I dont even know what to say or how to react..He was the reason why BLACK MUSIC and CULTURE yielded a diverse roster in style, sound, perspective and creative direction. No other television show celebrated Black (dont be afraid to say it with me African Americans..BLACK) expression on a diverse level the way SOUL TRAIN presented. Thus creating a lingering appeal that has lasted 40 yrs plus which helped set the tone for just about every Music outlet on an international scale..As a kid (I understood very clearly) and was proud to see people that looked like me and my family on television be represented with pride, dignity & style..”They” fought him tooth and nail in bringing such a vision that would not only give Black artists a fair shake in exposure in which the world would be privy to an AUTHENTIC experience in sound & style that is presented & celebrated by those very people..This Chi-town native carried the blueprint of his days at WVON which eventually became a audio visual outlet that not only changed the game but it changed minds..I would not dare to dream, create, raise the stakes if it were not for a visionary named DON CORNELIUS..(I was so very lucky to speak, meet and shake the man’s hand 3yrs ago..)..He was an institution..Rest In Paradise..

Cloud nine right now…I flipped the first four bars of this in high school when making one of my first series of beat tapes…this is taking me back..just came from record digging and got reunited with this record. (Big shout to Michelle, Jaman and the entire Laws family!!) 

Hubert Laws – Flute, Main Performer, Arranger
Ronnie Laws – Sax (Tenor)
Gene Bertoncini – Guitar
Ron Carter – Bass
Steve Gadd – Drums
David Friedman – Percussion, Vibraphone
Airto Moreira – Percussion
Bob James – Piano
Clare Fischer – Piano, Arranger
Rodgers Grant – Piano
Hilary James – Piano, Arranger
Richard Tee – Organ, Strings
Emanuel Vardi – Viola
Amanuel Vardi – Viola
David Nadien – Violin
George Ricci – Cello

Lately, i’ve been putting together final tracks for upcoming releases this summer. During that process, i’ve been wanting to incorporate elements outside of my “normal” recording process. I’ve been pondering the idea of playing rhythm guitar, I also have been overdubbing a lot of my own live drums just to explore new rhythms. During this past month I have been listening to a lot of early Chicago Funk-Soul (mainly Chess-Brunswick and other off beat labels). When I think of Chicago Soul, I cant help but think about my hero the great Maurice White. Besides being leader of the iconic funk-jazz-soul unit Earth Wind and Fire, he was a also a drummer on many of the sessions at Chess records (along with Morris Jennings). Countless sessions such as “Rescue Me”, “Sitting In The Park, “Grits Aint Grocery” (been wearing out Little Milton’s collection this week!) bear the back beat of Maurice White.

I just so happen to have a kalimba at the lab and I couldn’t help thinking about the story from my uncle (who is very close to Mr White) explaining to me how Mr White and the kalimba came about. According to his recollection, it was at a music store located in Chicago called “Frank’s” where Mr. White’s first encounter with the kalimba took place during the mid 60′s and he has been playing it ever since.

I remember seeing Mr White a couple of times during my early college days (he was always at my bank, amazing!!) and I always felt nervous in going up to shake his hand. But I waved at him, he waved back and my day was made just on that alone. There are very few like Mr. White that went through the various stages of growth and mastered the art of production and recording. There is a leadership quality (reflecting the work ethic of a Mr. White) that is lacking in today’s so-called “modern era” where there are very few artists who take risk and plentiful are willing to follow the depreciated sound pallet only to become flavor of the month. I write this in showing recognition and appreciation to one of my musical heroes who went against the grain and is a constant inspiration. Thank You Mr. White!

the layering on the vocals..the tones..the melody..perfection! I aspire to make records like this one day..
(indeed, i’m a music snob..I was raised on top shelf and spoiled from it..)

Much Love and shout out to my good friend and the super talented Len Burke and the entire Burke family! Bless!

Stereolove, eXtra Mild Sauce in association with Unique74 presents: “THE GOLDEN STEREO”

5 DJs
2 Rooms

The best in soul classics, deep disco, funk, classic hip-hop and Chicago house.

Featuring guests: DJ Derrick Wize & Drack Muse
w/Residents: A-Ski | Lotuspetal | The Plush One

Hosted by: De’Leon & Chevez

Thursday, September 10
Little Temple
4519 Santa Monica Blvd
9p-2a
$1 before 11p

$5 valet parking

The concept behind “THE GOLDEN STEREO” is: you merely have to switch rooms in order to switch your music selection.

