Philly punk powerhouses Sheer Mag just released their kickass EP III last month, and they will be performing tonight at PhilaMOCA for the Philadelphia Student Union Fundraiser. Also playing will be Bad Canoes and Dark Thoughts. For tickets and more information, check out the XPN Concert Calendar.Continue reading →
Saxophonist/composer Kamasi Washington brought an 8-piece version of the West Coast Get Down to World Café Live on Thursday as part of his first east coast excursion in support of his attention-grabbing debut The Epic. Even stripped of the orchestra and choir, his band lives up to that album title. Both roof-raising showmen and envelope-pushing adventurers, Washington and company delivered on the converging promises of George Clinton’s Afro-futurist funk and the boundary-obliterating jazz reinventions of late Coltrane and electric Miles. Continue reading →
Tonight, LA saxophonist and acclaimed band leader Kamasi Washington brings his aptly-titled debut LP The Epic to World Cafe Live with an eight-piece band. In an interview earlier this week with The Key’s Shaun Brady, Washington talked about breaking down the boundaries of genre:
The word ‘jazz’ and the word ‘hip-hop’ have a separation, but the music doesn’t really have that same separation. You can’t talk about hip-hop without talking about A Tribe Called Quest, and their music is inundated with jazz. You can’t talk about west coast hip-hop without talking about James Brown and Parliament.
“West Coast Jazz” means something very specific to most listeners – cool, intellectual, played by guys in short sleeves and horn-rimmed glasses whose calmer brand of hip evoked a more laid-back atmosphere than the frantic pace of New York City. It’s an image, as that description implies, that’s not only reductive but locked in the 1950s, reflecting the eclipsing effect that New York has on other areas of the jazz landscape.
With the release of The Epic, Kamasi Washington explodes that image with the force of a supernova. The saxophonist/composer’s sprawling, monumental three-disc debut is an ambitious Afro-futurist opus that swirls in elements of jazz, funk, hip-hop, electronica and soul, as well as a 32-piece orchestra and 20-person choir supplementing the adventurous sound of his core ten-piece band. That band consists of fellow members of a collective known alternately as The West Coast Get Down or The Next Step, a group of like-minded, genre-leaping artists who grew up together in the Leimert Park section of South Central Los Angeles. Their combined efforts suggest something transformational happening in the incubator of the L.A. music scene. Continue reading →
He’s released the best jazz album of the year, a sprawling three hour epic, appropriately titled The Epic. After an exhilarating showcase for NPR Music’s Jazz Night In America last month, Kamasi Washington is touring and makes a stop in Philly in August. Continue reading →
For fifty weeks over the next year, we’re celebrating the music of a specific year every Saturday on WXPN. We’ll be choosing the years randomly; for this #XPN5050, Kristen Kurtis is putting the musical spotlight on the year 2015.
In some ways, it seems strange to be celebrating such a recent period of time in our year of throwbacks, the #XPN5050. Like, wasn’t it just 2015 not all that long ago?
But take a look at a few of the albums released then, and you’ll agree. This wasn’t a year where music needed time and distance to be assimilated and appreciated in the realm of music history. This is a year of records that arrived on the scene fully formed, of instant classics. Continue reading →
Sure, maybe you aren’t going to attend all 17 shows we’re recommending this week — that would be an impressive feat. But with a variety of sounds from roots to retro rock to indie rock to jazz to punk to global folk fusion, you’ve got no excuse for not seeing at least once concert in the next seven days. Read on for our recommendations. Continue reading →
Many of jazz’s most creative voices have had a lot to say this year. For whatever reason, 2018’s best releases include a staggering volume of music, albums that sprawl to 2 or 3 discs in length. Witness Tyshawn Sorey’s monumentally minimal Pillars, three hours of sparse, delicately textured gestures that leave the listener to wander through a limbo of sound and genre. Guitar innovator Mary Halvorson’s Code Girl ran to two discs of arcanely angular song forms, while her collective trio Thumbscrew (with bassist Michael Formanek and drummer Tomas Fujiwara) paired an album of original music with an accompanying set of covers. The brilliant composer Henry Threadgill doubled up with releases by his ensemble Double Up and another by his latest conglomeration, the 14 or 15 Kestra: Agg. That’s just to mention a few. Continue reading →
Franklin Music Hall. That is what the former Electric Factory will be known as going forward.
The 2,500 capacity music venue on 7th and Callowhill announced last month that it was changing hands and identities, and with new owner Bowery Presents / AEG (who had been booking the room for years) legally restricted from using its old name, a contest launched to rename the venue. Continue reading →