A listing of the music I listed to in 2023, the good, the bad and the other. Note — this is not limited to releases in 2023, but just stuff I really paid attention to one way or the other, musically.
The Interesting Stuff
Andre 3000 — New Blue Sun (2023) — The hype around this album was crazy and stupid and interesting. I know, I know, everyone wants an Outkast reunion, but this release shows that 3000 is quite versatile. After I “pulled down” the album, I was trying to remember what it reminded me of. The album really reminds me (after a couple listens) of jazz/classical pianist Keith Jarrett‘s “Sacred Hymns” album (if you don’t know who he is, you SHOULD). Very mellow, meditative and thoughtful. I’m enjoying this so-called “flute album” a lot more than I thought I would. I think it is only going to continue to grow on me.
MeShell Ndgeocello — The Omnichord Real Book (2023) — I was skeptical after her previous outing, Ventriloquism, which was (IMO) her worst album by far. But ORB had flashes back to elements of what made her a pioneer of the neo-soul genre and also continues to showcase some of her jazz chops. While I was glad to see this has gotten a couple of Grammy nominations, I do think this is an album that deserves more attention.
Tears for Fears — The Tipping Point (2022) — I have been listening to this album off and on since it came out last year. And I can say, it has only grown on me, While the pair have obviously grown and matured over the years, both personally and musically, there are elements of this album which really take me back to their first album. While I think it would be overstating to say it’s a “return to form,” I do think a lot of the things that originally got me interested in TFF and a fan of their music is present on this album.
Fiona Apple — Fetch the Bolt Cutters (2020) — I have always been entranced by Apple’s voice. I don’t think she’s the best singer, but I like what she does with her voice. Plus, I think she is an outstanding songwriter. She is somewhat fearless in her lyrics and in her experimentation with songs and concepts. I think this is one of the few pandemic albums that I actually enjoyed. Apple’s lyrics, again, speaking of love, lost and frustration, along with interesting thoughts on self-image and self-worth, just makes for an interesting and enjoyable album.
Janelle Monae — The Electric Lady (2013) — I don’t know why it took me so long to give her stuff a listen. I was familiar with her, due to her work with Prince (he even appears on this album), a couple of media appearances, but I never really gave her music a shot. Now that I have, I must admit I am mildly impressed. While I think she has a good voice, I am most impressed with her lyrics and creating the musical world that she does. I told someone else that if Beyonce had interesting lyrics, she would more more like Monae, since I think they have similar voices. In a lot of ways, though, I think Monae represents the future of where R&B and hip-hop and neo-soul are heading. So it will be interesting to watch (and listen).
Esperenza Spalding — Radio Music Society (2012) — If Janelle Monae is the future of R&B, Spalding is most definitely the future of jazz. As an outstanding bassist (on par with MeShell, IMO), she has shown through her career that jazz is alive and well and thriving. Like Robert Glasper, she is adept as weaving elements of R&B, hip hop, and soul into her compositions, but remaining true to her jazz roots. I have had a number of albums on repeat, but Radio Music Society, IMO, is her best outing — so far.
The Disappointments
Everything But the Girl – Fuse (2023) — I was originally very excited when EBTG announced a new album. One of my favorite electronic/dance duo’s from the 90’s, I have long been a fan. I think Tracey Thorne’s voice is quite underrated, as she is able to convey emotion through her lyrics like few others. Along with partner/producer and remixer extraordinaire Ben Watt, they made some of the best dance music. After an almost 25 year break, I was hoping for something amazing. What I heard instead was something bland, boring and even Thorne’s vocals were just mediocre. I having been waiting to see if there will be any remixes that will grow my appreciation but that hasn’t happened yet. Sad to say, this was just a boring album from what used to be one of music’s most exciting duo.
Incognito – Into You (2023) — Incognito is one of my favorite bands, period. They were my introduction to appreciating acid jazz as a genre. I’ve seen them in concerts almost as much as I saw Prince. So I was happy to hear about a new album. And then I heard it. Again, as with the above, it was boring. Maybe it was the pandemic or maybe it was something else, but I expected something interesting and funky and moving. Incognito’s latest album is anything but. It’s not a bad album per se, but the spark that makes Incognito a great band is sorely missing. And that’s a real shame.
Maxwell — BLACKsummersnight (2009) — I shouldn’t really call this is a disappointment because I don’t expect much from Maxwell these days. But other friends have told me about this album and the other and I finally decided I would give it a try. I think my problem with Maxwell is that he tries to hard. I think hje is immensely talented, but that talent is marred by an obvious desire to recapture past greatness. He will always be one of the original neo-soul artists, but these days, his lyrics and musicianship just pales in comparison to his potential, IMO.
The Rediscoveries
Queen Latifah — All Hail The Queen (1989) — With the all of the Hip Hop celebrations taking place this year, I spent a lot of time revisiting some of my favorites (De La Soul, Public Enemy, A Tribe Call Quest, Run DMC and others) along with some newer stuff (Kendrick Lamar, J Cole, etc.). And I remembered Queen Latifah’s first album and how much I listened to it initially. With her mix of traditional hip hop, nods to house music, along with the Native Tongue vibe, I am remembering why this was, for a time, one of my favorite hip hop albums.
Michael Franks — Dragonfly Summer (1993) — When it comes to the smooth jazz genre, few do it as well as Michael Franks. Another artist who doesn’t have the best singing voice, but there is something about the way he crafts his musicianship that draws you in. Franks never overdoes it and often, allows the music to take place in front of his vocals. I remember listening to this album on almost constant repeat in the mid 90’s, a reason why he is one of the top “blue eyed soul” artists around.
Roy Ayers Ubiquity — Everybody Loves the Sunshine (1976) — There are not enough words in the English language to describe Roy Ayers. His music is at the same time mellow, haunting, thoughtful, breezy and profound. There is a reason why the title track is such a staple in black music and for those who love it. It sums up succinctly what Ayers brought to the party. This album always reminds me of summer days of my youth spent down south, listening to it with one of my sisters. Coming back to it this year was a reminder of what it was like to be young and carefree, which is what Ayers music, specially this album, always invokes.
De La Soul — De La Soul is Dead (1991) — It was a very sad day in music and hip hop history when Dave Jolicoeur (aka Plug 2 or Trugoy) passed away. When it comes to hip hop, I am all about the Native Tongues posse, and De La is a crucial component to that. And as much as Dave helped to craft the vibe and the sound, it is my opinion that Kevin Mercer (aka Plug 1 or Posdanous) is one of the most underrated MC’s in all of hip hop. His flow, his inflections, and his rhythms, with the way he was able to craft the stories in their rhymes are not matched by many. While this album was a refutation, of sorts, of their debut, to me, it cemented their place in hip hop history. With other Natives like A Tribe Called Quest and Black Sheep guesting on the album, it showcases why De La Soul became one of the best rap groups in history. Plug 2 may be gone, but De La, despite the title of the album, are far from dead.
Musings of a Visionary Rebel 