Stephen Lawrence 13 September 1974 – 22 April 1993

I distinctly remember the moment that gave me the impetus to  pen the song “Unresolved”, in memory of Stephen Lawrence ( /Ricky Reel/Damilola Taylor/ New Cross Fire Victims / insert as appropriate)

The Daily Mail ( yes I know, my fault for reading it..) had just run a headline on Sir Paul Condon stepping down as Met Police Chief, and the size of his redundancy package, thereby relegating the news of a mother and father who had lost their son – and their hopes for timely justice – off of the front pages.

If I’m honest, until that article, I never got a sense of purposeful,  prevarication and  prejudices of press, politicians and police, or their priorities for preservation of personal power.  Until then, I actually supposed that the colour of my skin – of our skin  -  really did not come into the equation when justice is being sought or served.

I still believe that skin colour is not a factor in the pursuit and deliverance of natural justice.  But as this case reopens, I am made painfully aware of how time and money are either the strong arm of the Rule of Law, or have strong armed the Rule of Law within the UK courts in any case.

So with time and words at a premium I penned the song “Unresolved”. And I remember that I actually had the concern that by the time people got to hear it, Stephen’s killers would have been found, and the song rendered obsolete, resigned to pop jingle purgatory.

I needn’t have worried.  In fact I even had time to do a remix:

And the subsequent  ”death” of Smiley Culture, or the life and trials of Caul Grant, and the questionable circumstances in which Mark Duggan’s life was snuffed out, sparking fires across the UK skyline, have shown that the message in the song is still painfully pertinent.  Perhaps more so in this year, the UN’s declared International Year of People of African Descent.

I remember the late Bernie Grant MP commenting that the Steven Lawrence case and the subsequent MacPherson Report,  published in the last year of the last millennium, represented British society’s  ”last chance to tackle racism”. Perhaps with the reopening of the Stephen Lawrence case this month, Bernie Grant’s words have finally been heard, and understood, by those who need to hear them the most.

Fireworks, explosions, flames roaring into the sky, angry mobs plotting the downfall of the government…No, not the Tottenham Riots, I’m talking about Guy Fawkes Night; I trust you all had a safe one.  But there is still a lot to say about the events of the last two months in the UK, and We think we’ve found the perfect band to say it.    United Vibrations bring a fresh new voice and a brand new track  to Taylormade Studio’s first ever live session!

Tune in below:

On Podomatic: http://jazzreloaded.podomatic.com

On Soundcloud: http://soundcloud.com/jazzreloaded

Episode 5 Track Listing:

PART ONE:

1. UNITED VIBRATIONS – No Space No Time
Album: Galaxies Not Ghettos
(12 Tone, 2010)

2. UNITED VIBRATIONS – London Bridge
(Recorded live @ Jazzreloaded HQ)

3. SUN RA – Lanquidity
Album: Lanquidity
(Philly Jazz, 1978)

4. BOB MARLEY – Buffalo Soldier
Album: Confrontation
(Tuffgong/Island, 1983)

5. UNITED VIBRATIONS – Circle
Album: Galaxies Not Ghettos
(12 Tone, 2010)

PART TWO:

5. UNITED VIBRATIONS – Yeah
Album: Galaxies Not Ghettos
(12 Tone, 2010)

6. TONY WILLIAMS – There Comes A Time
Album: Ego
(Verve, 1971)

7. UNITED VIBRATIONS – I Know Who I Am
Album: Galaxies Not Ghettos
(12 Tone, 2010)

8. DIZZEE RASCAL – I Love You
Album: Boy In Da Corner
(XL, 2003)

9. FELA KUTI – Zombie
Album: Zombie
(Barclay Records, 1977)

10. UNITED VIBRATIONS – Ra! Pt2
Album: Galaxies Not Ghettos
(12 Tone, 2010)

Taylormade Radio Episode 4

As the Great British Summer threatens to come to an end, the London Carnival Season promises to do its best to hold back the rain. This month’s show is a special tribute to Trinidadian thoughts and tunes that will take you to the Caribbean in First Class style!

Plus an interview with  a very special guest artist and activist, the outspoken calypsonian composer  Alexander D Great , who, alongside spiritual activist Roxanne Clinch, brings an AfroPean twist to some news you may have missed…

Tune in below:

On Podomatic: http://jazzreloaded.podomatic.com

On Soundcloud: http://soundcloud.com/jazzreloaded

EPISODE 4 TRACKLISTINGS:

