Page 6
ARTS a ENTERTAINMENT
Friday, January 30,1998
Clinton says 'Encore' to
University Jazz Ensemble
Pop Life
by Danny Hooley
Pop Life’s Top 10
Albums of ’97
The Pop Life" Top 10" simply consists of the albums that I
considered to be the best last year: the most challenging, the most
durable and the most consistent. The hardest part of doing this is the
weeding-out process; I must have bought and listened to at least 50
excellent albums in 1997, and choosing only 10 for a best-of list is
not easy.
Although at least four genres are represented below, I worry about
giving any of them short shrift. For instance, some readers may notice
that there are only two hip-hop albums and one R&B album on the
list. There's also a jazz album, an electronic dance album, and five
rock albums.
But 1 promise you, this does not reflect a belief on my part that
rock music is superior to other forms; I love all music, and I based
my rankings on the criteria I stated above. I regret that my list omits
albums by R&B stars Janet Jackson and Mary J. Blige, country singer
John Anderson, world music artists The Klezmatics and Oumou
Sangare, and rap albums by Soul Assassins, Latyryx and
Gravediggaz, because I enjoyed them all a lot. They just didn’t make
the cut.
Plus, there's no way I can buy and listen to everything, you know?
I'm pretty sure I missed out on quite a few good records simply
because my time and resources are limited. So take this column in
general for what it is: a sincere attempt to tell people about good
music that I've heard. And now, without further ado ...
1. SLEATER-KINNEY - Dig Me Out (Kill Rock Stars)
This young lesbian trio from Olympia, Wash, reminds me of why
punk rock changed my life 22 years
ago. Like the pioneers of that
movement, Sleater-Kinney seems
determined to blow up the world
with every three minutes-or-under
song. So the hooks just keep on
coming, the singing sounds pissed
off, the lyrics are full of urgency,
candor and sarcasm, and the
seemingly crude (but, actually,
thrillingly inventive) guitars slice
out their very own turf. They've got
something to say, and somebody's
gonna listen. Exciting stuff, and it's
the best rock I have heard all year.
SL.SATER-KliMWEY OIQ I
2. YO LA TENGO - I Can Feel The Heart Beating As One
(Matador)
Husband-and-wife team Georgia Hubley (drums, vocals) and Ira
Kaplan (guitar, keyboards and vocals) have been doing this for over a
decade now, and with the addition of bassist James McNew a few
years ago, they've continued to get better. Yo La Tengo is all about
pure aural beauty: guitars that sound warm whether they shimmer,
buzz or scream, folky melodies and vocal harmonies, and psychedelic
effects. You might have guessed from that description that they
evoke the 60s. They do, down to their cover of the Beach Boys'
"Little Honda." But Kaplan's guitar playing has a voice of its own,
and the songs sound like no one else's.
3. DOC CHEATHAM & NICHOLAS PAYTON (Verve)
Jazz legend Cheatham, 91, teamed up with acclaimed newcomer
Payton, 23, last year for a dual trumpet session of well-known tunes
played New Orleans-style. Both soloists burn, and Cheatham's
relaxed vocals add charm to a classic recording.
4. SPRING HEEL JACK - Busy, Curious, Thirsty (Island)
The second album by England's premiere brainiac electronic duo is
as brilliant as their 1996 debut, 68 Million Summers. The
instrumental music of Spring Heel Jack is at times funny, at other
times ominous, and at all times beautiful and mood-altering. They're
fun enough for pop culture types, and cerebral and talented enough
for jazz ( and maybe even classical) fans.
5. PAVEMENT - Brighten The Corners (Matador)
They're one of the mainstays of guitar rock on college radio, which
means their popularity is steadily waning in that fickle environment.
Still, not many bands on independent record labels manage to
maintain the level of excellence that Pavement has for over half a
decade: five great albums in a row. This one has the usual wry,
brilliant lyrics and passionately played tunes. There are also some
Sgt. Pepper-era Beatles touches, which I suppose is their way of
wittily signifying musical "maturity."
6. BABYFACE - The Day (Epic)
You can tell he's a child of the '80s: he only put 10 songs on this
album, as if vinyl was still the main medium. But hey, at least it's
short on filler. Sexy, soulful, and stronger every time I hear it. The
Day was the best R&B album of 1997 for my money.
