#denzil porter
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BAR FIGHT™ - DENZIL PORTER VS ILLMACULATE Round 1
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(Denzil Porter)
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Top 10 submissions EP3 December 2019
Posted on https://www.thewordisbond.com/top-10-submissions-ep3-december-2019/
Top 10 submissions EP3 December 2019
We are still dedicated to showcasing the best tracks/videos from the underground by searching far and wide in order to bring you our weekly list. It's a tough job as we sift through a ton of high-quality tracks just to settle for just 5 so we switched it up so now we curating the Top 10
#Brandz#Bria Lee#chris webby#Dee Rogers#Denzil Porter#Dewey Da Don#Dopenorteria#ExoKaiser#j.nolan#Jirias#MC Kean#Muva Dame#Mystic the Girl#OwO Jones#Rooftop J#Rzu#Shayne Sanders#skyzoo#SonikCuts#spitty the sequel#zion#AUDIO
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A Listener’s Journal, #22: The Piano Trio in the 1950s
As I reminisce about my 50 years of hearing music, I go back even further, another five years or so, to a huge one. The Oscar Peterson Trio (with Ray Brown and Ed Thigpen) opened (?!?!) for the New Christy Minstrels (@#$%*@) at UMKC where my Dad taught. I was drawn to the music and ended up sitting behind the PA column onstage (I felt at home and I was a cute enough kid). It was magic. The Canadiana Suite was an early album and Ed Thigpen gave me some drumsticks I have to this day. And, piano-bass-drums is my basic unit, my entry point. Miles is a formative hero, but perhaps because of that, I've been slow to get to know other trumpeters. Tenor is the horn I know best but it's not necessary. Piano-bass-drums is enough, thank you very much.
Bill Evans with Scott LaFaro and Paul Motian is a pinnacle, sure. I also gravitated to Peterson, but he was already Oscar Peterson with album after album of great playing when I started buying him. Until this exercise, I never heard him (or Ahmad Jamal or Errol Garner) do the things that commanded that level of attention.
So I started with the three "Amazing" Bud Powell albums, then went to the Jamal at the Pershing album, then Garner By the Sea, and, a great new fine, a collection of Oscar Peterson recordings from 1949-1951 with Ray Brown or Major Helley. Garner was, I arrogantly thought, flashy and commercial, though the complete By the Sea release and another archival concert plus Christian Sands revival efforts prepared me for this exercise. Jamal's influence on Miles won major points, but I didn't explore much beyond a Greatest Hits (on Impulse) album--but he seemed slighter some how even if what I was supposed to listen for was precisely the spaces. The Bud Powell I had was at the Massey Hall Concert (okay, he's the pianist you call for such a gig) and with Mingus at Antibes when that band intriguingly didn't have a pianist unless it was Charles himself.
All this to say, they were revered names but I didn't (and still don't) know them in all the subtleties I know Evans. Or Monk. He is in a category all his own, except I should do a different but similar exercise with Monk, Elmo Hope, Herbie Nichols, and possibly Sonny Clark. And I'm not going to get to Tommy Flanagan, Hank Jones, and Cedar Walton. I've got a fair sense of the trio work of Miles' pianists Red Garland and Wynton Kelly. So this project can happily metastasize.
For now, pianists known more, if not exclusively, for trio work than accompaniment and therefore for burning the format on our/my ears.
One last digression though is about Art Tatum who is a huge influence on these men. My folks had a two record set of him playing solo versions of gems from the Songbook. They were overwhelming Chopinesque ornamentations and all of them have those chops and deploy them in lieu of the horns. But Tatum tires me out.
Powell, particularly on the relatively early Amazing albums, ain't shy about calling attention all he can do, but if he's the bebop pianist, the one who could play on Parker at that level, I hear that level of melodic invention. And melody is what I'm gravitating to in Parker's playing and bebop chords are means to that end and not ends in themselves. These are shortish pieces given recording conventions of the time, so there is a concision that polishes it all too. Powell has more than enough power and speed, but I'm struck how it simply adds to the heft of playing. Part of that heft is the bebopper's, certainly Parker's, grounding in the blues. As with all these players, the Great American Songbook is another key jumping off place, a rich lode to explore. Powell, particularly here when there's promise not its tragic loss, is so inventive, so compelling. He certainly played in larger ensembles, so he stands slightly apart from these others. But I think that's true of his piano work too and his influence is broader than the piano-bass-drums ensemble.
Garner, on the other hand, is almost the quintessential piano trio leader. He has chops and ideas to carry a band. There's lots to listen to and I do disavow the flashy/commercial snap judgment, but I do think his impact is on pianists than the music as a whole. He is flashy and winning. The detail to explain away is "Misty" which is one of the most compelling and oft recorded standards. With this exception and Jamal's "Poinciana," these men are not known as composers. But, if we just immediately elevate "Misty" to the Great American Songbook then he--and one strong thread of the genre, think Bill Charlap--is a stylist and champion of these tunes. Together, they contribute to a popularity that is too easy to dismiss. I have though dismissed him and so welcome this exercise that will put him in play when I want to get back to some basics.
