Oakulture

Documenting the Oakland cultural renaissance


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KRS – One Brings Boom Bap to Yoshis

Live review/ KRS-One, March 22, Yoshis.

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Blastmaster KRS, a synonym for fresh

Hip-hop legend KRS-One should have a spot in any purist’s Top Ten list of greatest emcees. In the list of greatest emcees at live performance, the “Blastmaster” is probably a Top 5 finisher. His greatest weaknesses offstage—bluster, arrogance, and an ego which probably gets its own seat on airplanes—are indeed his greatest strengths when the mic’s in his hand.

How many other almost-50-year-old hip-hoppers could rock a jazz-identified venue with just a DJ for over an hour and one half and make it seem like an event?

And how many artists could effortlessly rip off string after string of classic hits, peppering them with lesser known yet slept-on material, while keeping the intensity level high, throughout?

Because it was a KRS-One show, Sunday night’s live performance at Yoshi’s—his first time at the Oakland location—also included, gratis, a long section where KRS engaged the audience with an a cappella monologue like a motivational speaker. That was the “edu-“ part of “edutainment,” the term KRS coined during the Afrocentric 90s to describe his style. There was plenty of “–tainment,” however, especially in the last 20 minutes of the set, when a flurry of greatest hits had grey-haired 40 somethings reliving the glory days of their hip-hop youth, reciting lyrics along with the Blastmaster.

Mar 22 2015 093KRS’ accomplishments are many, as are his contradictions.  The leading force behind the Stop the Violence movement, which called attention to Black on Black crime, he committed a major PR blunder by opening up a can of whoop-ass on PM Dawn’s Prince Be – which Afrocentric rap, once a legit commercial force and cultural tastemaker, never quite recovered from. He once opened up for Nelson Mandela and crossed over to MTV via R.E.M., and may have been the first Bronx emcee to work the college and lecture circuit – despite being a vocal critic of academia. He decried the corporate commodification of rap, but once made a Nike commercial.

In more recent years, KRS has battled scholarly types over whether hip-hop is a religion and put out an uneven smattering of releases, as the boom bap style of hip-hop he championed has been almost completely overshadowed by simplistic and/or nihilistic rap — seemingly as unconnected to the genre’s late 80s-early 90s golden age as inner-city African Americans are to the history of African kingdoms like Kush and Nubia.

But his legacy should include the right to say “I told you so.” KRS was right to address such topics as the correlation between the dirty money of the drug economy and the wave of violence in the streets of America’s urban cities on tracks like “Love’s Gonna Get Ya” and “Illegal Business.” He outlined the dichotomy between culture and commodity in “Hip-Hop vs. Rap.” He stressed the value of black self-education in songs like “You Must Learn.” He examined the correlation of animal rights and diet on “Beef.” And he unwrapped police brutality and the historical role of the slave overseer in “Sound of Da Police” – a song which, in the wake of current events, has recently become an anthem for Oakland youth a cappella singing group YGB.

Through it all, one thing has remained certain: KRS is hip-hop incarnate; when he’s in the building, so is hip-hop—the real hip-hop, not the culturally-appropriated version. That was very much the case Sunday night, as KRS—wearing a hand-painted shirt with his emcee name under a plain black hoodie—turned Yoshis’ swank environment into a temple of boom bap.

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Hearing “Sound of Da Police” live was worth the price of admission alone. He followed that with his breakthrough single/history lesson  “South Bronx”—a minor hit at the time which has become an endearing classic: way back in the day when hip-hop began/ with Coke La Rock, Kool Herc and then Bam/ b-boys ran to the latest jams. The hits kept coming: “(Who Am I?) The MC,” “(Step Into a World) Rapture’s Delight,” as did lots of ad-libbing and freestyling; on several occasions, KRS directly addressed a random audience member and made an impromptu rhyme about them – creating an instant hip-hop memory.

Having warmed up the audience, he then switched into lecture mode, dropping a flurry of sound bites:

“This is KRS, not a bullshit rapper on stage.”

“It’s not Egypt, it’s Kush.”

“Don’t expect rappers to be responsible for what comes out of their mouths because they got no soul.”

“The government you’re angry with is you”

“Nothing in the US Constitution says you deserve education.”

“No one guarantees you knowledge, and if you don’t have it, you’re a slave.”

“I don’t attract bullshit people to me, because I love you all.”