EPISODE 4 PT 1

1. LENNOX ‘ BOOGSIE’ SHARPE – 79 Is Mine
Album: Boogsie-Phase 2 (LP)
Sharc Productions (1979)

2. ALEXANDER D GREAT – Remember Slavery
Album: Finest Cuts (CD)
Lion Valley Records

3. ETIENNE CHARLES – Folklore
Album: Folklore (MP3)
Etienne Charles (2009)

4. OLATUJA PROJECT – The Promise (Neo Rhizome Remix)
Album: The Promise (MP3)
World Tune Records (2011)

5. ALEXANDER D GREAT – Finest Cuts
Album: Finest Cuts (CD)
Lion Valley Records

6. ANDRE TANKER – Ya Ya Monde
Album: Greatest Hits Vol1 (CD)
Andre Tanker Music Limited (2008)

EPISODE 4 PT 2

7. DANIEL PAUL ft ROGER ROBINSON – Glorious Song
Album: Unknown (MP3)

8. UNITED VIBRATIONS – No Space No Time
Album: Galaxies Not Ghettos (MP3)
12 Tone (2011)

9. CHRIS JEROME – Mitsika
Album: Long Distance (CD)
Self Released (

10. NTJAM ROSIE – Space of You
Album: Elle (MP3)
Coast to Coast BV (2011)

11. GIL SCOTT-HERON – The Revolution Will Not Be Televised.
Album: The Revolution Will Not Be Televised (CD)
RCA (1990)

12 . THE BREAKFAST BAND – Batter Loco
Album: Waters Edge (LP)
Making Waves (1985)

13. ZENA EDWARDS – I Rise
Album: Unknown (CD)

14. ALEXANDER D GREAT – Did You Get What You Want
Album: Finest Cuts (CD)
Lion Valley Records

Crazy rhythm here’s the doorway

I’ll go my way you’ll go your way

Crazy rhythm from now on we’re through

Here is where we have a showdown

I’m too high hat you’re too lowdown

Crazy rhythm here’s goodbye to you

They say that when a highbrow meets a lowbrow

Walking along broadway

Soon the highbrow he has no brow

Ain’t it a shame and you’re to blame

What’s the use of prohibition?

You produce the same condition

Crazy rhythm i’ve gone crazy too

Perhaps an hour ( perhaps minutes; who knows?)  later , my iPhone buzzed with a text from my friend, a vocalist and long term Lupus sufferer, which simply read:

“Amy Winehouse is dead, suspected overdose”

A sign of the times, or my tiredness, I know not which; but I fumbled with my phone’s internet connection for at least 5 minutes before remembering that I was in front of a television, and that, if true, Amy’s death would surely be headline news.

Mitch Winehouse, Father of Amy Winehouse

Sure enough, Sky News had already dug up a 2008 interview with Amy’s father Mitch, in which he prophesied her death (albeit from emphysema) and berated the self-perceived immortality of 24 year olds who, he resigned himself, had a mindset that was impervious to X-rays and MRI scans which  could otherwise outline in graphic detail the manifest physical consequences of living every moment as if it were your first.

My mind flashed back to a heated conversation I had in 2007 with a well respected jazz educator ( who shall remain nameless!) who could not understand why I could not understand that the abilities of Amy Winehouse ( /Charlie Parker/ Billie Holiday/insert as appropriate ) were “genius”, and as such, special allowances had to be made for the “behavioural quirks” that encouraged “genius” to happen.

Alas I could not concede the attribute as virtue  so easily; I was at pains to point out the ”genius”  in living to the age of a Quincy Jones or Ella Fitzgerald or Sonny Rollins or Marjorie Wiley, or Dame Cleo Laine, or Sir John Dankworth, or Coleridge Goode (say), and making a comparable contribution to the well being of family, friends and fans, possibly in that order of preference.

The conditions under which Charlie Parker, Billie Holiday, Jelly Roll Morton, Charles Mingus – and countless unknown others – were made to exhibit their own spiritual connection were never humane, let alone legal.  And yet because their plight as human beings had been repeatedly trivialised, sensationalised and commercialised, their behavioral responses have been normalised to the point where their artistic expressions are seen as the justification, compensation – or in extreme cases, reward – for continued financial illiteracy, poor mental and physical health, and social exclusion and alienation of the individual, or the community to which they belong.

It is through this normalisation process that an artist can sneak by her management and advisers, and deliver the sort of performance that was Amy’s continental farewell.

And so we have normalised the young artistic death.  We may even celebrate it; Rupert Murdoch’s Sun and the LA Times were quick to sanction articles about how Winehouse had joined the “27 club”  - artists such as Janis Joplin, Kurt Cobain and Jimmy Hendrix,whose hearts can still be heard revolving around record players around the world at 33rpm, but whose minds did not endure 33 rotations around the sun.