I expected to hear lots of overlap of tunes with Jamal, but they just make different choices from the standard repertoire. I don't read too much in which Gershwin or Porter each chooses--and it's not that I prefer Jamal's choices. But, I simply prefer Jamal's approach and see a wider influence than Garner has. It's not just Miles, but that space just opens up possibilities. With the band, Israel Crosby and Vernell Fourier have room that Garner doesn't allow Eddie Calhoun and Denzil Best (interesting that all of them, except Best, are better known for their work in these bands than elsewhere). There's a "Cherokee" where all three lead an uptempo verse, but each chorus slows into lush ensemble playing. Throughout there are gorgeous chords and fluid lines that build often slowly. He/they show us nifty facets of these treasured tunes. If "Misty" confounds my notion of Garner as an interpreter, not a composer, then "Ahmad's Blues" makes the assertion that Jamal (and Garner too) are not as bluesy as Powell or certainly Peterson. But I think that's mostly true--and I like how Jamal lets tunes unfold without the drive of a blues shuffle.
As I've said, Oscar Peterson had a wonderful impact on my very young ears His trio had a huge sound and an insistent often bluesy pulse. He could hit big chords, block or trilled arpeggios, to culminate a solo or part thereof, that knocked you back. Yes, there was Tatumesque flash but that drive was always present and kept things going and focused. What makes the "Debut: Clef/Mercury Duo Recordings 1949-1951" set such a treasure is that it was all there at the beginning, including when Norman Granz just happens (yeah right) notice that he's in the audience at a Jazz at the Philharmonic concert and asks him to play, thus getting around work permits (Peterson was from Toronto). The chords, the fluid ideas, the taste (he too is all over the Great American Song Book--and had I not found these recordings I might well have written about late 1950s collections of "Oscar Peterson Plays the Songs of [Tin Pan Alley Composer]." I will still happily explore them too, but this will be my go to Peterson for a long time.). It's the proper mix of flash and taste.
Much as I appreciate Powell's edge, Oscar pulls that back a notch but just brings more ideas to the table than Garner. Jamal is for a different mood, but it's a mood to indulge.
I want to relook at Parker in terms of melodic invention and Powell will be part of that deepening of what I can absorb from bebop. I can see other explorations of the piano-bass-drums ensemble in formation (Nichols/Hope/Clark or Garland/Kelly or Tommy Flanagan, maybe Horace Silver (I don't even know if there are trio albums),
But I'll be spending much more time with Peterson's duo and Songbook albums and Ahmad Jamal across the decades.(he has a wonderful very recent solo album "Ballades" that was an impetus for this little exercise).
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DLP x Denzil Porter - Bodega Rap EP | @dlprtp @DenzilPorter
DLP x Denzil Porter – Bodega Rap EP | @dlprtp @DenzilPorter
Producer DLP and Bronx lyricist Denzil Porter collaborate in their most recent project, Bodega Rap, which is an ode to the neighborhood bodega that people would all assemble in front of during the day.
“Bodega Rap is an ode to the corner stores that watched some of us grow up,” Denzil states on an Instagram post. “The Bodega is the place where a lot of us lived & died. if the bodega could speak,…
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Follow me for more bass for your face. The Last Cypher by Teambackpack, Denzil Porter, Oswin Benjamin, Chris Rivers https://spoti.fi/2RpmbCD
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Top 8 Singles: June 3 - June 9 ft. Milano Constantine, Arsonal Da Rebel & Skanks The Rap Martyr
Top 8 Singles: June 3 – June 9 ft. Milano Constantine, Arsonal Da Rebel & Skanks The Rap Martyr
Top 8 Singles June 3 – June 9 ft. Milano Constantine, Arsonal Da Rebel & Skanks The Rap Martyr
With our Top 8 Singles list, we present the top 8 singles based on our staff picks.
This week our staff has chosen another 8 from June 3 – June 9 . This week’s list is led by singles from Milano Constantine, Arsonal Da Rebel and Skanks The Rap Martyr.
Milano Constantine – Attache Case (prod. by Oh Jay)
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#Arsonal Da Rebel#Chuck N Lock#Denzil Porter#Flashius Clayton#Grafh#Milano Constantine#Retro#Skanks The Rap Martyr
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jamz
Three Wise Men (Chris Rivers, Oswin Benjamin, Denzil Porter) - “Teambackpack Cypher”
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Genius. Lyrics here. Selections below.
“...with the world on my shoulders when I walk I collapse earth”
#LYRICISM . . gorgeous imagery carrying heavy sentiment.
