so…in less than 24 hours, this is happening:
…and guess who’s up getting his set list together?
I listened to a TEDx talk on the art of procrastinating and how for some people it’s just the only way for them to tap into their genius/best work. so on one hand…i totally agree and plan to blow everyone’s mind and NOT be nervous about rocking before “the toughest musician in hip hop history” — on the other hand, i want to stop fuckin’ procrastinating and leave myself more time to dive into the meticulous art of editing and ultimately getting a sincerely good night’s rest…but se la vie….the latter is not in my cards tonight.
so we start from the top of an hour long playlist (which has to be condensed into a 25-30 minute set list), with none other than “Dizzy, Sonny, & Sonny” .
…somewhere between “After Hours” & “I Know That You Know” i’m going to find that cool ass transition and flip it into a great segue somehow…. yeah; i ultimately don’t want to hit the stage with what i’ve already done, and since my “newer songs” aren’t ready to go; i’ll have to improvise, and nothing says improvise like freakin’ jazz sessions; especially with Dizzy, Rollins, and Stitt #wincity (4:50 am)
(5:42) ok…i’ve worked my way up to another classic, i won’t mention or post, cause i can’t have another nosey producer digging through my crates for ideas to work with — i will say i’m rather proud of my team, good guy collective for 1) stepping up the plate and being down to rock and being all around supportive of artistic growth — shout out to frank n’ o’ too; day-1’s still got heat in the chamber.
3)iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii ….. fell asleep.
4) 1:00 PM — breathe in, breathe out. managed to line up all the songs before I passed out. slept SO good (thanks, Jim Beam). writing a new song for this one. beat called “no soap” by A.T. — his production has always held me down, really looking forward to cranking this out up for the first time tonight. fire fire fire — procrastination is king. can’t remember last time i wrote one i’m feeling like this. but to my new-news — don’t try this at home — i’m a professional and would HIGHLY suggest against putting a new piece on stage the same day you made it. lol
4) 9:00 PM — i’m in the spot. Got my set laid out…too nervous to post this now cause I don’t trust my ability to re-read, edit, and all that jazz so will post at a later date 🙂
I can say that I didn’t go with the jazz interludes, but rather threw in some of my SIR WOODS BROTHER instrumental efforts as a buffer between my opening cuts and the two tracks i’m going to perform (with Bush) off of our Loose Leaf days. that should go over pretty well i’m sure cause that shit is just dope. anywayz…. ttyl.
5) 11:40 AM // 11/28/16
So the show went well. Very well. Except for the Moola. and that’s a no no.
However. Learned a LOT about & from my team that night; everybody nailed their sets, and Count was an inspiration as always. I personally hated my set, not cause I didn’t kill it, but I didn’t have that ‘new shit on deck ready to go’. I get so stretched (stressed) out with my other ventures, the live element isn’t getting the attention and energy it needs.
so I’m sitting in hindsight looking at what can be improved and what moved me the most. Off top, I gotta say it was Modifi’s set first…he rarely gets to do his thing, and he’s rocked out two sets in the last month’s time. His OCD really shines in his stage set up, i don’t think I saw ONE wire crossed or a piece that wasn’t evenly set at an equal distance from the little table he was working from. very architectural / aesthetically pleasing to the eye; HOWEVER, i think the main surprise for the audience, is to not expect such a rich southern sound from the guy with curly hair, glasses, and a pea coat, but he DIGS IN and let’s it fly. shit had me so charge, I HAD to hype man a bit at the end of his set leading into mine.
Secondly, between Wigs and Bush, you get this sincere feeling that they’re 100 with the vibrations they chose to share. It’s rather refreshing to hear ’em shake the walls, cause that’s all you heard if you wasn’t IN the building.
And last but not least; Count Bass Muthafuckin’ D — Dude is my hero. Well, one of them. You can tell this is his life (or atleast a HUGE facet) when he steps on stage and hits those keys. I asked him what he was planning on doing and he said he was gonna “hit those keys a bit, then walk around and talk to ’em” and that’s an understatement to what actually went down. Though we didn’t get the complete “Instantly New” experience (i.e. complete with the PERM OUT COUNT), we did get what happens when an artist is truly “in the pocket” with they’re sound — he could’ve done that shit in his sleep. Beats were wanging and it was a relief to here some of my favorite cuts (from Dwight Spitz) become some of my fellow nay-sayers favorites too; cause let’s me honest — with a style SO polar opposite mainstream b.s. and unique from MOST underground hip hop; Count’s sound can be considered an acquired taste – the lyrics are super conversational and void of punchlines and metaphors left and right and a lot of the songs are less than 2 minutes long — so the back to back experience of each beat grabs u then lets you go before you know it, unless you KNOW it — which i think is dope. no..KNOW it’s dope. cause thanks to count and some of what i’ve heard of #childishgambino ‘s newest project; the industry / radio formatted songs aren’t giving us what we REALLY need half the time. It’s kind of like how once you get hooked to Indy Films, you can’t really get into Hollywood as much — something’s obviously missing.
so glad i ain’t miss it.
#music #is #a #labor #of #love