But perhaps now is as good a time as any to remind (reinforce within ) ourselves that it is not natural.  No natural parent wants to outlive their child, and Amy’s death is, in my view, no more acceptable in the jazz world than it is in the world of alchemy.  Or as  best-selling author Elisabeth Gilbert put it:

“Like my dad, for example, was a chemical engineer and I don’t recall once in his 40 years of chemical engineering anybody asking him if he was afraid to be a chemical engineer, you know? It didn’t — that chemical engineering block John, how’s it going? It just didn’t come up like that, you know? But to be fair, chemical engineers as a group haven’t really earned a reputation over the centuries for being alcoholic manic-depressives.”

In the full transcript and video ( which I thoroughly recommend to all jazz artists, and all people responsible for jazz artists ) , Gilbert goes on to say:

“…And all you have to do is look at the very grim death count in the 20th century alone, of really magnificent creative minds who died young and often at their own hands, you know? And even the ones who didn’t literally commit suicide seem to be really undone by their gifts, you know. Norman Mailer, just before he died, last interview, he said “Every one of my books has killed me a little more.” An extraordinary statement to make about your life’s work, you know. But we don’t even blink when we hear somebody say this because we’ve heard that kind of stuff for so long and somehow we’ve completely internalized and accepted collectively this notion that creativity and suffering are somehow inherently linked and that artistry, in the end, will always ultimately lead to anguish.

And the question that I want to ask everybody here today is are you guys all cool with that idea? Are you comfortable with that — because you look at it even from an inch away and, you know — I’m not at all comfortable with that assumption. I think it’s odious. And I also think it’s dangerous, and I don’t want to see it perpetuated into the next century. I think it’s better if we encourage our great creative minds to live.”

You may or not be able to recall as accurately where you were when Amy Winehouse died, but it matters not.  The next Amy Winehouse is already on her way.  Find her.  And when you do, make sure you are there for here when she wants to live.

Sheron Wray finds inspiration in African dance, the improvisational nature of jazz music, and even in cell phone technology!

So it’s not surprising that her stage work combines all three.

The news of the passing of Gil Scot Scott-Heron on Friday 21st May in St. Luke’s Hospital, New York City, sent a shockwave throughout the world. Undoubtedly,one of the most influential musical poets of the post-modern era, Scott-Heron’s sharp and visceral commentary of a post-civil rights America with its writhing poverty,racism, unemployment and inner city decay, became the voice and conscience of a disenfranchised generation.

The title track From his 1970 semaphore/debut album,’Small Talk at 125th and Lenox’, is the classic, ‘The Revolution Will Not BeTelevised’, which is hailed as the modern proto -rap record. Upon hearing of Gil’spassing, Chuck D of 1990′s political rap group, ‘Public Enemy ‘ tweeted, “and we do what we do and how we do because of you. And to those that don’t know tip your hat with a hand over your heart & recognize”.

My own romance with Gil’s blend of lyrical majesty and political chivalry began with that same classic track which I sampled for use in my first single released in the early 1990′s. At that time, the reputation of Gil and other similar politically charged poets like Harlem, New York’s ‘The Last Poets’, was a major influence on the emerging US rap scene, despite him not having released a new album for almost a decade since the early 1980′s. He is credited as the ‘Grandfather of Rap’, although he preferred the moniker of ,’bluesologist’ , labeling his music a fusion of poetry, blues, jazz and soul. You only have to listen to his various ballads and song’s like ‘A Lovely Day’ from his ‘From South Africa to South Carolina’ album to appreciate the full range of Gil’s lyric and musical repertoire and to remind yourself that he was not solely a political artist. Gil’s poetry and music made an indelible mark on the human consciousness.

His second album, ‘Pieces Of a Man’, produced the sublime, ‘Lady Day and John Coltrane’ a homage to jazz legends Billy Holiday and John Coltrane and the cutting, ‘Home Is Where the Hatred Is’, which describes his desperate life-long battle against drug addiction against a backdrop of wider community alienation and disillusionment.

For me, it was Gil’s ability to both celebrate and berate at the same time which was his gift to the world. This ability to give a voice to the voiceless and tell their very human story. The ubiquitous story of coexisting with rising joy and sinking pain; this became his trademark.  His lyrical dexterity, charm and poise wrapped his words within a cerebral vacuum which was hard to punctuate or leave once you were caught up in it. Listening to Gil’s poetry and music seems to liberate the spirit and yet hold it prisoner at the same time. He possessed, perhaps, the stark romance of Keats, and the gritty realism of Dylan, combined. Throughout the 1970′s and early 1980′s, his new studio albums emerged, such as: ‘Winter in America’ (1974),with the classic, ‘The Bottle’ and the emblematic, ‘Johannesburg’ of ‘From South Africa to South Carolina (1976)’ . His last album for Arista Records was ‘MovingTarget’ in 1982.