SAVE THE DATE…SKF COMES TO LA @ STEREOLOVE!

Where do we go from here?
Save The Music…

PS: GOD bless the person who took this footage and everyone in it.

Marking the return of the ultimate “funky dance record” (as coined by the great Kenny Gamble) while celebrating various elements of Jazz, Funk, Soul and Disco (yes the “D” word); BSTC comes strong with some serious Chicago Funk/Soul in their latest debut offering “Music For a Saturday Evening”. Which made me an instant believer when I first recieved the promo 12′ (biggups to my man Dcee at Mahasa Music) of “Jazz In Outerspace”. I had a chance to catch up with founder and brainchild Andy C to talk about the group and its conception.

A-Ski: First and foremost I have to say that your debut is one of the most refreshing albums i’ve heard in a quite awhile. What was the inspiration and how did the concept come together?

Andy:  The group came together while i was working with Tunji on some rap projects. While we were in the studio, we
came up with the songs BSTC and Jazz in Outerspace, during
the downtime. I let Tone hear it (All Natural Recordings),
he fell in love with the sound and we started working on
an EP, while working on the EP I reached out to Keanna and
asked her to write a song to an instrumental that we had and
from there the concept grew in to what it is today.

A-Ski: Where are you guys based out of?

Andy: Chicago

A-Ski: So that exlplains the serious funk factor?

Andy: Sure

A-Ski: Being that Chicago is one of the major architects behind Soul/Blues/Dance music, what are the elements of the Chi Town experience that continues to bring out so much intense talent?

Andy:  Its cold outside, Chicago has a constant
evolving culture, that is definitely not merciful. So in order
to survive for any amount of time in this town in
entertainment, you must be able to roll with it.
Otherwise you wont make it, dosent hurt that we have cold
winters, it sort of gives you a deeper focus.

A-Ski: How did you guys come up with the name BSTC?

Andy: BSTC is an acronym for the blackstone theatre
collective, the Blackstone Hotel was home for many of the great
jazz and blues musicians of the 50′s and 60′s. Usually at the
end of the evening, other musicians would come down to the
hotel and have jam sessions with other musicians that
were in town, so i called the group the Blackstone Theatre
Collective, because thats what the album is. Instead
of the hotel, we all got together at different studios, in
different cities, and had jam session, to create the
album.

A-Ski: Do you feel the live element of music is coming back? Speaking of which who composed the horn arrangements?

Andy:  Yes, the information age is in fact, bringing on a
musical renaissance, young kids are starting to show
appreciation for the music again, because they are
seeing the old shows and hearing many of the classic songs
that inspired me to pursue music. I see it becoming the
next thing in the States. As far as the horn arrangements
go, I did them on everything except Jazz in Outerspace (Tunji),
and Forty Days which was arranged by Tom Tom 2084 (legendary Producer/Arranger/Architecht of Chicago Soul) , who
arranged horn sections for the Chi Lites, the Dells, Earth, Wind &
Fire, and Phil Collins.

A-Ski: “Venus and Mars” is in my top 5 of favorite songs on this album, what is the story behind that song?

Andy: “Venus and Mars” came out of necessity. Tone called
and asked for a single that fit the vibe of “Jazz In
Outerspace”. So I went to the studio the next morning, and put it
together, Tunji and Marshall, and the LDB (lowdown
brass band), came in later on that week and laid their
parts.

A-Ski: Also the cover of “Forty Days” is beautiful and with a very different approach, what inspired you guys to tackle this classic?

Andy: This is one of my favorite records of all time
very grimy and very polished at the same time. I had done
some studio work with ZZaje before and I felt that they
would not only pay respect to the original song while making it
their own.

A-Ski: If you were on a deserted island and you had to the choice of grabbing 5 records, which ones would they be?

Andy: Jesse Gould-Out of Work, Stevie Wonder- Black Man, First Choice- Love Having You Around, Earth, Wind, And Fire-Fantasy, Fair but So Uncool, Minnie Ripperton-Memory Lane

A-Ski: Any tour dates?

Andy: As of now, no, but we are in the process of
putting one together for winter 2009

A-Ski: Whats the ultimate mission of BSTC?

Andy: For everyone to enjoy music TOGETHER!!

www.myspace.com/bstcollective

www.allnaturalhiphop.com

Album Review- BSTC: Music for a Saturday Evening