Why Jay Electronica is Arguably the greatest rapper living : Nigga we made it from slaves on a slaveship Live from the cotton fields, straight to the spaceship

“Best rapper alive” a term filled with hubris and informed by an overtop sense of youthful confidence thats vicarious as it is intoxicating. The MC since his inception in the burroughs of New York stepped to the microphone with a profound sense of purpose but also with a sense that he had to constantly fight to establish his right to pick up the mic. So in a sense unlike any other form of music, hip hop has always had a very deep sense of competitiveness. In this tradition of competitiveness rappers have for a long time claimed the mythical title of best rapper alive since the first MC’s picked up mics in the parks of New York.This argument was easily one of my favorite arguments to have with people. I love to ask why I like what I like and what what I like says about me. In a way art allows us to confront ourselves in ways we can’t to most people. This is what I think about when I fuck with Jay Electronica’s music. From the first song I heard by him, I got the sense that this is a cat trying to connect with a larger reality than his on, a cat with a craft informed by a profound sense of purpose. He embodies perfection in MC-ing,a very well oiled vocal instrument that cuts through beats like a knife through butter.Then a flow that has the conversational intimacy of a biggie/jay-z but he also has a mastery of diction that would make many emcees cry.

One thing that has bored me about new rappers, is a lack of mysticism, or a loss of the afro-futurism that the 5% nation gave us in the form of Rakim & The Wu-Tang Clan.His raps are also informed by a space-age mind, a mind thats part Sun-Ra part Farrakhan. He is also an rapper informed by the fiery black-pride of the N.O.I. Yet his sophistication exists in the fact that he acknowledges his aspirations for profound spirituality while existing in a culture that often celebrates death & money.

For me great rappers have to be able to make me see shit and this dude sense of the third eye is mad wicked. His storytelling capabilities can only stand along side Notorious B.I.G.

On the song DMT, Jay taps into black paranoia and provides an anguish driven description of a dream he had about the seedy underbelly of secret societies.

Like a lot of the God mc’S he is an ace at taking random phrases and making them sound like biblical proclamations like “Phantom of the ChakraH”

He connects himself to a deep well spring of afro-futurism, science fiction, New Age spirituality, eastern thought and street talk. He fuses these elements to create music thats equal parts profound and unapologetically deep.

Like most people I peeped this cat when I heard the song Exhibit A and i was blown away. His vivid descriptions accompanied by an astute sense of history and pop culture the very ingredients that made B.I.G great. But jay goes further his flow is slow, deliberate and his enunciation is uncluttered.

By the time he dropped Exhibit C, I had declared him the sickest cat on the microphone.

My only problem with this cat is, I need to hear his first full length.

He has the makings of the next great MC, even greater than Kendrick I just don’t what him to lose his fire.

Rap music is obsessed with messianic figures and one of the characteristics of messianic figures is that they will often declare themselves as messiahs (Think Jesus in the bible) hence the popularity of the phrase best rapper alive. But this cat from the offset set himself apart because his music was stepped in such mystery and his writing skills were so above the par, especially considering this cat was from New Orleans.

When I heard the cat rap over Jon Brions Eternal Sunshine joint, I was floored and listened to it on repeat for days.

little willie john

Like everyone else I grew up on the more famous version by Miss Peggy Lee, but there is something about the original version that makes it sound so much more interesting. There is something about 50’s vocalists that made their sound seem so much more unrestrained and multi-dimenstional. Part of it is that these cats were not victims of the compartmentalization of rock and roll.

His sound is timeless.

Stevie paying respect

Jack white paying respect


Dedication to Daddy Trane: Died July 17th 1967

I know there was me before and after Coltrane. I never heard him when I was younger never even knew who he was. In my college years I was mad obsessed with a couple rock bands and read music journalism voraciously. I guess its while reading one of the many publications I was infatuated with that I came upon his name. Every musician that I considered far-out at the time dropped this cats name and I knew I had to hear what all the fuss was about. This occurred in the prime of the Limewire illegal downloading on american-campuses-era, this is before the schools woke up and banned Lime wire. The way Lime wire worked I tended to look up an artist and download there 20 most popular songs and with Tranes favorite things almost always came up at the top. I downloaded it and burned it to CD (iPods were out but I was a cash strapped student custodian so my sony disc man had to do) , so that I could listen to it on my way to Math 101. As I was listening I was not really impressed by it at all, I liked the melody and all but the seemingly unending Solos from the band just bored me and i just lacked the attention span to deal with it. At this point I was patient enough to digest a dense piece of underground NY rap, or enjoy some indie rock spaceyness but I was not ready for Jazz. 

But I made it a mission because all my  heroes kept bringing up jazz as a formative part of there evolution as artists and people. I tried listening to Miles and tried tapping into all the big names people kept dropping. I remember the exact moment i understood Jazz and I knew that my ears actually were enjoying it. I remember this moment clearly because it was during one of those long walks on campus walking in and out of buildings pretending to be walking to class when the truth was I was done with my classes but I wanted to hear a song that had captured my attention. 

Night in Tunisia is a straight jazz standard initially composed by Dizzy Gillespie and it has all the romp, pomp and excitement that I associate with Dizzy compositions. But there is something about how Basie executes it that floored me and opened my eyes to the mechanics of this art form. Meaning it taught me how to enjoy jazz. The huge trumpet sections the very clear call and response  between the sections of the big band and the driving rhythm created an intoxicating party like atmosphere. As well as this song another song was my man Ahmad Jamals “Ponciana”.