Gil Heron, father of bluesologist Gil Scot Heron

The son of a Jamaican father, Gil Heron, nicknamed “The Black Arrow”, was a soccerplayer who, in the 1950s, became the first black athlete to play for Glasgow CelticFootball Club in Scotland. Having attended Lincoln University in Pennsylvania, he left after around two years to write the novels, ‘The Vulture’ and ‘The NiggerFactory’ The former was published in 1970 and well received. He received a Master’s degree in Creative Writing in 1972 from Johns Hopkins University.

Books By Gil Scot Heron

Around this time, the Black Power movement had succeeded the assassinated Malcolm X in America and Scott-Heron’s writing and musical themes became a soundtrack of that time. In fact, Gil acknowledges both Huey P Newton (co-founder of the BlackPanther Party) and Malcom X as influences on the sleeve of his debut album.  Scott-Heron was the first signing to Arista Records. Arista was ex-Columbia Records chief Clive Davis’s new label. He later signed Earth, Wind & Fire and Aretha Franklin amongst others. His prolific music career with Arista lasted 10 years from 1975 to 1985 and produced 8 studio albums. After he left Arista, Gil did not record any studio albums for almost a decade until he signed to TVT Records in 1993 and as if from nowhere, released, ‘Spirits’.

I recall hearing its seminal track, ‘Message to The Messenger’ on cassette format using my Sony Walkman and headphones. The young effervescent voice of before was replaced by a seasoned growl, but the poignant lyrical brilliance and the familiar faltering and vulnerable vibrato that ended almostevery note, remained. With its infamous synth bassline melody and hi-hat introaccompanied by Scott-Heron gently humming the melody before unleashing his diatribe against the new generation of rappers, reminding them of their shortcomings and responsibility alike; this cogent and damming part soliloquy, partlecture, re-affirmed Scott-Heron’s return and affirmed his new status as the elderstatesman for a new generation. His later years were marked by prison terms for drug possession and failing health allegedly caused by contracting HIV.

After his release from prison in 2007, Gil began performing again and a series of concerts, radio and TV interviews confirmed his return to music. Gil released his new album,’I'm New Here’ only last year and it received worldwide critical acclaim and introduced Gil to a new generation. He began touring and performing again throughout 2010 with some high profile concerts in London. He appeared to be back in the spotlight and enjoying it.

My enduring memory of Gil was during his performance at a London venue over 10 years ago. Older and more frail, his towering slim frame housed a bellowing angelic prose that shook the room and the hearts of the audience. The atmosphere was electric and Gil presided over his followers in an almost pastoral and spiritual way. His presence and status was palpable and his commitment to political freedoms everlasting. RIP Brother Gil.

Article by Clive Powell, Jazz writer and broadcaster.

She didn’t settle for the bar, she went for the roof.

The comparisons to Grace Jones are too easy and obvious; look just a little under the surface and elements and essence of Richard Bona, Sarah Vaughan, Carmen Lundy and Erykah Badu come oozing out in songs versed in toungues French, English, and Dutch, with Cameroonian roots, rites and rhythms holding it all together.

After the show, and much spontaneous hip gyration from an invigorated aftershow audience I felt compelled to find Ntjam Rosie and ask:

Where on the Web can we find out more about you?

www.ntjamrosie.com

www.myspace.com/ntjamrosie

www.sonicbids.com/ntjamrosie

www.ntjamrosie.blogspot.com

and of course on YouTube

Your favorite photo of yourself:

“?”

Do you think your latest work represents the cloud, or the silver lining?

My latest work is a timeframe. That is where I am now. I hope to grow as a singer and songwriter. I want to keep on evolving.I don’t want to get stuck in the same thing. I am just getting started and I am enjoying the ride.

Which football team(s) did you back in the last World Cup, and why?

Holland and Cameroon of course, because I love both teams.

Top 5 UK cats you’re listening to at the moment:

I think Robert Mitchell is a great musician. I played with his trio in Rotterdam a while ago.  Drummer Richard Spaven is also an amazing musician that I dig.  Drummer Nathan Allen, Bass player Alexander Bonfanti, Guitar player Miles James. They are BAD!!!

Of all the albums or projects you’ve worked on, what’s your favourite , and why?

My latest album “ELLE”. I was the excutive producer, and I throughly enjoyed the whole process of making the album and bringing it out. It feels like my own baby.Me and my team have worked really hard on this album, and I am proud of the result.

The Best James Bond is obviously:

Sorry, I don’t watch James Bond.

You could be a Bond girl, you know.  A couple of people are already calling you the new Grace Jones.  What is a Diva, anyway?

Diva is to be fabulous.
Where are we going wrong with our youth at the moment? How can music help?

I think the youth is being indoctrinated by music that is not always positive. Or music that does not have a message of peace and wisdom. Music nowadays is sometimes too much a one dimensional tunnel. I think it is our duty as artists to feed our kids with food for thought.

Who do you think you are, anyway?