“I can’t police the culture.”

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Love it or hate it, it was vintage KRS. He prefaced a new song, “Enter the Boom Bap,” by remarking on the endearing popularity of 90s hip-hop (of which the sold-out crowd was a testament to). He showed his solidarity for immigration issues on another recent song, “The Invaders,” which continues his almost 30-year tradition of fusing hip-hop lyrics with reggae beats.

He juxtaposed the Criminal Minded oldie “9mm Goes Bang” with 2013’s more emphatically anti-gun answer track, “Nina.” He rapped over the melody from Pachelbel’s Canon.  And he sandwiched the Return of the Boom Bap track “Higher Level” around a track exploring America’s failed drug policy (“they declared a war on drugs but drugs won”) and another oldie, “A Friend,” whose looping strings make it one of the most emo hardcore hip-hop songs ever.

KRS entered the home stretch with a speed round incorporating “My Philosophy,” “The Bridge is Over,” “Hip Hop vs. Rap,” “Love’s Gonna Get Ya,” “Jimmy,” and “Mad Izm,” all of which had the audience verbalizing and fist-pumping along with the Blastmaster. The finish line sprint saw Oakland’s Jahi take the stage for yet another freestyle session, before the crowd exited into the night with a renewed appreciation for KRS’ artistry, his longevity, and his gumption.

Jahi and KRS

Jahi and KRS

Well-played, Blastmaster.


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Kev Choice’s Revolutionary Record Release Party

Live review/ Kev Choice @ Yoshis, February 5, 2015.

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“Can we have five more minutes? We sold out the place tonight,” Oakland’s own Kev Choice pleaded to Yoshis management. It was a few ticks of the clock past 9:45pm. For the past hour and forty-five minutes, Choice and his ridiculously-talented band had been playing selections from the pianist/composer/producer/emcee’s new album, Love and Revolution – the first public performance of this material (available for online purchase Feburary 10 at Choice’s Bandcamp site). Alongide Choice’s top-notch backing band, a succession of guest artists lent an all-star feel to the proceedings, making the show seem as eventful as, well, an event.

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Jennifer Johns, Antique, Andrew Levin

All night, there had been a significant procession of co-signers to Choice’s aesthetic, beginning with young people’s vocal chorus Young Oakland, continuing with frequent co-collaborators Viveca Hawkins and Jennifer Johns, then extending through cameo spots by HNRL, Lockmith, Jeff Turner, Chris Turner, Antique Soul, Zumbi Zoom, and, finally, Jaguar Wright.

It had all gone by rather quickly. The momentum was still building, but the allotted performance time had run out. For a minute, there was a sense of, who’s gonna come out next?  If the show were to continue, would the stage door conjure yet another amazing vocal talent?

 

Viveca Hawkins, 1-O.A.K., Trackademicks

Viveca Hawkins, 1-O.A.K., Trackademicks

A Kev Choice concert is like getting two shows for the price of one. Not only do you get a conscious hip-hop throwdown, but you also get a memorable jazz-funk-soul vaccination.  Choice handles the dual roles of pianist and emcee with ridiculous amounts of skill at each, and his stage presence has grown over the years, honed by international touring experience. The special guests garnered most of the attention, but Choice’s backing band was tighter than a vise and funkier than a mosquito’s tweeter. Guitarist Andrew Levin and bassist Uriah Duffy shone in particular—easily handling the rapid mood swings of Choice’s material, which incorporated classical orchestration, jazz-fusion progressions, funky hip-hop breakdowns, and soulful R&B vocal stylings–sometimes on the same song. There was a string and a horn section, as well. Choice had clearly pulled out all the stops.

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Jeff Turner, Zumbi Zoom, Locksmith, Chris Turner

It’s a bit of a gamble to play a live show featuring all-new material which has never been publicly-performed before, but that’s just what Choice did. The enthusiastic, standing-room only, crowd embraced the new songs warmly, so the gamble paid off. The album’s title ran like an undercurrent through the music, connecting Love and Revolution‘s songs thematically, to the point where it almost seemed like a concept album. The opening triad – beginning with the optimistic, romantic “Feel the Love,” which segued into the hard-hitting sociopolitical commentary “Gone Too Far,” which in turn became the jazz-laden instrumental “Oscar’s Revenge” – felt like a musically-cohesive movement in three parts. Johns  joined Hawkins for “So High,” whose lyrics traced a continuum “from the black Egyptians to the Black Panthers” before presenting the couplet “love is coming for me/ who can stand against me?”

