Monday, November 29, 2010

Harry Whitaker I Will Miss You My Brother.................◥◥◥

Transcend is peace..... Black Renaissance .... Roy Ayers (including “We Live in Brooklyn”), Eugene McDaniel (including “Jagger the Dagger”), Roberta Flack (including “Feel Like Making Love”) and countless others. But...a Kushite....descendant from the always...Underdogthedj.

Reprinted from Wax Poetics Issue 3, Fall 2002:

“Man, patience is a virtue!” Harry Whitaker is reflecting on the long-awaited release of his first album as a leader, recorded when he was thirty-four years old. Now a well-seasoned fifty-nine (“I’m older, not more mature,” he clarifies), he is savoring the fruits of a philosophy that guided him throughout a rich career spent supporting a galaxy of headliners. An archetypal behind-the-scenes accompanist and arranger best known through his association with Roberta Flack, he was a cornerstone of Roy Ayers’s landmark ensemble Ubiquity. When looking beyond the marquee and delving into key players in R&B, jazz, and that area where they intersect, his name quickly becomes, well, ubiquitous. A piano player who was in the thick of the New York City independent jazz milieu of the ’70s, yet concurrently contributed to countless commercial and “pop” sessions, his arrangements are instantly recognizable (“We Live in Brooklyn, “Feel Like Makin’ Love”) but his name remains obscure to most. With the rerelease of his only album as a leader, a soul-jazz gem of heart-palpitating rarity, this may soon change. I spoke to Whitaker at a recent gig and found his tastefulness and gift for hip understatement in clear evidence in both his piano playing and personality.

Born in Pensacola, Florida, in 1942, Whitaker was raised in the musically fertile soil of Detroit. His first professional gig was with rhythm-and-blues sensation Lloyd “Mr. Personality” Price. “It was a great band, very hip,” Whitaker recalls, listing members Slide Hampton, Kenny Dorham, Calvin Newborn, and Pat Martino. After graduating from high school he moved to New York City, where he paid his dues working the “chitlin circuit” with a Fort Greene, Brooklyn-based band called the Eddy Jacobs Exchange. Typically, the band played an assortment of Top 40 tunes, and Whitaker cites this experience as his training in writing and arranging. “None of the guys could read [music], so every week I would take whatever song was hot at the time—Joe Tex or Otis Redding, say—and arrange it.” The band, which also included future heavyweight Leon Pendarvis on bass, released a couple 7-inches on Columbia Records with the support of Al Kooper, whom they had opened for. Now one of the most sought-after major label funk 45s, the first single features Whitaker’s composition “Pull My Coat,” a wicked slice of JB’s-inspired hard funk.

Picture 67

“In 1969 or so we were playing at Wilt Chamberlain’s club in Harlem,” Whitaker recalls. “[Drummer] Al Mouzon came in and asked me if I could make a rehearsal with Roy Ayers,” who had recently arrived from California. The band turned out to be the fledgling Ubiquity, and with Whitaker’s presence the group gelled solidly. The first LP Ayers’s new lineup recorded was 1970’s He’s Coming, a bellwether of the era’s impending melding of jazz, soul, and funk. “‘We Live in Brooklyn’ was my song,” Whitaker notes. “I was living in Brooklyn at the time, so I came up with this little thing, very simple really, and Roy wanted to record it.” With a bemused grin, he adds, “A lot of people remember that one.” Unfortunately but not unexpectedly, some of those who remembered the song forgot to credit its creator, and it is here that we come to the familiar refrain of uncleared samples, record company subterfuge, and so on. Sampled prominently in Mos Def’s 1999 Rawkus LP Black on Both Sides, the label did not clear the usage. “With Warner Brothers [taking over Rawkus] I am just now getting something from it. I got a lot of catching up to do!” Whitaker is far from a bitter old-timer however, more a playful spirit delighted at seeing how the ripples of his music have spread.

“Roy and I did the score for the Coffy movie with Pam Grier. It was 1972, the company was trying to get the group War to do it but they wanted more money so we got the job. In 1997 Quentin Tarantino ended up using one of our arrangements [from Coffy] in Jackie Brown. I knew nothing about it until I went to the movies, heard it, and was like, ‘Whoa! That’s my song!’” He has since retained the services of a lawyer he describes as “a pirahna.”