I am Ntjam. I am Rosie, Afropean in a Jazzy State of Mind.

You’ve got room for one more in your lifeboat, but no oars. There’s a fatcat record label boss and an illegal downloader, they have an oar each. How do you get home?

I’ll just swim back home. Ha!

If you could be an animal for a day, what animal would it be?

A lioness.
When’s the last time you treated yourself?

I bought myself an ice cream today.

The worst thing about my job is:

There is no worst thing about my job, I have the coolest job in the world.

I must introduce you to Corey Mwamba.  What does your name mean?

Control-freak Rose

Top  US cats you’re listening to at the moment:

Esperanza Spalding ,

Gretchen Parlato ,

Janelle Monaé,

WeareKing

Do you have anything like the Boondocks on Dutch TV ?

No, alas.

Can Anakin Skywalker ever be redeemed?

I have no idea..
Anything you’d like to say to your old school teachers?

Thank you.

Julian Assange: Hero or Villain?

Hero

Your favourite Spike Lee films:

Girl 6 and Crooklyn

What’s going on in your world besides music / art ?

My friends and family. I love my people. When I am not working I like to have dinners with my loved ones, enjoy nature and stuff like that.
Read any good books / seen any good films lately?

Book.  Wreck this book.  Films. Biutiful and Black Swan

How do you teach what it is that we do?

You don’t.

3 tunes that changed your life, and why:

No tunes, but artists that made a huge impact on me:

Les Nubians

Sade

Billie Holiday

If you could force–choke someone for 30 seconds, it would be:

Hahahah wauw…I am a non violence person hahaha…

What’s been the best superhero movie you’ve seen, and why?

X-men and Terminator

I’m sure Schwarzenegger could use a time machine right now. So you bump into Wesley Snipes, and you say to him:

“You’re hot.”

What do you want to do next?

Pray for and with him.

 

 

What’s been the worst superhero movie you’ve ever seen? ( Clue:  The answer is “catwoman” )

spiderwoman?

What’s that you’re wearing?

A huge T shirt and jogging pants ( @home )
What message do you want people to take from your work, and why?

Peace, calmness, sensuality, confidence, spirituality, fun, enjoy life

Ntjam Rosie on the Gilles Peterson Show. Click to listen

Ntjam Rosie’s new album “Elle” is available via her website http://www.ntjamrosie.com .

 

Hello! Have I mentioned that I’m on Twitter now? I decided to drag myself into the 21st Century. I hardly ever say anything on there that I won’t say here, so you won’t miss much: but there is something I said there first that I’d like to say here and invite comment.

A while back, Dune Music put out this message:

If you believe UK jazz businesses are more interested in protecting their own agendas than working together LET’S CHANGE THINGS NOW!

and I thought: interesting. After all, Dune Music is in fact a UK jazz business; do they feel they are being perceived as protectionist?

As a matter of course, I believe any business will invest more in its own agenda then co-operate – it’s the nature of the beast. But music is built on people working together in all sorts of ways. So working with others is key to the survival of a business in music. It is an item on the agenda.

In any case, I also think it’s a good thing that a jazz business is pointing this out and asking for views in such a public way; so I asked them what they suggested in terms of change. The response:

by changing attitudes for marketing and promotion for artist and audience development for starters

Which opened up all sorts of questions in my head – but I restricted myself to the obvious one: what issues did Dune see in artist marketing/promotion? After all, if you’re going to start there [and it's a good place to start] then there has to be issues with it. The composer Henry Threadgill once said in a fascinating interview in the Wire that the word jazz had lost its meaning and relevance since it has become ill-defined:

[...]I mean I just ordered a macchiato and she knew exactly what to bring me, you know. There’s a basketball team named Jazz, perfume named jazz, festival named jazz – there’s not one person on there that’s improvising[...] and then people make films, documentaries, Ken Burns for one. He and the people that were his consultants, they give a picture of what they say jazz is and then exclude generations of people, whole schools and generations of people are excluded from it, and it’s played nationally and internationally, and it’s giving a idea of what jazz is. So that’s why I say that word has really lost its meaning[...]

And it is this exclusion and how that relates to marketing, promotion and perception of race that I think about. I’m not going to talk about other countries; just the U.K. as I see it. I also know that this isn’t primarily about race, and that what I’m about to say could be generally applied: but I want to focus on it in this case.

I feel that there is a perception that totally improvised music isn’t something that black people should be doing [I am of course discounting the fact that some people think totally improvised music isn't actually music at all - that isn't the discussion here]. I also have the feeling that there are parameters – set by various people, not just a singular body- by which modern creative music is judged when the creators step outside so-called norms; and thus when people talk about black music to me, I know for a fact that they are not including my voice in there, even though I am quite evidently black. It helps promoters and marketeers to be able to distil the thing that they are trying to sell; but it actually does the music and the creators of that music a disservice that has repercussions through the scene itself. For me this is highlighted most strongly in magazines and newspapers that purport to promote black music: jazz [as ill-defined as it is] is given an occasional glance; and then only to people who wear suits to play pieces from the archive. Is that about music; or style? And is that the totality of our scene?

