For the next Colectivo Digs feature, we would like to call your attention to Memphis’ Gavin Mays aka Cities Aviv. Shout outs to Memphis for this fantastic submission into the eclectic hip-hop landscape. The Memphis rapper draws inspiration from a wide variety of music, ranging from soul to minimal wave. 90’s hip-hop is no stranger in his creative mood board. Although surrounded by three six [mafia] albums, Memphis rap, and other underground rap influences, Mays, spent his time listening to metal, alternative rock and punk, and even became part of a hardcore band–Copwatch. After Copwatch disbanded, Mays, decided to give writing rhymes his full attention. As per his profile on tumblr and facebook, his mission statement is to make pop music for the unpopular.
The 22-year-old idiosyncratic Memphis rapper’s main body of work can be heard in the debut CD, Digital lows. In digital lows, cities hits us with an uncommon flow, precise wit, and amusement-laced ferocity from an outsider/insider perspective onto hazy tracks and the occasional jaggy boom-bap beat. Cities aviv brings some serious personality and originality, evident in his references to 90’s cult bands, 90’s hip-hop, rhythms and witty rhymes. Digital lows won’t be anything you can pigeonhole either; it is intended to be all over the place, just like the scatterbrained rapper.
So now that you know what’s up, keep track of Cities Aviv via his twitter: @citiesaviv and be on the lookout for his next batch of old school inspired, twisted, and future searching beats & rhymes.
Remember 90’s hip-hop? Both the east and west coasts were bringing you serious audible pleasure, or “Flavor in Ya Ear,” as Craig Mack said. In the west, you had the G-funk, or gangsta-funk, which brought you funk music samples, multi-layered, melodic synths, while riding on slow hypnotic grooves of drums and deep bass. Its champion? Dr. Dre, aka “father of G-funk.” The 90’s were a vital period in hip-hop’s history, and here at colectivo futuro, we concede that the most notable group of that time frame was the Wu-Tang Clan. Representing the east coast, specifically New York’s Staten Island borough, the Wu-Tang Clan stepped onto the hip-hop scene, wielding their lyrical swords with the same precision as fighters from a martial arts movie – which inspired the group’s name.
Wu-Tang Clan’s Enter The Wu-Tang (36 chambers) LP followed their immense single in which they alerted you to “Protect Ya Neck”. The clan definitely had you protecting that neck – the distinct lyrical assault their nine MCs were going to deliver was definitely something that was about to turn you on your head. They were raw and fearless in their approach. When speaking of 90’s hip-hop, especially production wise, we have to point to its distinct sampling of jazz records. Needless to say, jazz and hip-hop go hand in hand. Both genres rest on the syncopated rhythms of drums to carry trumpet melodies or deliver lyrics. For comparison’s sakes one can contend that if anyone was as vital and distinctive to the jazz genre as was the Clan to hip-hop, that would have no doubt be Blue Note Records.
Established in 1939, Blue Note Records not only brought you some of the finest records that jazz had ever heard, but it also brought you beautiful cover art designed by Reid Miles. A career graphic designer, Reid joined Blue Note Records in 1955 to design album covers after working for Esquire magazine. Miles’ graphical design work for Blue Note is to this day some of the most highly regarded and respected cover art work in music history. This brings us to the purpose of this post, since here at the colectivo we are committed to sharing with you all good things audible and visual, it is a must that we share the Shaolin Jazz project, or as NPR called it: Where the Wu-Tang Clan Meets Jazz.
Shaolin Jazz: The 37th Chamber is the meticulous union of musical selections from the legendary jazz label with one of the most significant groups in hip-hop culture. And the conductor taking us on this excursion of carefully crafted vocals, jazz tracks, and chopped up samples, is DJ 2-Tone Jones. An Atlanta native now residing in the nation’s capital, DJ 2-Tone Jones rocks many hats. Aside from catching him spinning at numerous venues throughout the D.C. area, you can hear him rock the speakers on Ill Street Grooves radio show on D.C.’s own WPFW 89.3 FM/Pacifica Radio. Additionally, 2-Tone is a member of a cutting edge art troupe/marketing group known as AM Radio: Artwork Mbilashaka. But it was Gerald Watson, a lifestyle-marketing agent, who initiated the concept of shaolin jazz. The idea was conceived after interviewing Logan Walters, a graphic designer and the curator of a series of jazz inspired Wu-Tang album covers entitled Wu-Note (most of which you can see sprayed out on this post). Watson soon reached out to DJ 2-Tone, a long time colleague, and when presented with the idea, he immediately jumped on board. Watson then went back to Walters to kick off the project and the rest is musical history!
you can download Shaolin Jazz – The 37th Chamberhere. It includes 13 tracks, alongside liner notes, art work, and track credentials.
to call madlib a.k.a. otis jackson jr. one of the most versatile musicians of modern times would be a great understatement. it seems that every time we blink he comes up with a new pseudonym or a.k.a under which to make new beats and compositions. while he might be known primarily in hip-hop circles, madlib’s music stretches far across a wide variety of genres, including jazz, funk, and even krautrock (see his latest collaboration with embryo here). his compositions range from laid-back, sultry grooves all the way up to all-out barrages of freak infused jazz and funk sessions.
madlib, a self-professed analogue lover (his weapon of choice is a $300 sampler) , was born in oakland, but raised further south in oxnard where he grew up surrounded by a family of musicians. his uncle, jon faddis played the trumpet with dizzy gillespie and roy ayers, while his father, otis jackson sr. was a session r&b musician. in fact, it was his father who helped him fund a small label (crate diggas palace) that saw the first lootpack release in 1996 before they went on to sign with stones throw records.
although he is mostly known for his work under a host of different guises (i.e. quasimoto, madvillain, or yesterdays new quintet), he has also done production work for other musicians, such as mos def, talib kweli, de la soul, and erykah badu to name a few.
for a clear example of the man’s versatility and musicianship (otis is often found playing drums, bass, vibraphone, and keyboards on his records), one doesn’t need to go too far back. in fact, in january 2010, stones throw announced a series of a once-a-month, twelve-CD, six-LP series titled Madlib Medicine Show. the series spans across madlib’s diverse musical universe while showcasing his skills both as a producer and DJ. with such a broad and prolific catalogue you’d be really hard-pressed to find a more accomplished producer in recent times.
keep up to date with madlib’s doings via his stones throw profile page and also be sure to check out the soundcloud link below for a live DJ session together with j rocc on BBC radio 1…
take us with you!