Whitaker has a connection to yet another rare-groove treasure. Though later in his career he would become well known as an arranger, his first official gig in that capacity was a 1970 session for his friend Gene McDaniels. Entitled Headless Heroes of the Apocalypse, the much-sampled and sought-after result gained some of its distinctive sound from a clever arrangement Whitaker worked out: “They didn’t have enough money for horns so I used two bass players to do the lines.” The interplay of Miroslav Vitous (acoustic bass) and Gary King (electric bass) on the cut “Headless Heroes” showcases the unexpectedly powerful result. “Jagger the Dagger”’s eerie and immediately distinctive groove, conspicuously sampled by A Tribe Called Quest and the Gravediggaz, is largely derived from Whitaker’s arrangement of electric piano and bass.

Also present at the session was a close friend of McDaniels, a young singer by the name of Roberta Flack. Taken by Whitaker’s skills, she asked him to join her group. “I had just gotten with Roy so I told her that I wasn’t interested at that time,” Whitaker recalls. Four years later, the time was right. Beginning with the blockbuster Feel Like Makin’ Love in 1975, (the title track written by Gene McDaniels and reprised on Ubiquity’s Change Up the Groove LP) Whitaker worked with Flack through 1981 as musical director, playing on hits like “The Closer I Get to You,” “And the Feeling’s Good,” and “Back Together Again.” Though the money and exposure was great, Whitaker wasn’t wholly satisfied, and felt he was losing depth and subtlety in his playing. “I was starting to sound like a jingle. I had to make a decision whether I wanted the money or my creativity. Working with Roberta was taking up all of my time. So I chose to be creative and be poor for a while.”

In spite of his commitments to Flack, Whitaker had always kept bands together, gigging in New York City when he was not on tour. After several years with Flack’s band, “I was making good bread so I booked some time and went in and did my own project,” he remembers. Black Renaissance was recorded on Dr. Martin Luther King Jr.’s birthday, January 15th, 1976, at Sound Ideas Studio on West 46th Street in New York City. The same locale had already given birth to Weldon Irvine’s first solo recordings, Stanley Cowell’s Illusion Suite, and Shamek Farrah’s First Impressions. Whitaker’s project was to live up to these high standards, both in musical terms and ultimately as an elusive rare groove treasure.

“It was never put out over here. I tried to get a deal with it but couldn’t,” Whitaker remembers. “It’s really not a commercial record.” He spoke to a representative of a Japanese label, Baystate. “I didn’t trust them, so I gave them a tape, not the masters.” Baystate ended up issuing the album in 1977, neglecting to notify (or pay) Whitaker, and misprinting the auspicious recording date as June 15th. “It was a handshake agreement with somebody who did not turn out to be trustworthy,” he summarizes. Fortunately for those who have an interest in soul-jazz and haven’t been able to track down this extremely rare pressing, the serendipitously named U.S. label Ubiquity has reissued it, though they did not have the luxury of working from the original tapes: “I had the masters with a friend and the building burnt down about eighteen years ago.” He shakes his head and shrugs. “What Baystate had was a rough mix; I never had the money to finish it and get it mixed properly—but it sounds pretty good!” The currently available pressing was mastered from the Baystate issue, and he’s right, it sounds great.

Catchily described as a free-jazz What’s Going On, the album has some of the same Afrocentric, free-flowing soulfulness, encouraged by the large crowd of friends and family present at the session. Whereas Gaye’s album was carefully orchestrated however, both tunes that comprise Black Renaissance were unrehearsed. “It was spontaneous, moment to moment,” Whitaker states. “The piano vamp ties it together and Buster brings it in with the bass.” Without question, Buster Williams’s rich-toned acoustic figures are prominent, hooky and ripe for the creative samplist. As the pulse of the twenty-three-minute A-side ebbs and flows, the listener is treated to three long solo sections (Azar Lawrence, Woody Shaw, and David Schnitter), each anchored by Buster Williams’s slinky bass and Whitaker and Billy Hart’s solid accompaniment. Especially vivid is Shaw’s solo, which builds from sparse ragged statements to a blistering, almost distorted rampage, and the dubby echoed interplay of the multi-lingual poets and vocalists. “Two of my ex-wives are on there, saying poetry,” Whitaker proclaims straight-faced. Obviously the man must know something about harmony! The cool rhythmic bed remains solid throughout, and the song ends with a coda where everyone gets loose, aptly illustrating Whitaker’s description of the piece as “Dixieland, circa 1976.”

The fifteen-minute B-side “Magic Ritual” has a loping, heavier percussive 6/8 feel to it, reminiscent of some Ghanian rhythms. Whitaker’s block chords again guide the assembled cast through the sinuous and trancelike progression. This time the horns trade thirty-two-bar solos before vocalists take turns riffing over a modal plateau. Samplists and DJs alike will certainly enjoy the mid-song breakdown introduced by the chant “Beat the drum for today and tomorrow… Beat the drum for the start of the magic ritual.” The heavy percussion obeys the command, stomping and shaking with a fury before Buster Williams finally gets a chance to let loose over light clave and shaker accompaniment.