Perhaps the issue with marketing and promotion for the music is how to sell something so multifarious and variegated as jazz has become. So how can a business aid with this?

Here’s my answer: by using this diversity as the primary USP. There are few labels, and definitely very few magazines/newspapers that cover the totality of the scene that they say they represent. And bearing in mind the view that jazz is a niche music, this is then complicated by the way that totally improvised/experimental/new/modern creative music is ghettoised further. And talking specifically about black music media, there are even tighter definitions based less on music and more on presentation.

I’d now like to bring up those great guys at jazz re:freshed, who were having a similar discussion. It was this message that caught me: they had received a question from the person they were talking to, and they saw it as a defining question.

the question is what’s their definition of modern jazz and who do they see as its audience? > NOW THAT IS THE ?

The they in this case was the jazz establishment. But my assertion is this [and in fact, this is what I said on Twitter, but formatted in the way I actually meant it to be read]:

Well to be honest, I’m not certain whether there’s a homogeneous establishment; but there ARE lots of gatekeepers… and it connects with something that @DuneMusic wanted to talk about too.

I’ve always thought about the lack of support of totally improvised music in black music media and labels (@DuneMusic: I say this in view of the excellent night my trio had with @jazzrefreshed. People were exposed to the music and saw it as such) but what I am talking about is not the totality of the music: just a part… And my issue is that in this country we are not reflecting the totality of our existence and influence in music.

I brought up jazz re:freshed as an example of a promoter that sets up a good night that is about good music; and it gives me some hope that in fact a more accurate reflection of our existence and influence in music can happen, if we are all open.

Article text © Corey Mwamba .  All rights reserved

Audiovisual media selected by the editor

Jazz, as ever, dedicates itself to the quest for the truth; nothing more, nothing less.
This month’s Unknown Quantity Show is a late dedication to the great musician that was – and ever shall be – Smiley Culture.  It’s bigger than Hip Hop…

Know peace…

…And in the Nubian tradition of divine feminine forces serving up truth and justice through balanced scales, this month’s guest presenter is Danelle Harvey, who has arranged a special selection of songs sung and written by jazz females that will lighten – and enlighten – the heaviest of hearts…

EPISODE 3 TRACKLISTINGS:

THE DANELLE HARVEY SHOW

1. THE E.J.M PROJECT/ DANELLE HARVEY – Coming on strong
Album: Unknown. (MP3)
(Break Loose Records)

2. ESKA – Without You (MP3)
(Live… Soundcloud.com Download)

3. JULIE DEXTER – Love To Love
Album: New Again (MP3)
(Ketch A Vibe Records/MMP Records 2011)

4. JULIET KELLY – Here Comes The Rain
Album: Licorice Kiss
(Purple Stiletto 2009)

5. TIA FULLER – Ebb and Flow
Album: Decisive Steps
(Mack Avenue Records 2010)

6. ZARA MCFARLANE – Until Tomorrow
Until Tomorrow [The EP]
(Mama Done Music 2010)

7. ZOE RAHMAN – Briddho Ashrom (Sanctuary)
Album: Where Rivers Meet
(Manushi Records 2008)

8. MISS BEE – S.O.S.

THE UNKNOWN QUANTITY SHOW

Part 1

1. RICO – This Day
Album: Man From Wareika (CD)
Island Records / Mango (1977)

2. JAZZRELOADED – Unresolved [ZE3 Mix]
Album: Get Out. (CD)
Jazzreloaded (2006)

3. THE E.J.M PROJECT/ DANELLE HARVEY – Coming on strong
Album: Unknown. (MP3)
Break Loose Records

4. JOSEPH MALIK – Silent Fools
Album: Aquarius Songs (CD)
Compost Records (2004)

5. COURTNEY PINE – Deuteronomy
Album: Europa (CD)
Creative People (2011)

6. FANIA ALL-STARS – Smoke
Album: Latin Jazz Fusion (CD)
Charly (1988)

7. ROBERT MITCHELL & OMAR PUENTE – Mambo Influenciada
Album: Bridges (CD)
F-ire (2006)

8. ARCHIE SHEPP – Attica Blues
Album: Attica Blues (CD)
Impulse (1972)

9. BEN SIDRAN – About Love
Album: Capitol Rare, Funky Notes From The West Coast V/A (CD)
Capitol (1994)

10. BOBBI HUMPHREY – Black and Blues
Album: Black and Blues .
Blue Note label (1973)

11. BREAK REFORM – Waiting
EP: Maida Vale Session (CD)
Abstract Blue Recordings

12. ANDREW MCCORMACK & JASON YARDE – Something’s Coming
Album: My Duo (MP3)
JoY aNd EaRs (2009)

13. LARRY BARTLEY – Along This Way.
Album: Along this way. (MP3)
Bartley (2003)

14. SCIENTIST – Dance of The Vampire
Album: Scientist Rids The World Of The Evil Curse Of The Vampires (CD)
Greensleeves Records (1990)