“In hip hop, we don't shoot if you put your arms up“
#PREACH
“They try tell me don’t curse, all you hear is beep beep beep you would swear a nigga going dead”
#PUNNING . . Punnery at its finest.
“The Type to set a stance and move a mountain with a palm thrust“
Chris Rivers killing it once again with this earth imagery.
“We over heads like carry-ons”
I def looked up when I heard this lowkey expecting to see an overhead compartment…
“Then i be gone/ im out like a stale mate/
I got the kinda drive, that nobody could tailgate”
#RHYMES #WORDPLAY
“Tried to reach for the stars but your bars are Icarus”
#MYTHOLOGIZE . . bring the ancients.
“leviathans higher than firemen admiring burnt down trap houses “
#CHRIS RIVERS…smooth, so smooth.
“And all my niggas is raw like war backwards”
Not gonna lie, this took me a minute.
“Add verbs to my verses create disasters”
I see what you did there. Clean.
#three wise men#chris rivers#oswin benjamin#denzil porter#rap#hiphop#lyricist#dank#nyc#ny#verses#bars#teambackpack#preach#fiyah#wordplay#rhymes#jamz
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BAR FIGHT™ - DENZIL PORTER VS ILLMACULATE Round 2
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(Denzil Porter)
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Denzil Porter – Lucille (Message to Passionette MC)
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Lost In Vegas – Chris Rivers, Oswin Benjamin, Denzil Porter- TEAM BACKPACK CYPHER (REACTION!!!) Check out Lost In Vegas' thoughts on the Team Backpack Chris Rivers, Oswin Benjamin and Denzil Porter cypher!
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Dropping his Chappelle Show-inspired video for "Entertainment," @2ndGenerationWu's @gftd.intell trades verses with @DenzilPorter. The single is off Computers For The Hood released earlier this year.. . . . . https://ghettoblastermagazine.com/videos-2/intell-entertainment-denzil-porter/ https://www.instagram.com/p/CUdduShvMyR/?utm_medium=tumblr
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Interview with iNTeLL
We had the pleasure of interviewing iNTeLL over Zoom video!
iNTeLL, mastermind behind 2ND GENERATION WU, son of Wu-Tang Clan's U-God, and carrier of the legendary hip hop collective's creative torch, ponders an important philosophical and theoretical question with producer DLP on his new album Computers For The Hood.
The record aims to unite old-school with new school, featuring guest spots from hip-hop legends Method Man, Del tha Funkee Homosapien, R.A. The Rugged Man, among others.
The journey to Computers For The Hood was a long and arduous one for iNTeLL, as he was having creative burnout, in addition to ongoing stresses caused by the COVID pandemic. However, this road has led to the best work of his career so far. Computers For The Hood is a tight 11 track showcase of creative partner DLP's raw old school-influenced production that still has a modern flair perfect for 2021. The beatwork serves as the perfect canvas for iNTeLL to confidently lay down memorable bars, hooks, and stories that serve as a perfect homage to his home turf of Staten Island.
"A few years back, when I was still earning the respect of my peers, Young Dirty Bastard had reached out to me to appear with him for several shows. At one of the shows, I met my future wife Prema777 (who is featured on the track "Django Hardware") and at another, I met DLP," explains iNTeLL about the road that led him to Computers For The Hood.
"Shortly after that, DLP approached me about producing a collaboration record between myself and Young Dirty Bastard. I saw this as an opportunity to also include some of the other sons of Wu-Tang, so I reached out to a Method Man's son PXWER. We ended up laying down what would later become the track 'We Here Now.' At the beginning of 2021, DLP reached back out to me and wanted to record a possible EP together. However, I was at a point of exhaustion from creating and building the 2nd Generation WU brand in addition to being burnt out from 2020."
"Suddenly though, an opportunity to work with Del tha Funkee Homosapien came up," iNTeLL recalls excitedly. "He is not only one of my lyrical mentors but one of the dopest emcees to exist, so I quickly signed on for that collab." Inspired by this initial pairing, he explored the possibility of gathering a veritable collection of features and collaborators that helped solidify Computers For The Hood."We ended up being able to secure verses from Method Man, Del, the Team Backpack champion Denzil Porter, Tahmell (son of Rakim), my second collaboration with Mickey Factz, Ruste Juxx, and the king of lyrical Horrorcore R.A. The Rugged Man. This little EP turned into a full-fledged studio album with notable features, incredible production and a message that resonates."
Computers For The Hood by 2nd Generation WU's iNTeLL x DLP is out now!
We want to hear from you! Please email [email protected].
www.BringinitBackwards.com
#podcast #interview #bringinbackpod #iNTeLL #wutang #2ndgenerationwu #wutangforever #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork
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source https://www.spreaker.com/user/14706194/interview-with-intell
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