. Another thing that makes the drums sound more like R&B is in the mixing- the bass and the kick drum are so prominent in this recording in comparison to all of the other EWF recordings I have heard, which makes it sound and feel way more like R&B. Having the kick drum and bass hotter in the mix really made so much of a difference in terms of the drive and style.
The difference in compositional technique by EWF is that “All in the Way” is beautifully simplistic. Although EWF as a band is groove-oriented, this song in particular really showed how much you can do with so little. For example, in “September”, although the groove itself is pretty straight forward, the horn lines are syncopated, overlapping, and technically challenging to replicate as a brass player. Yet, in “All in the Way”, the horns are playing just enough to support and respond to the vocals and the rhythm section groove- they are responding to the vocalists lines in the hook: “It’s - [BAP] - you - [BAP] - me [BOWW]”. they also support the vocals accents in the verses. The vocal melodies tend to stay in a singable range for both men and women, as opposed to their usual Phil Bailey wails and high harmonies that are the iconic sound for the chorus of “September”. The melodies and lines are rhythmically more straight than their usual funk stylings.
Still taken from Spongebob SquarePants episode, “Mermaidman and Barnacleboy IV”
YouTube Link (Playlist)
This playlist has been my daily mix of tracks for the past few months (around the time when quarantine began in late March 2020). To be frank, when I made the name and thumbnail photo for this playlist, I was not trying to make it have any kind of depth - I just wanted to create a compilation of tracks where I really enjoyed the production quality and melding of jazz and R&B/soul music. Since the day that I created this playlist, sure, I have listened to other music to either study for my Jazz-oriented classes, I play other tracks to get ready for when I go out, when I exercise, when I drive, or if I just get bored; yet as the days have passed, I always find myself gravitating toward this playlist, especially when I am doing my morning routine. Some tracks have been removed and added since its creation.
Every morning I wake up, stretch, meditate, and then listen to this playlist when I take a shower. Oftentimes, I put the playlist on shuffle (which I recommend). This playlist acts as a form of grounding myself in the roots of jazz, funk and soul while at the same time recognizing the influence of funk and soul in popular R&B and Rap today. Not only does it ground me in an emotional sense, but it acts as a stabilizer for my inner monologue as an artist and a human: to always look back at the past in history and art for inspiration, while recognizing the amazing artists that drive history and art forward, to push the revolution of evolution.
1) Everybody Loves the Sunshine, Roy Ayers Ubiquity
If I was only able to listen to one song for the rest of my life, it would be Everybody Loves the Sunshine. This legendary and critically acclaimed song has been a huge part of my introduction to understanding the roots of soul music and R&B as a musician and producer. From a listener’s perspective, the song gently raises your plane of existence into a daze of golden hour in the middle of August. you see and feel the sunbeams gently radiate and heat your skin. The mirage of the heat leaves you gazing out down the endless sea of pavement, where children playing in the street are in your line of sight, but out of focus. The hot breeze crawls across your sweat-infused brow while you take in a breath of heavy fresh air. The hypnotic groove of the bongos and congas and numerous synths with their own rhythmic and harmonic role create a psychedelic aura around the piano, bass, drum set, and vocalists.
2) First Class Khruangbin
Indie Shuffle “How is Khruangbin Pronounced?”
My friend Jeff and I were hanging on the fourth of July this year. Since it was during the quarantine, we kept it to a gathering of four people where we just sat a big round table on their deck and catch up. At around 3am, Jeff puts First Class on, where I was left completely shook. The energy that this trio produces is such a beautiful concoction of Soul, Rock, Thai, Spanish and Middle-eastern influence throughout their entire discography. First Class puts me in a retrospective space - a sound that is so familiar yet has their own fingerprint that can only be Khruangbin.
3) Time (You and I) Khruangbin
Another track from their album “Mordechai” that I could not resist putting on this playlist immediately after I heard it. Like First Class, The soul influence is off the charts, yet it has its own fingerprint that I have trouble identifying where it all comes from - most likely because their collective influence from art around the world is so wide. This song makes me remember that as long as you find your own passion and do what you have to do to reach your goals, life has its own way of working itself out. Even if what you expect to happen in life is a polar opposite of what you prepared for, your life has value because you are alive today, so get up and get it while you got it!
The link I shared is their music video, which I think is amazing in its own way, just like Khruangbin.