7. SPEARHEAD - Chocolate Supa Highway (Capitol)
This hip-hop album stood out from all others in 1997. Spearhead
leader Michael Franti is a plain speaker with revolutionary politics
who doesn't couch his messages in a lot of razzle-dazzle. That's not to
say he isn't an impressive rapper, his deep voice and easy style
remind me of Gil Scott-Heron, and his lyrics demand that you think.
Like KRS-One, he's not playing the gangster, he's spreading
knowledge. Unlike KRS-One and many others, Franti doesn't bother
much with boasts. As for Spearhead's sound, imagine Sly and the
Family Stone with a reggae touch. Chocolate Supa Highway creates
a compelling sonic environment.
8. CORNERSHOP - When I Was Born For The 7th Time
(Luaka Bop/ Warner Bros.)
This English band led by a young Indian fellow who honors his
musical heritage makes irresistibly funky and hooky world pop. I dare
you to deny "Brimful of Asha," or well over half of the album's other
songs, for that matter. Look out for these guys in the future.
9. BOB DYLAN - Time Out Of Mind (Columbia)
Welcome back, old guy. Dylan's voice and humor both regained an
edge that made his new album his best in two decades. It also helps
that Daniel Lanois' production style is so gratifyingly unfashionable. I
hope The Rolling Stones are paying attention: unlike them. Bob
came off so uncool last year that he looked cool. You know what I
mean?
10. THE NOTORIOUS B.LG. - Life After Death (Bad Boy)
I avoided this album for a long time because I wasn't sure I could
make a good critical judgment so soon after the tragedy of Biggie's
death. But it only took a few recent listenings to convince me that this
album is as classic as his first, and maybe even more definitive. He
was so funny, warm and self-deprecating he could get away with
playing murder and misogyny for laughs. Not only that, but when he
got serious, which was rare, you believed him. He also brought out
the best in Puffy Combs: theirs was one of the great partnerships in
music history. And recording a two-hour rap album that sustains for
about 18 out of 22 songs is very Impressive. He really was pretty
great, wasn't he? Judging from all the guest appearances on this
album, a lot of his peers seemed to think so. I'll be missing him.
Tomeka D. Ruffin
Staff Writer
Performing once for the White
House’s annual Christmas gala was not
enough for North Carolina Central
University’s Jazz Ensemble.
Their performance was so well-
received that they were invited back to
play for a second time.
The Ensemble’s first performance for
the White House staff (who were joined
by congressional aides and congress
members), was on December 9.
On December 15 the students found
themselves once again performing for a
White House audience, which included
members of the national press.
The Ensemble played festive music
such as "The Christmas Song" as well as
jazz standards by such composers as
Duke Ellington and Billy Strayhorn for
the Christmas receptions.
After the Dec. 15 performance was
over, the students were given the
opportunity to talk with the president.
Dr. Ira Wiggins, director of the
Ensemble, said that the president seemed
to really enjoy the jazz compositions, and
spoke with the students for
approximately 20 minutes.
“He was very down to earth,” said
Wiggins. “It was more like talking with
another musician rather than the
president of the country.”
Wiggins also said that at one point
during the discussion, Clinton talked
with an Ensemble vocalist who was a
single mother concerned with financial
issues surrounding a college education.
Wiggins said that Clinton was
genuinely concerned with her comments
and hugged the young mother when she
broke down in tears.
Jonovan Cooper, a senior music major
and saxophone player for the Ensemble
said that visiting the White House was a
once-in-a-lifetime experience.
“We were all surprised,” said Cooper.
“We felt good about it and we were
pleased to be invited.”
Cooper said that playing at the White
House was the highlight of his student
career at NCCU.
Chancellor Chambers said the
Ensemble's performance at the White
House had him in high spirits.
“We are very excited,” said Chambers.
“The Ensemble’s invitation to the White
House is helping to give NCCU major
recognition throughout the nation.”
Wiggins said he believes that the Ensemble’s nationwide
exposure will boost recruitment efforts for the university and the
music department in particular.