I have a pretty obsessive personality at least when it comes to things that give me pleasure and music was and still is an obsession. I used to play poinciana at the rate of once every 3-hours when I was awake in a day. I knew this song so well, I even remembered the part in the record when you can hear the people working in the kitchen were jamal was playing start screaming out orders. Poinciana pointed me towards a simpler less swinging style that was cooler but defined by beautiful melodies and a minimal but beautifully combined string of notations. I went straight from there to Miles Davis and I bought my first belt driven record player and my first two records were Miles Davis “Sketches of spain” and John Coltranes ” blue train” two very different records but all the same records that were taking me into exciting new territory.

By my second year of college I was a bonafide Jazz freak spending the little i made as a custodian buying books about jazz or buying jazz records & CD.s. I had fallen hard and fast for “Kind of Blue” and could not stop listening to Mingus ” Black saint and the sinner lady”. Unbeknownst to me I was courting the avant grade and the straight ahead almost simultaneously but there were records I owned that I still didn’t get like early Charlie “bird” parker stuff or Duke Ellington. Then around that time my man Ken Burns dropped the long as hell documentary series called jazz, and I would download them onto my newly purchased IPod 5 which could play video and I would sit by the stairs close to the door of the building I was cleaning that night and listen to thrilling tales about everyone from Jelly Roll Molton, Bix beiderbeck all the way down to stuff about crazy a van gardists like Cecil Taylor. This series as well as books by Amiri Baraka helped contexualize the art forms history, origins and aesthetic underpinnings. For me Jazz was and still is about a complete immersion into the culture and identity politics of the art form. As far as Trane was concerned I was going hard trying to understand records like ascension. A record I still do not get to this day.

But I was also messing around with “A love supreme” an eastern influenced improvised prayer to God. But It wasn’t until I picked up “Giant Steps” that I fully lost my SHIT (sorry for the language but this literally happened). Giant steps for me at first seemed like a very disconnected record with moments of excellence and moments of lackluster performance. I was infatuated with syeeda’s flute and totally enamored by Naima. The rest of the album was hard to get but after long sessions of blasting it while writing journalism papers I began to understand the record. Giant steps is still in my opinion a straight standard. Its an album that works as a benchmark to the Trane sound in my world.

His later period has a few gems in my book, but is still something i am trying to understand because a lot of it sounds a bit too self-satisfying and in a way lost a lot of the technique and collaborational attitude thats at the heart of jazz. But even within that tradition I always discover incredible records like the record “Ole” or “Om”. I also fell in love with his sidemen and one of his frequent associates my man Eric Dolphy whose records are in my opinion some of the most consistently far-out  works of music.

I am personally not one to deify pop-cultural figures, but in my own life Tranes music was a path towards an expanded view of what art especially music attempts to do and say about human reality. His persistent unending search for truth lies at the heart of what makes his execution so timeless. You listen and always get the sense of a frantic soul searching and yearning to get clearer glimpses of the nature of reality and the universe. Maybe I am exaggerating but his most impressive records always sound like journeys to me.



How Jay-z introduced me to Johnny Guitar Watson

Hip-Hop as a a form of reverse archaeology is a huge part of how I got into everything from Jazz to blues.  In my younger years, I came upon a bootlegged DJ clue tape which had a song by Jay-Z called “People Talk”. This was post “Ether”, “The Takeover” and the abysmally disappointing “Superugly”. In the bootleg mixtape the song opens with Miss Angie Martinez announcing the vote of new york Hot 97 listeners decision over who won the beef. We hear angie about too announce the winner and then she suddenly says Jay just walked in the building and then this weird vocal begins of Johnny Singing “I hear the people talk”. I never knew this at the time I first heard it but Johnny would eventually become one of my favorite vocalists of all time (Beefheart and a cast of left of centre psychos loved this guy). Produced by Ski-beatz its one of Jay-Z hidden gems and in my opinion one of his best songs ever. 

Part of Jay-z genius lies in his flow but also in the clarity of his vocals and his ability to be very conversational. In this song we are hearing a hubris heavy Jay at the top of his powers, letting the haters know that he is above them. This song is important because it introduced me to one of my favorite artists, “Johnny Guitar Watson”. As a young man I must have listened to this joint everyday, and when I discovered Ski sampled Johnny I fell head over heels in love with a song called “Lovin You”.

For me thats the value of this art-form (Hip-Hop), in its purest form its always paying respects to the ancestors by using the ancestors ashes to create new monuments to the timelessness of music.



How Funkadelic helped me fight off the sunday blues

 I complain about sundays a lot. But there is something to be said to the idea of hating the idea of having to face the daily grind of the common modern Homo Sapiens week, jam packed with tedious responsibilities and atrocious amounts of repetitive mundane often unfulfilling chores. Fighting the sunday blues is literally just that a fight, despite the exciting win of my Deutschland brethren, i gotta accept that the weekend is pretty much done and so called real life begins. But thats why we got Funkadelics psyched-out ballad “I’ll stay”. A song in which a dude reassures himself that his tragically way-ward woman will return to him, despite the fact that the song cues you into the fact that she probably won’t. Somehow this piece of tragic beauty makes me happy and I find myself listening to this song a lot on sundays. The tragic nature of this song somehow speaks to the often mundane nature of life and how in these mundane repetitive details life can seem and often is depressing as hell.


The version by R.H factor equally poignant as the original dwells on these emotions, the sense of loving someone thats way-ward, unpredictable and that will ultimately break your heart. In a sense maybe thats why I have the sunday blues, I know that this week will be like all the others despite how hard I hope for a better outcome.