4) Winners Circle, Anderson Paak
UGH the drive of this song makes me replay this song all the time. While the tone and texture of the deep and loud kick drum is clearly inspired by popular dance music, his use of the kick drum mixes popular dance with funk and R&B. During the verse, the kick drum is hitting on every beat, driving people to get up and dance! Yet when the second chorus comes around, the kick drum is more syncopated like many other funk and soul drum beats. At the same point where the drums change up, the bass gets funkier too. Since this record was produced by Dr. Dre, the mix and overall production quality is unbelievably clear (as to be expected from a legend). Amazing.
5) Lyk Dis, NxWorries (Anderson.Paak & Knxwledge)
Oh, how the innuendos woven into this song (and music video) crack me up every time I take a listen to this song. with NxWorries, Anderson.Paak, and Knxwledge all putting their creative efforts in on this track, the only question that I had was how good is this collaboration going to be? The production quality and short track length is at an equilibrium where I love it so much that I can repeat this track several times. This song opens the door to an older lower-end smoky club where the energy is fueled only by the people in it, not the atmosphere or lights or expensive drinks. Or it could be a college kickback. Check out the music video (linked), it has really great “Rubber hose” animation that supplements the lyrics in a comedic yet artistic manner.
6) Cosmic Perspective, Mndsgn
The Funk and Jazz elements are jumping right at you on this track. The bass lines are so funky, yet the synth bass sound gives it a disco tinge. The harmonic content throughout has its feet dug deeply in jazz; there are many turnarounds and progressions that are used in jazz that are used in this track. This song feels like I am taking an Uber in a flying sportscar on an interstellar highway while smoking a blunt with Mndsgn.
7) Dirty Harry, Benny the Butcher
They say variety is the spice of life. I added this song almost purely because of how hard this song is. This song reminds me that inspiration comes from all aspects of life, and every corner of the world has their own unique way of turning their life into art that resonates with them.
8) Pelota, Khruangbin
So what if I put three Khruangbin songs on one playlist? I had to put this song on the playlist due to the heavy Spanish influence while still keeping the hypnotic and psychedelic grooves. This song feels like its swirling around my head when I listen to it.
Also, the music video is a very creative and sublime animation that I recommend everyone to watch.
9) Now or Never, Kendrick Lamar
Now or Never must be the most underrated song Kendrick Lamar has every created. The R&B energy reminds me of early 2000′s hits that are made to be pure inspiration - songs that are made when an artist is coming up, where both the listener and the artist both know that they are moving up in the world and reaching a new understanding of what art is. Such an uplifting song that makes me feel like I can move mountains.
10) Never Catch Me, Flying Lotus (Feat. Kendrick Lamar) Video
This is currently my favorite production by Flying Lotus. This song signifies no matter the adversity of others, the obstacles in your way, and the depressive understanding that time is out of your control and life comes to an end for everyone, you can still be you and enjoy life; no man, no systemic oppression, and not even your own body can catch your spirit.
Although I named this playlist with no true meaning behind it originally, I still think Krakatoa is the proper name for it. This playlist makes me feel like it awakens me from my dormant state of mind every morning to the mind of an active volcano - so full of hot flowing inspiration from beneath my surface as a human being, just waiting to blow and create a whole new island of beauty created from within.
Have My Heart (feat. Chandler Moore & Chris Brown) - Maverick City |
What is the difference between gospel and contemporary christian music? Doesn’t the two both have a common goal to praise and worship God? Well the music industry would say that there is a difference and that the difference is often subjected by tone, but in actuality it’s just a matter of race. Worship music as a whole is almost always overlooked in our society. Mainly because there are not many who believe in God. But whether you believe or not, experiencing quality worship music should move you. It should also look something like Maverick City, a diverse musical group who is taking worship music to a whole new level.
“Have My Heart” is one of the many live recorded worship sessions that Maverick City has demonstrated to have authenticity and diversity. This observation mixed with the live piano, drums, and vocals is what draws people into becoming a fan of this group. Hearing the shouts of “yes” and “woo” in the background makes this feel like you’re right there in the room singing along. They are very inviting and charismatic. The first song I’ve ever heard from the group, “Most Beautiful/So in love,” which is another live session, blew my mind. Admittedly, I found myself trying to box the group in a category as well. I was confused because I have never seen anything like it. Everyone seems so comfortable with each other. The setting that they record in is a filled room with people of every shade lifting their hands high and singing their hearts out unapologetically. According to an interview from Relevant magazine, Chandler Moore says “to be a little controversial, the industry mindset is yo, we have to have categories because if we don’t, people are not going to know what we want to present to them. So even one of the first records, [Billboard] tried to put it out as a Gospel record because I was black and I was on it.” Now when I typed in live gospel on Youtube I was sure to have found Maverick City there with Chandler Moore’s face on the thumbnail. Funny enough only the song where Chandler or another member who is black is leading comes up as gospel. “Have my heart” which has the incredible Chris Brown (not the R&B singer) on the cover does not.
