Jazz is one of those idioms that doesn’t come easily to everyone. I’m not a Jazz head by any means, but I’ve certainly come around to a little bit of equanimity in my appreciation for Jazz. Where once the ambling solos, indirect melodic focus, rambling uneven tonal patterns and blue note syncopation, drove me up the wall, I’ve found a certain satisfaction with the music through learning its vocabulary and history. One of the things that can be said unequivocally for Jazz vocalists is that she must have an unflinching command of her instrument; its timbre, its range and its pitch must be mastered. Otherwise audiences are unable to transcend the lyrics. When I pump Ella, Sarah Vaughan or Jon Hendricks on my stereo, I try and train myself to hear the voice as if it were just another horn stepping out from the big band. This could be why José James is such a joy for me to listen to – he plays his voice like a horn. New York City, and the history of Jazz born there, shape James’ first release for world-acclaimed DJ Gilles Peterson’s Brownswood label. The Dreamer is the title track and easily my favorite. Another standout from James’ album is Spirits Up Above, reworked here by Simbad. José James performs for FREE at 5PM on Tuesday, July 8th at The Providence Black Repertory Company as part of Sound Session 08. Tickets for all performances on sale now at Arttixri.com

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

There is something burbling up in Brooklyn. Its one part straight island Rasta, one part BK brand Nubia and one part UK hoody culture. On Brooklyn Anthem, Team Shadetek managed to harness some of the Burrough’s most cantankerous beas and vocals for an explosive celebration of hybrid Black music. Featured on the tune is none other than Gize Burrows, aka 77Klash. Most famous for penning the unstoppable Skallawa riddim – Turbulence’s “Notorious” was the nearly ubiquitous hit of a couple summer’s ago that made the infectious, bass heavy backing track famous – 77Klash (pronounced Double-Seven Klash) is known for his unwillingness to play by Dancehall’s genre conventions. On Brooklyn Anthem, Klash and Noble Society’s Jahdan tear through a heavy, badman riddim replete with squelchy acid bass and spooky synthetic strings.77Klash performs at 11PM on Tuesday, July 8th at The Providence Black Repertory Company as part of Sound Session 08. Tickets for all performances on sale now at Arttixri.com

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

There is something inherently theatrical about Black Rock – or maybe just Rock in general. I was reminded of this fact most recently when I had the opportunity to check out the new musical “Passing Strange” at The Belasco theater in NYC. A seated performance clocking in at over two and one half hours, “Passing Strange” is not my typical fare (truth be told I cringe during most musicals), but the story was compelling and the guitars were shredding. Lyricist Stew, who undoubtedly cribbed the fanciful tale of bourgeoisie Black Bohemia from his own experience growing up an outsider in LA, pays homage to Jimmy Hendrix, Prince, Little Richard and the like with an untethered brand of Soulful Rock. Stew is part of a vanguard in Black music bringing the all-important rock fuel back around to popular vernacular. But this isn’t a post about Stew, or Black Rock really for that matter, its a post about genre-defiance and the importance of knowing one’s musical roots. Eric Roberson, a New Jersey-based singer and songwriter who once dabbled in theater himself, is acutely aware of his musical forbearers. His latest release, 2007′s “Left” sees him channeling Stevie, The Isley Brothers and the entire back catalog of Stax. The standout track has to be the New Wave anthem “Man Who Had It All” . And even though “Left” veers away from the House sound that I first recognized Roberson for (check out “Change For Me“) its a satisfying portrait of an artist, who has made a career of writing stunning music for others, finally stepping into the spotlight. Eric Roberson performs at 11PM on Monday, July 7th at The Providence Black Repertory Company as part of Sound Session 08. Tickets on sale now at Arttixri.com

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.