“We have already begun to receive numerous calls from
NCCU Jazz Ensemble Director Dr. Ira Wiggins talks shop with
saxophonist Bill Clinton after a Dec. 15 performance by the
Ensemble at a White House press reception..
students who want to attend the university because of the
Christmas performances,” Wiggins said.
Wiggins and Chambers both say that the Ensemble's White
House performances will enhance the reputation of the music
department and of the university.
NCCU Jazz Ensemble singer
recounts visits to White House
by Bria Culp
Staff Writer
Editor's note: The following is
NCCU Jazz Ensemble vocalist Bria
Culp's account of the Ensembles
recent White House performances.
"I met the president!"
Whenever I made that statement,
after returning from Washington, D.C.
last December, it was always met with
disbelief and very little excitement by
friends.
Almost everyone I told said the
same thing: "Yeah, right!"
But it was the truth, No one could
believe that I had gone to the White
House to sing with the Jazz Ensemble
for the president, and returned in time
to take my last final exam. But I did.
In fact, we received rave reviews
from members of the White House
staff for our Dec. 9 performance, and
less than a week later, we were asked
to perform at an upcoming press
reception in the White House's East
Room, where the president holds press
conferences. Cameras from many
Triangle area television stations filmed
our departure as we left a second time
for D.C. on the morning of Dec. 15.
This time, we got lost in D.C.
trying to find the church where we
were to get dressed for our
performance, which meant that we had
very little time to get dressed once we
found it.
Later, at the White House, we
performed in the East Room for
familiar faces such as Sam Donaldson
and Larry King. Afterwards, a friendly
White House page named Cricket
came in with a big smile on her face
and said, "We're going to do
something fun! We're going to meet
the president."
We posed for a picture with the
president, and later we sang "More
Than You Know,"a jazz tune which
the president told us was his favorite
song.
The president was very personable:
he discussed saxophones with our
director. Dr. Wiggins, and day care
reform with Ensemble vocalist
Elizabeth Lawson.
I was still excited when we left
D.C., and as soon as I got back, I
knocked on my best friend's door to
tell her, "I met the president!"
And do you know what she said?
"Yeah, right!'
Review: Lox's debut has flavor, but be wary
THE LOX - Money, Power & Respect (Bad Boy)
by Douglas G. Johnson, II
Staff Writer
Fresh off the fame from Puff Daddy's hot single "It's All About
The Benjamins," and the late Notorious
B.I.G.'s dark single "Last Days," The Lox
("Living Off Experience") brings a hardcore
edge to the Bad Boy record label with its
debut LP Money, Power & Respect.
The group members (Sheek, Styles and
Jadakiss) hail from Yonkers, N.Y. Their
rugged/jiggy (hip-hop jargon for smooth or
cool) flavor offers listeners the entire
contemporary hip-hop spectrum.
Some songs that stand out as potential
radio-friendly hits are the current single "If
You Think I'm Jiggy," the Puff Daddy-
produced track featuring singer Kelly Price,
"So Right," which revisits Cheryl Lynn's
classic roller skating anthem "Encore," and
a tribute to The Notorious B.I.G., "We'll
Always Love Big Poppa."
The Lox have strong underground appeal: the group is already
familiar to many rap fans. Besides the aforementioned singles with
Puff and The Notorious B.I.G., The Lox have appeared on many
mix tapes, on which they spit out the type of rhymes that hardcore
hip-hop fans enjoy.
They've brought some of that flavor to Money, Power &
Respect with songs like "Goin' Be Some S***" (stylish
braggadoccio), "The Heist (Part I)" (a tale of
robbery), and "Let's Start Rap Over" (a trip
down hip-hop memory lane).
Guest appearances on the album include L'il
Kim and DMX on the title cut, and Puff Daddy
rapping on the future club anthem "Can't Stop,
Won't Stop."
Although the masses of hip-hop heads will
find Money, Power & Respect a pleasant ice
breaker for the new year, listeners should be
wary of the continuous, degrading name-calling
directed at black men and women on this album.
The Lox definitely display artistic mic presence,
and most of their beats are phat, but Money,
Power & Respect lacks the messages of
positive empowerment most of its listeners need
to hear.