This live performance doesn’t feel like a performance at all. It feels like a Sunday morning at church with your friends and all you want to do is pour your heart out to God. This is what makes the experience so authentic.
If you want my heart you got it you got it
My favorite thing about this performance is watching the people in the backgrounds facial expressions. You can really tell that they are passionate about what they are singing and enjoy doing so. Nothing here looks like it was rehearsed or done for fame and money. True worship shouldn’t be boxed in. God is the creator of everything and that includes people and music. Music that extends past the borders of categories developed by the music industry is exactly what Maverick City provides with this live performance and their whole band in general.
Have you ever seen Stevie Wonder perform live? I mean, maybe you've just heard his greatest hits, maybe you've even heard all of his songs hundreds of times... but how does it really feel live? After all, the more familiar you are with Stevie's music, the more you know that he plays many different instruments on the same song by way of multi-track recording. Also as far as 'packaged product' is concerned, although Motown gave him artistic freedom in 1970, the sequence and feeling of the songs certainly can't be the same live when he has to switch instruments and plan around logistical needs like bringing whole string orchestras on and off the stage, right?.... Not so!! Stevie has composed and played music at a very high level for too long to allow that to happen, and he has friends!
The regulars and OGs of his band consist of about 15 of the most soulful and virtuosic men and women from various heavy hitting circles of music around the world. Their performances are also frequently in collaboration with local orchestras as instrumentation is needed. On top of that, many of his band mates are also multi-instrumentalists, so he can switch off piano and play the harmonica, drums or what not, and all the parts can still be covered while other musicians are switching around from bass to piano or vocals to bongos for example. He can also rock the entire show from the middle of 3 pianos [two electric, and one acoustic] which have all the vocal mics, harmonicas, and talkboxes he needs to make 20,000 lose their everloving minds!
Ok for the actual experience of the show... it's breathtaking beyond words. The way the energy rises and falls during the buildup is like none other, and he capitalizes on the buzz of it all at key moments to connect with the audience and talk to them about global issues which are important to him. I think this is especially important because it breathes further life to the music itself because the songs are reflective of the beliefs he really expresses regularly as he addresses tens of thousands of his fans in the same breath as his family.
If you're a fan and you expect to hear his music live exactly the way you heard it on the album, you certainly will not! Stevie and the band are extremely creative and flexible with how they embellish on the existing material and meld from one song into another to create a stream of fresh and exciting musical experience, even for the listener who thinks they know the whole discography. This even proves to be the case over the course of a month between concerts on the same tour which shows the ensemble's dedication to constantly pushing the music forward.
There's also a tongue in cheek cinematic aspect of the performances which sort of rounds off the experience and bridges the vibes of the live musical performance aspect and the more formal and serious political address aspect.
Professor Caveman was founded in 2014 by Rob Romano, a printmaking major, during his freshman year at Rutgers University. Their music is classified as garage and punk, and they draw comparison to the bands Foxygen, Best Coast and the musician Mac DeMarco. Their first EP, grape., was released in February 2014. It is described as psychedelic surf-rock, and draws comparison to the music of the Beach Boys and alternative/progressive rock. Here is Professor Caveman’s Discography (Youtube/Bandcamp links attached) as of 09/24/2020:
-grape.(2014)
Vol. 2 (2014)
Vol. 3 (2017)
Vol. 4 (2018)
I have had an amazing life playing basement shows as a bassist and trombonist with local New Brunswick bands. Since the bands that I play in were growing into the local scene at nearly the same time as professor caveman, I have had the amazing experiences to play on the same bill as them on numerous occasions - practically at every basement-show house in New Brunswick.
After about a year of not seeing Professor Caveman, I happened to run into them at the VTX Studios Central location (which I have an apprenticeship with where I am setting up equipment, mixing, and the like). Dan(Bass), Jon(Keyboards), Jem(Drums) and Rob(Guitar/lead vocals/bandleader) came to the studio and performed there for an Instagram live-stream.