“Everybody told me it’s ahead of its time,” Whitaker laughs. “With the poets on there, it’s really a rap record if you think about it!” Aficionados may get a chance to hear another intriguing session, heretofore unearthed, that Whitaker put together in 1981. Featuring Gary Bartz and Terumasa Hino, the sound is “much different than Black Renaissance.” Intriguingly, Sybil Thomas is the featured vocalist. The daughter of Stax legend Rufus, her much-loved releases on West End Records include the Garage anthem “Do It to the Music,” recorded under the Raw Silk moniker. “It’s heavy,” Whitaker promises.

The consummate accompanist, Whitaker has never lacked for work. When asked for notable sessions he’s contributed to, the surprises keep coming. “Gary Bartz, Norman Connors, the Spinners, Stephanie Mills, Bobbi Humphrey, Gwen Guthrie,” He pauses. “Oh yeah, Madonna.” Madonna? “Yeah, I remember she was real shy, had black hair then. I played on a tune called ‘Starlight’ or something…” A quick check of the album notes doesn’t turn up his name on “Lucky Star,” but credited or not, his generous contribution to the jazz and R&B canon is indisputable.

Whitaker currently holds down a trio gig at a neighborhood tavern in Greenwich Village, polishing off standards and cheerfully accompanying vocalists, all the while throwing in witty musical allusions (such as the chords to Zawinul’s “In a Silent Way” rising over the clatter of pizza trays in one beautifully surreal instance). “I’m having fun, this is the best time of my life. I love music and I’m passionate about it. It took me a long time to realize this is what I want to do, I just need to keep working on it. Money is no problem, it’s about how do you want to make the money.” Whitaker laughs, warming to his subject. “I’m a runaway slave. I ain’t in the kitchen, I ain’t in the fields picking cotton, I ran away and they have to come and get me! I’m doing what I want to do.” Patience is indeed a virtue.

Sunday, November 28, 2010


How to ride a bike without really going anywhere or How to ride a bike without really going anywhere

PLAY THIS LOUD▼▼▼▼▼▼NU-Mark "Take Me With You◥◥◥

Terry & Dexter (photographer) after the artists talk for our group show in Harlem. Perfection.

The Sounds of VTech / Take Me With You: NuMark

Nu-Mark is an L.A. DJ veteran. His innovative DJ routines and creative stage show have made him a favorite of crowds all over the world, sharing the stage with the likes of Mos Def, The Roots, RUN DMC, Green Day, and Outkast. Nu-Mark is the first DJ to incorporate children’s music toys in his explosive sets.

Take Me With You will be available in all quality strores on January 18th but sooner for sure through Mochilla.

Nu-Mark will be releasing more exclusives through VTech and stayed tuned, and please turn it up.

★★★★★aUdible tReats::Velourpistol - Mind Traveling feat. Georgia Anne Muldrow & Declaime presents "Mind Traveling" featuring Georgia Anne Muldrow, digital single from the forthcoming "The Vale of Happiness" soundtrack.

The Revivalist Celebrates 40 Years of Bitches Brew as our First Monthly Issue ||||||||||||||||

The Revivalist Bitches Brew

In their words:

Why did we choose Bitches Brew for the first “Issue?” When one of our brethrens at Revive was asked to sit on the panel at this year’s CMJ Music Marathon Week by the Miles Davis Estate to talk about the intersections between jazz and hip-hop and how it relates to Bitches Brew, we jumped out of our seats and said “yes, yes!” At last there was a camp, the Miles Davis Estate, that like ours, valued progressive jazz music beyond the confines of strict genre assignments. We respected what the estate was doing, connecting with young cats in different areas of popular culture, and outside of academic jazz circles, to revitalize the legacy of Miles Davis—and not just Miles Davis—but the eras of music that can be connected directly back to his influence. After all, Miles was the artist who had the audacity (backed with genius), to exclaim that he had “changed music 3 or 4 times.” On another frontier, they were also connecting a heavily lacking historical context with today’s music terrain, giving music consumers (readers of online and print publications, DJs, young musicians, music collectors, passive radio listeners) a look at the deep roots of American jazz music, where Miles Davis stands as one of the most powerful icons.