“Compatible”— a piano-driven instrumental composition – was perfectly followed by “My Cause,” a song about commitment/monogamy, delivered with a broken-beat rhythm and tribal-sounding drums, which contains the hook, “I’ll ride for you like you was my cause.” kev choice love and revolution rr 058

Oakulture’s notes scribbled during this time read, “music theory gives Kev an advantage” – a nod to the composing, arranging, technical finesse and musicianship which goes into his songs – something you might expect from a jazz player, but considerably rare within the hip-hop spectrum. Even hip-hop’s most celebrated producers weren’t technically composers, with the notable exception of RZA (in his later years).

“Movement Music”—inspired by Johns’ activism, Choice related – was next, also featuring Antique on vocals. Introducing the song, Choice declared, “This is the home of the movement. Oakland is where they started the movement,” he reminded the crowd.  The next few minutes of the set essentially transformed the respectable, upscale environs of Yoshis into an activist staging ground, as the two powerful soul voices of Johns and Antique joined Choice in urging for positive social change. “Can’t have revolution without evolution,” Antique sang.

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Jennifer Johns, Andrew Levin, Antique, Kev Choice

Oakulture’s field notes say: “why listen to anything else? Comparing Choice and what he brings to the musical/lyrical equation with say, commercial urban radio, is like comparing a Pharaoh to a crackhead.”

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Zumbi Zoom, Locksmith, Chris Turner, Kev Choice

The vibe only got thicker from that point on, as the HNRL crew (vocalist 1-O.A.K and emcee Trackademics) were next to grace the stage, for the forward-thinking “Another World,” a track which pushes the envelope of progressivity.  A dapper 1-O.A.K. sang the song’s resonant hook: “When it all sets on fire/ it brings truth to the light.”

Guest vocalist Chris Turner took the show into rarified air with a falsetto-driven version of “People Make the World Go Round,” which the Yoshi’s crowd lapped up like hot butter. Turner remained on stage while even more guest emcees – Locksmith, Jeff Turner, and Zumbi Zoom – joined in on “Noose,” another reflection of what it means to be a black man in America. The illmatic posse cut raised the thermostat accordingly with sick rhyme flows. The expert pacing continued with “Meet Me at the March,” an ode to activist rallies which nicely continued the album’s theme.

Jaguar Wright

Jaguar Wright

Time was almost running out, yet it seemed to stand still as Philly neo-soul diva Jaguar Wright took the stage and showed off some impressive vocal chops. Following her star turn, Choice made his aforementioned plea to extend the time, so he could play “Daddy,” a song about fatherhood written for his 12 year-old daughter, Anya, dedicated to her and all the fathers in attendance. The song spoke to hip-hop’s evolving intergenerationality, as well as Choice’s own maturity.

Musically, not a lot of people are touching Kev Choice right now; his potential seems limitless. Lyrically as well, his content  and delivery puts him far out in front of most of the rap pack. Some of Choice’s flows are downright un-be-lievable, content-wise, and he switched off between frontman and bandleader roles effortlessly.

While the evening certainly showcased Choice’s talents, it also shone an equally-bright light on his collaborators. In some ways, Choice’s live band seemed reminiscent of the great Gil Scott-Heron-Brian Jackson bands of the 70s, who effortlessly mixed jazz, funk, soul, poetry and R&B into an infectious musical stew – the perfect complement to Scot-Heron’s sometimes-sung, sometimes-rapped, vocals.

kev choice love and revolution rr 272But Choice is far from retro in his approach. Though at times his sound is reminiscent of mid-70s jazz fusion, he ups the ante by incorporating hip-hop rhymes and prominently featuring female vocalists, as well as classical music-inspired melodies. Watching the show, you felt very much like you were witnessing a statement performance which spoke to the collective talent level of Oakland’s urban artist community.

All in all, it was one of the most engaging shows Oakulture has ever seen at Yoshis, one which was anything but by-the-numbers smooth jazz (chair seating notwithstanding). The legacy of community activism and the current vibe in the streets converged with incredible musicianship, conscious lyricism, and a slew of killer vocal performances to make the event one which will long be remembered in The Town.