15. SMILEY CULTURE – Cockney Translator
Album: A Fashion Statement (MP3)
Fashion Records (1984)

16. JOHNNY OSBOURNE – Truth & Rights
Album: Truth & Rights (CD)
Heartbeat (1999)

17. LIONS DENS – Revalation Time
Album: On Line (CD)
Roots Records (1994)

18. ASWAD – Warrior Charge
Album: Showcase (CD)
Island Masters (1989)

19. BOB MARLEY – Revolution
Album: Natty Dread (CD)
Tuff Gong / Island (1974)

20. JULIE DEXTER – Melanin
Album: New Again (MP3)
Ketch A Vibe Records/MMP Records (2011)

21. BIG CAKES – My Soul
Album: Money Talks…So Listen (CD)
Unsigned/The Peoples Army (2011)

22. HKB FINN – Sanctuary of Joy
Album: Spoken Herbs (CD)
Alter Native (2006)

23. THE AUTOMATIC – The Coolout
Album: Transistor (MP3)
Unnkown (2010)

24. B. LEWIS – Love Latency
Soundcloud Download (MP3)

25. STALLEY – The sound of Silence
Album: Lincoln Way Nights (MP3)
Unknown (2010/11)

26. ZUMI – Ininite
Album: Unknown (MP3)
Unsigned (2010/11)

27. CHE FU – Mysterious Vibe
Album: Beneath The Radar (CD)
Sonny/BMG (NZ 2005)

28. OMAR – Outside
Album: For Pleasure (CD)
RCA/BMG (1994)

29. RENELL SHAW / DESCENDANTS OF A QUEST– What’s My Name
Album: Music Pictures Words (MP3)
Unknown.

30. SIMONE – Tudo Que Voce Podia Ser
Album: Simone (CD)
Odeon (1973)

31. MATATA – You’ve Gotta Find Me
Album: Wild River (CD)
President Recoeds (1972)

As they say, behind every great man there’s a great woman.   A perfect reason for the two bookends above to step aside and  bring  Jazzreloaded’s Assistant Editor Danelle Harvey to the fore.  She’s also the voice behind Alex Martello and Guby’s “Better Day” which is currently in the top 10 download tracks at Beatport . The established singer-songwriter’s unsung behind-the-scenes work  makes sure the JazzReloaded show stays on the rise when I’m on the road.  She’s taken a moment out from running her own record label and music tuition service to host this month’s Taylormade Radio where she’s put together a special selection of sistas who are doing it for themselves, but not alone…

Where on the Web can we find out more about you?
http://uk.linkedin.com/in/danelleharvey

My official website: http://danelleharvey.co.uk

My latest dance single better Day: Http://bit.ly/BetterDayMixes

My other releases on iTunes: http://bit.ly/DanelleiTunes

You’ve been dealing with some fairly heavy life issues recently. Do you think your latest work represents the cloud, or the silver lining?

Both; my album Tortured Soul  highlights the ‘trials & tribulations’ in order for the listener to appreciate why I am celebrating the silver lining.  They get to reminisce with me, imagine with me, cry with me, scream with me, shout with me, stand up for what’s right with me, love with me and celebrate with me.  In my latest single “Better Day” listeners get to be uplifted and feel encouraged that the cloud will pass and the silver lining is in arms reach. Hopefully they’ll feel positive about whatever they are going through in order make things better, have faith, stand strong, believe in a  better day… which is knocking at my door… finally! Upcoming single Coming On Strong represents the progression from the cloud to the silver lining of freedom. Support me, spread the word. I’m an Indie artist who is representing.  A true survivor who is an example of triumph over adversity.

Your favourite picture of yourself:

Of all the albums or projects you’ve worked on, what’s your favourite , and why?

Tortured Soul – Because it is my emancipation, a documentation of my journey to this point. It paves the way for the bright future.

What is a Diva, anyway?

Well, Diva has many definitions. Sometimes Diva is used in a negative fashion. It can be used to describe a personality trait and sometimes it is used to describe a singer’s vocal ability. I am now called the Ethical Diva – interesting moniker. I guess I sing like a Diva but would like to think that I am a nice person.  Sometimes ladies get labelled as a ‘Diva’ because they are strong and speak up about what they want as opposed to playing tricks and using their femininity to get things. Speaking up for what you want  with poise and grace as an individual, let alone as a female shouldn’t be dismissed or dissed. It should be applauded.