Exclusive Never Been Released Live Recording of “Directions” from Bitches Brew Live

To kick off this month’s issue and to commemorate the 40th Anniversary of Bitches Brew, it is with our absolute honor at The Revivalist to present publically to the world the never before released live recording of “Directions,” from Bitches Brew Live, the Joe Zawinul composition performed at the Isle of Wright in 1970.


Why its Important Not to Combine Foods||||||||||||||||||||||||||

Good health cannot be realized in an acidic body. Contributing factors include, eating acid forming foods and combining foods that require different digestive environments. Most folks eat until they are about to burst but, bloating, burping, constipation, fatigue, upset stomach gas, and heartburn are all results of poor food combining. When eating living foods, combining principles are much more relaxed because difficult to digest foods such as beans, nuts, and seeds are soaked and sprouted to increase alkalinity and digestibility. In effect they are pre-digested, meaning that through the sprouting process, the nutrition is broken down into usable units such as amino acids, simple sugars, and fatty acids. Consequently, when eating live foods, you have more flexibility and can combine foods that would not be recommended if cooked. Proper food combining will help you maintain an alkaline digestive tract which, will enable ones to digest food well, absorb its nutrients, and eliminate waste efficiently, avoid illness and disease that thrives in an acidic environment. Here are a few guidelines that will assist ones in achieving wellness through a balanced combination of foods:

-Do Liquids Alone: Drink liquids (water, lemonade, grass juices(wheat or barley), fruit, vegetable, coffee, and tea) before your meal and wait 15 minutes before eating. Or drink liquids after foods are digested. Drinking with our meals, dilutes the hydrochloric acid in the stomach, making digestion less efficient. Liquids carry food out of the stomach before they are broken down, so any absorption of nutrients or raw enzymes, is lost.

-Dense Protein (Meat, Fish, Eggs, Dairy): Do your best not to combine any of these with dense starches (bread, cereal, corn, crackers, grains, potatoes, pasta, yams). Proteins are digested in an acid medium in the stomach. Starch and carbohydrates are digested in an alkaline medium in the mouth. Try eating non- starchy veggies like broccoli, cauliflower, and zucchini with dense protein. So, instead of eating meat with potatoes, combine meat with veggies and potatoes with veggies.

-Fruits: Do your best not to combine acid fruits (lemons, limes, pineapples, kiwi,) with sweet fruits (bananas, dates, figs, prunes, raisins) Acid fruits require a more alkaline digestive environment than sweet.

-Melons: They contain more water than other fruits and require less time in the stomach. Do watermelon alone, it consists of mostly water and its required time in the stomach is less than that of other melons.

-Sub-Acid Fruits (apples, berries, apricots, cherries, mangoes, papayas, peaches, pears, plums) Can all be combined with sweet fruits or acid fruits (oranges, pineapple, pomegranates, sour grapes, grapefruit, lemons)

Alkaline Forming Foods: All fresh fruits and juices with the exception of blueberries, cranberries, plums, and prunes are alkaline. All fresh vegetables are alkaline forming as well.

-Grains: Amaranth, millet, and quinoa.

-Beans: Fresh green beans, green peas, (acid forming beans such as, aduki, black, chickpeas, kidney, lentil, mung, pinto, navy, and white become alkaline when sprouted.)

-Nuts and Seeds: Aside from almonds and fresh coconut, nuts are slightly acid forming, soaking nuts make them alkaline. All sprouted seeds are alkaline.

*Excessive cooking, freezing, canning, pickling, and preserving w/ sugar and chemicals, greatly reduce alkalinity. Meats (refined and cooked), salts, sugars, starches, alcohol, coffee, and soft drinks are all acidic.

*I know that most of you may read this and wonder, well what can I eat then? This is all about balance and awareness and giving your body enough time to process all your foods well and good. Overload just leads to discomfort and disease. We try our best to promote prevention at all costs. If you know better, then you do better. Try to think more about how foods will gel in your stomach rather than what you are traditionally accustomed to eating...Just a bit of change..Bless..Be Good to Your WHOLE Body...Be well....

Thursday, November 25, 2010

●●●●●●●●●SBTRKT-"Look at Stars"◆◇◆◇◆◇◆◇

UK producer SBTRKT and his recurring voice contributor Sampha dropped the "Look at Stars"

Bonus█ ▌ ▐ █ ▌ ▐ █ ▌ ▐ █ ▌ ▐ █ ▌ ▐ █ ▌ ▐ █ ▌ ▐ █ ▌ ▐ █ ▌ ▐ █ ▌ ▐ █ ▌ ▐

Drumz Nightmare- Karizma from Sim Ismail on Vimeo.