Photo: Professor Caveman at the 2018 North Jersey Indie Rock Festival.
Even before the live-stream begun, the energy in the studio shifted when all of the Caveman members were there. Hanging out with those guys reminded me of the buzzing aura that always emanated from basement shows that we played together; during this quarantine, I have never missed the smell of cheap beer, sweat, and bile so much. The feeling of this multi-strand connection of the community of local musicians was nothing short of surreal; the time seems to fly by so quick when we talk that I could spend days wasting time with these amazing human beings.
The energy from the band was reminiscent of basement show times during the live-stream as well. Although there were a total of seven people in the studio (including the band-mates), it felt as if they were playing for a packed show. The synergy of Jem on the drums and Dan on the bass laid a hypnotic, rock-steady foundation for Rob’s emphatic singing and psychedelic rock sounds and lines. Jon’s electric keyboards acted as the harmonic glue of the piece while providing organ and synth textures similar to Pink Floyd and the Doors mixed with the stylings of Division and other Alternative bands paired with funk grooves.
As a collective, Professor Caveman puts out an energy that I find to be one of the many faces of the local New Brunswick scene that makes me proud of saying where I am from. Setting up sound, recording, mixing, filming, and chopping it up with the guys in Professor caveman made me realize that I can get so caught up in what is the hottest in terms of production quality and what is popular in a global sense that I can lose sight of the amazing and beautiful things that are happening right in front of me in New Brunswick. These local artists are forever going to continue building on their craft and create amazing things whether anyone is paying attention or not because these guys all have their own love and inspiration with who they are and who they resonate with. The experience of creating raw and pure emotion and translating it to sound in a way that is influenced only by their own thoughts and inspiration is something truly special.
The audio and video of the live-stream that I have worked for has not been released just yet, but if you check out the recordings that are linked at the top you will catch Prof. Caveman’s vibe. I will attach the video to the bottom when it is officially uploaded.
As a Jazz-oriented bass player, Thundercat has always been one of my favorite bass players on planet Earth that has broken into the pop scene. His newest album It is What it is, takes sounds, concepts, and artist features that I absolutely adore. Kamasi Washington, Steve Lacy, Steve Arrington, Louis Cole, Childish Gambino, and even comedian Zack Fox all have their own spotlight in it is what it is. Thundercat’s bass playing, musical ideas and phrasing are always A-grade, top tier with a certain modern pop-sound combined with funk, soul and jazz. The entire feel of the album overall is Psychedelic Jazz, Soul and Funk with acrobatic bass lines and a heavy tinge of pop and rock elements - which should not be surprising considering his upbringing of loving and learning from Funk and Soul bass lines (Video: Thundercat’s favorite bass lines).
Although these are all musical characteristics that I have a major soft spot for, there are some superficial things that make this album as a whole fall just short of amazing.
TheNeedleDrop’s Review on it is What it is brings up several strong points that I resonate with: if Thundercat and Flying Lotus spent all of this time working with and paying all of these amazing features and creating such amazing music, “why don’t they want to have a clearer mix?” They go on, describing the “Sample tracks are muddy... meanwhile the vocals are so soaked in reverb to overcompensate for the fact that Thundercat’s falsetto is not great”... “the mix of instruments sounds entangled and noisy”... “skillful playing by everyone but the drums sound terrible (on some tracks it sounds like the drum track is clipping)”... “[the album] is packed with short and non-sequential songs”. As a sound engineer, the production quality of an album can make me love the least musical songs and hate the most musical tracks. The mixing on the album as a whole is nowhere remotely close to terrible, yet when you consider that Thundercat has worked with Snoop Dogg and Kendrick Lamar and many others who are known for their phenomenal production, it throws me off that Flying Lotus and Thundercat produced It is What it is.
Okay, so the album has some sound-staging and production issues and it is not a concept album - is that really a problem? There are plenty of albums that are produced terribly, yet the content itself and the energy behind those amazing yet Lo-Fi songs seems to make the low-quality production sound an asset more than a flaw. Which leads me to my last point - several of the tracks on It is What it is seem to be near copies of feels and tracks from previous albums; even the aspect of lower quality production and muddy and complicated mix sounds very similar to Drunk, his previous full album (2017). For example, The super short track “How Sway” on It is What it is Employs ripping bass lines overtop of six-string bass chords with super high energy breakbeat drums with long chordal vocal harmonies. In Drunk, the track “uh-uh” has nearly the same feel and track length. Listen for yourself:
Ultimately, I can only hope that the production quality is cleaner in his next project. Perhaps to make a more memorable album in the future, Thundercat could maybe stray even further from his roots and his already established sound on Drunk and Apocalypse and into a new exciting territory. He could be moving in a direction of pop music, but there is the part of me that is wishfully thinking that Thundercat could go full Jazz or Soul. With the audience that he has developed over the years, I am certain that his audience is just waiting for something new, and musically moving in either direction would catch all of their attention.