If you could force-choke someone for 30 seconds, it would be:
Haha! I’m a pacifist, I don’t believe in or advocate violent actions, so I’ll refrain from answering…

You’ve got room for one more in your lifeboat, but no oars. There’s a fat cat record label boss and an illegal downloader, they have an oar each. How do you get home?

Well I’ve had it with their earache and bickering so I guess I’ll have to do a Danelle special: Ninja kick them both over the side with their life buoys and some supplies to argue their points with each other.  All I want is to take the oars and have some peace and quiet while I’m getting myself home! Home is my priority right now…

Oi! I though you were nonviolent!  Anything you’d like to say to your old school teachers?
Thank you for being there for me when my family wasn’t, but may I suggest to you that child prodigies should be treated with ‘kid’ gloves, be sure to prepare the likes of us for normal social interaction. Otherwise it could get messy. It certainly did for me.

Where are we going wrong with our youth at the moment? How can music help?

Forgetting what it was like once for us and not realizing the control and the social changes in our societies that have been inflicted and implemented by drip feed. To many it seems that it is too late. So people give up on our youth feeling there is no hope. We must remember that it is NEVER ‘too late’  Music unites us all, so we need to all learn how to communicate verbally, by our actions and through music. Either teaching ourselves and youths how to articulately express ourselves using music, or by engaging the youth and understanding other’s different tastes and ways of expression.  Let’s be open to new things.  We don’t have to like that which we think is so alien to us in today’s youth but we can at least be respectful and thus receive respect in return…

Where are we going right with our kids at the moment? How can music help?

Loving and respecting them, believing in them, valuing their worth as our society’s future hope. Calling them ‘children’, ‘youth’, or  ’humans’  instead  of  ‘kids’ can  also  help…Music can help in many ways, we have to be creative and just let go individually, turn within and ask ourselves how to find the ways music can help.

When’s the last time you’ve treated yourself?

3 months ago.  I got a one way ticket to the jungle with my recording equipment to get away from all that mayhem they call civilisation…I’ve never felt more alive and in tune with things.  More importantly, after being here receiving so much genuine good heartedness and love, I have realised how shockingly ‘Un’civil the ‘civilised’ have become…

The worst thing about my job is:

Photo by Alexander Blair

Well upon reflection on my 20 plus years in this industry, these things are quite pathetic to me: Sexism, ‘looks’ism, ageism, and I’m witnessing amazing musicians get pimped as they don’t realise their true value.  Even sadder is when they turn on each other fighting for the scraps some ruthless venue owners and perceived ‘powers’ chuck at them. I wish people could see that it is all illusion and they should feel no fear in staying true with their essence and to keep their integrity.

The best thing is…my independence

Top 5 US cats you’re listening to at the moment:

Yolanda Adams
Tia  Fuller
Martin Sapp
Chante Moore (Precious Album)
En Vogue (Free Your Mind, Don’t Let Go etc…)

If you could be an animal for a day, what animal would it be?

Can I choose two?  A Tiger and a Butterfly

Kinda explains the logo; what do you want to do next?

Tour my music around the US (currently in progress) and swim with dolphins and whales

What’s that you’re wearing?

Dignity

“OMG! This young artist is amazing! They are tearing it up! Everyone needs to listen to him / her NOW!“ The artist is:­­

Top of my head: Ayanna Witter-Johnson

What message do you want people to take from your work, and why?

To the listener: YOU have a choice, you can turn any negative into a positive, and I am living proof. Thank you, I appreciate you.

Who do you think you are, anyway?

You need to ask?!

What’s going on in your world besides music / art ?
I’ve been reborn…

Your favourite Spike Lee film:

Can’t decide, it’s been a while since I’ve seen one

So you bump into Tiger Woods in an elevator, and you say to him:

I was taught never to talk to strangers, so nothing.

Read any good books / seen any good films lately?

The Last Temptation of Christ, saw it last night

How do you teach what it is that we do?

Living by example

What’s been the best superhero movie you’ve seen, and why?

I have short memory span,  the last one I watch was Hitch so I’ll stick with that.  Well maybe X-Men but I can’t remember it fully, but I can remember that Hugh Jackman is worth watching in anything…

What’s been the worst ( clue: the answer is still “Catwoman” )

Even though I am Catwoman (in my mind), I would have to agree that Catwoman is the worst.

Danelle has 4 scheduled releases coming up this year including Breakbeat, Jazz, Experimental track ‘Coming on Strong’, written and sung by Danelle with music and production by producer SteNasty plus Dance & House music releases in Europe and the US.  Stay tuned to http://danelleharvey.co.uk for info