Wednesday, November 24, 2010

█ ██ █ █ █

distribution of good and evil

Musicvideo: Theophilus London▲Flying Overseas▲▲v

Theophilus London - Flying Overseas from GreenLabelSound on Vimeo.

from the “I Want You Mixtape”.

◥◥Jem Melts Rock Using Sunshine◥◥◥

Jem Melts Rock Using Sunshine: „Jem Stansfield travels to the Solar Furnace Research Facility in Southern France. He witnesses the incredible power generated by highly concentrated sunlight.“

⋆ ✢ ✣ ✤ ✥ ✦ ✧ ✩ ✪ ✫ ✬ ✭ ✮ ✯ ✰ ★ Visual Therapy 18: Incidental video and Accidental Aesthetics

◥◥◥◥Sibylle Bergemann◥◥◥◥◥◥◥◥

Photos by Sibylle Bergemann.

Photographer Sibylle Bergemann

Photographer Sibylle Bergemann

Photographer Sibylle Bergemann

Photographer Sibylle Bergemann

Photographer Sibylle Bergemann

Photographer Sibylle Bergemann

The Leaf Lamp by Peter Schumacher|||||||||||||||||||

Australian designer Peter Schumacher has created the Leaf Lamp for Green Furniture Sweden.

Description from the manufacturer:

Very close to how nature itself designs, and yet based on simple principles, this lamp has a harmonic and natural shape. The trunk and branches, made of round birch parts with wedged ends, join without glue and the leafs consist of thin unbleached and starched wool leaves – a 100% natural mix that ship as a flat package. The tree shares its inner energy, from a warm toned LED or induction bulb, through the foliage as a soft and natural light.

Leaf Lamp is very sound absorbing – the foilage forms a soft labyrinth of 4,5 / 6 square meters of wool felt.

Bay Leaves Matter▼▼▼▼▼▼▼▼

Our parents used these in everything. But why?Bay leaf refers to the aromatic leaf of the bay laurel plant, which belongs to the Lauraceae family.The leaves of this plant are quite often used to add flavor to a range of dishes, due to their distinct fragrance.

Health & Nutrition Benefits Of Eating Bay Leaf
  • Bay leaf is known to provide resistance against different types of cancer. It contains caffeic acid, quercetin, eugenol and catechins, all of which posses chemo-protective properties.
  • One of the phytonutrients contained in bay leaves, known as parthenolide, has shown to specifically restrain the proliferation of cervical cancer cells. This is done by inducing apoptosis, inhibiting tumor-associated angiogenesis and reducing the activity of the tumor promoter, NF-êB
  • Bay leaves are a rich source of vitamin A, vitamin C, iron, manganese, calcium,potassium and magnesium. As such, regular inclusion of bay leaves in meals promotes general heath and well-being.
  • The leaves are known to provide protection against cardiovascular disease. They contain some very valuable compounds, such as phytonutrients, caffeic acid, rutin, and salicylates, which promote cardiovascular health. Bay leaves make up an important component of Mediterranean seasonings for this specific reason only.
  • Traditionally, bay leaves have been used to treat arthritis and other inflammatory conditions. The parthenolide present in bay leaves is an anti-inflammatory agent, according to ancient knowledge about the plant.
  • In the middle ages, herbal practitioners used bay leaves to help in regular menstruation, treat snakebite, treat insect stings and cold, relieve cuts and bruises, cure urinary problems and ease rheumatism.
  • Bay leaves are known to have anti-inflammatory, anti-oxidant, anti-bacterial and anti-fungal properties. Their antioxidant properties can help in conditions like diabetes, by enabling the body to process insulin efficiently.
  • The leaves are used to treat stomach upsets and reduce the symptoms of digestive disorders. They contain enzymes that help to breakdown proteins and promote digestion of food.
  • Some compounds present in bay leaves makes them an efficient herbal remedy for headaches. They have also proved to be useful in the treatment of migraines.

Tuesday, November 23, 2010

VTech and ◥◥◥Mochilla Present Sounds of Ayiti: A Man Called Warwick◥◥◥B◥◥◥B◥◥◥B

The Sounds of VTech / Sounds of Ayiti: A Man Called Warwick

VTech continually gives you music from all over the world for free. This week we want you to download this mix, think about where it came from, and if you can do something to help.

Here are some places to start, I’ve tried to suggest places that work with Haitians and that have low bureaucratic costs… but research and find what works for your money.

Cine Institute of Haiti

Notes for Haiti

Partners in Health

Islamic Relief

Operation USA

Above all enjoy the week and when you’ve downloaded this mix – you know what to do…. Turn it up. -B+

?Louise Despont◥◥◥◥