Anderson. Paak’s 2019 Album ‘Ventura’ - Full Review and Analysis: What is New and What is Coming Next?
Emma McIntyre/Getty Images for Coachella
Brandon Paak Anderson (Anderson Paak) is a man that needs very little introduction. The world of news, media, and entertainment have all focused in on his amazing musical ability, his showmanship, and the drive he has to continue creating music and evolving his style. His fourth and most recent full album Ventura, is a sign that this is simply the beginning of his plot to free his artistic choices from the hands of the labels and producers he works with, and to take over the popular entertainment world while doing so.
From starting out producing his own tracks as Breezy LoveJoy to his transition to his Anderson .Paak alias, working with Dr. Dre, Eminem, Pharrell, Jay Rock, Kaytrananda, A Tribe Called Quest and a laundry list of other production and musical giants, Paak has always been setting the bar and leaping over it in terms of production. In his fourth and most recent full album Ventura, this surely is the case once again.
(Photo: GQ)
With the album being produced by Dr. Dre and Pharrell Williams, the production quality is impeccable, as to be expected. The overall mix and feel of the album is very R&B. In the drums, a fat kick drum and deep and articulate floor toms, a tight and clap-like snare and very shimmering and sizzling cymbals. All lead and background voices have a similar shimmer in the high frequencies - all syllables are tight and clear as if they are standing next to you and singing directly into your ears. The use of background sounds for texture, samples, synth counter-lines have a beautiful combination of eras; guitar with a wah effect, string background, and synth horn lines are recalling to the days of funk and soul such as Earth Wind and Fire, the Isley Brothers and Kool and the Gang. The drum and bass both play an amazing character of connecting Paak’s influence of soul and jazz music with current R&B and dance music; the thumping “four on the floor” dance kick drum while using an acoustic kit, including hihats, ride cymbal, and toms encompass Paak’s sound and style. The bass plays a dance/R&B role while also adding funk riffs and the occasional slap bass to add bounce and direction to the bass lines.
There is a very popular notion that when an artist signs a contract with a record label, the artist then becomes merely an image that is picked and pedaled by the label. Although that is the case in most situations, Paak has reached a level of respect and prowess that let him produce essentially all of his own music the way that he wanted to:
"[Dre] let me have a lot of leeway on Ventura. He was like, it seems like you got it. I spread my wings on the production and on the writing and on these collaborations."
This shift in delegation of work of production and collaboration from Dre to Paak is apparent when we compare Ventura with his previous album with Dr. Dre: Oxnard. Oxnard was a bit of a flop if we compare the hype leading up to it versus the end result. To everyone in R&B and Hip-hop community, Dr. Dre and Anderson .Paak sounds like the legendary collaboration of the century - so why did Oxnard flop? Paak said it himself in an interview with Esquire: “[Dre] wanted to get his chance to work with me…[I was] allowing myself to open up and be produced and to be more of a vessel.” @hiphopunrapped posted an article about their underwhelmed reaction to Oxnard: “Although I was beyond excited for its release, the project was an underwhelming mix of tracks that left me hungering for more of the unique qualities I’ve come to expect from an Anderson .Paak album.” Dre taking the reins on production (which is usually a fantastic thing with rappers and singers that are less into the production aspect) was hampering Paak’s already established sound and energy that is heard in Malibu and Ventura.
if Paak has been artistically held down in the popular music industry, Oxnard and Ventura are just precursors to get him on the path to where he can make his own music while being on top of the world. Paak’s hard work as an individual and collaboratively with the amazing artists he is working with is able to thrive without being a vessel for a producer. I am expecting a lot more of the jazz, funk and soul elements reaching the foreground of his music moving forward as Paak continues to spread his wings and find himself again once he is on top.
Sources:
Everything That Went Wrong Between Anderson .Paak and Dr. Dre On ‘Oxnard’ (Article)
Anderson .Paak Used to Crash in Dive Bars. Now He’s Headlining Madison Square Garden. (Article)
