Janelle Monáe | The Electric Lady
Bad Boy | Wondaland
by Brent Faulkner
It could be argued that popular music, particularly R&B is in an age that relies too heavily on conformity. Trendiness often has commercial aspirations in mind (aka money), but sometimes joining the bandwagon hurts creativity and originality in music. Janelle Monáe eschews being like everybody else – she doesn’t buy into conformity in the least.
EnVogue – Saban Theatre (Beverly Hills) – May 2, 2014
Concert Review by A. Scott Galloway
`90s Soul-Pop sensations EnVogue showed L.A. that they have seasoned well into a first class legacy act capable of entertaining audiences with a broad but satisfying cornucopia of fare. Original members Cindy Herron-Braggs and Terry Ellis along with longtime member Rhona Bennett took the stage as a well-oiled and united front giving fans the kind of show most have never seen from the group because – in their heyday – they were too often part of multi-artist/festival lineups that put a cramp in their stage time. As headliners on Friday, May 2, at the Saban Theater in Beverly Hills (formerly The Wilshire Theater), they took their sweet time and served their followers not just slices but the whole pie.
EnVogue opened boldly with the catchy but obscure album cut groove “No No No (Can’t Come Back)” from their fourth CD, Masterpiece Theater, before launching into one of their biggest hits, “My Lovin’ (Never Gonna Get It)” – one of six of the group’s Billboard R&B chart-toppers.
Renee Dion & Jon Rogers | Moonlight
By Peggy Oliver
On one of producer/beat crafter Jon Rogers’ mixtapes, (complex)ions: MAUVE’, he handed out major props to Renee Dion with a hearty, “keeping it live.” The feeling was apparently mutual as Dion hired Rogers to sonically guide her poetic soulful voice and to share head billing for her latest project, Moonlight. Though the behind the scenes teaching moments from Dion developed into a semi-rugged training ground for Rogers, who had never interacted with a vocalist, the end results on Moonlight capture Dion’s upgraded musical vision from her previous work.
Sheila E. | ICON
Moosicus (2013)
Review penned by Brent Faulkner
After a hiatus of more than a decade, multitalented veteran musician Sheila Escovedo –best known as Sheila E. – releases her latest album ICON via Moosicus, an independent label based in Germany. Icon proves to be a captivating album showcasing Sheila E.’s tremendous musicianship and eclecticism at work, although its availability solely is an import in the U.S (as of yet).
Rajdulari | Journey of a Woman
By Peggy Oliver
Through the ever increasing social media tools, musicians are masterminding their Facebook page and hash tagging like crazy towards their fans and music industry insiders about their latest achievements in their career. When a relatively unknown artist is already tweeting about their road to the Grammy Awards, this could be someone with a justified confidence or they are stroking their ego a bit more then they should.
Tamar Braxton | Winter Loversland
Epic Records
by Darnell Meyers-Johnson
Is Tamar Braxton finally winning at this game of music? On the surface it would seem so. Nearly a year ago her single “Love And War” was released and by August 2013, it sold over one million copies. The September release of her album of the same name has already generated three official singles, as well as the recent release of the video for one of the project’s weaker tracks (but one of Tamar’s favorites) “Hot Sugar”.
Robert Glasper Experiment | Black Radio 2
Blue Note
By Peggy Oliver
When an artist commits to a sequel that rides on the extremely successful
previous work, the expectations to top its predecessor are exceedingly
high, certainly when the predecessor was recognized with a Grammy Award.
With a wealth of musical co-horts at his disposal and a tight band
under his leadership, Robert Glasper was ready to meet the needs of fans
and critics to follow-up the R&B Grammy Awarded 2012 release, Black Radio.
Gregory Porter | Liquid Spirit
Blue Note Records
By Peggy Oliver
In recent years, Motema Music emerged into a respected independent label
with a solid commitment to their artists’ improvisational gifts and
musical diversity. From Caribbean-born pianist Monty Alexander to former
Living Colour drummer Will Calhoun, the New York-based company has
drawn comparisons to jazz giant Blue Note Records in its heyday, swiftly
integrating soul, blues, gospel and avant garde flavors into its be-bop
jazz mix.
Marques Houston | Famous
Shanachie Records
by Peggy Oliver
Vocalists who have established their niche with their hit-making history rarely feel they need to tamper with success, as long it sustains a win-win situation between themselves and their fans. The truly wise at heart artist is also willing to tweak a few ideas or two in staying relevant with what the current market dictates. Since breaking into the industry with the nineties’ urban boy band sensations, Immature/IMX, Marques Houston has been accustomed in giving the people what they sincerely want.
Chante Moore | Moore Is More
Shanachie Records
by Darnell Meyers-Johnson
It’s difficult to get a handle on Chante Moore’s position as a recording artist.; her “lane” if you will. On her brilliantly flawless debut album, 1992′s PRECIOUS, she gave us a seamless blend of romance inspired, jazz-tinged R&B. And we ate it up like wedding cake. Hits like “It’s Alright” and “Love’s Taken Over” remain anintegral part of her repertoire.