Kool G. Rap & D.J. Polo
On The Run (Dirty Untouchable Remix)
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Released in 1992

Ray Bryant
Up Above The Rock
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Released in 1969

I had a thing at work recently where I was overdramatically quoting (sotto voce) that psycho De Niro speech from The Untouchables:

That same day, my iPod shuffle randomly selected a remix of Kool G. Rap & D.J. Polo’s 5-star classic “On The Run,” which samples that very same quote. Funny how the universe works sometimes.

For those unfamiliar with Kool G. Rap, he was one of the progenitors of first-person mafioso rap, influencing The Notorious B.I.G., Jay-Z, and scores of others. “On The Run” tells the story of a drug courier for the mob who decides to steal from his employers, only to discover the Luciano family isn’t giving up its stash without a fight. Kool G. creates a compelling narrator, and moves the story along without sacrificing flow or rhyme:

The thought alone makes me shiver, damn
What if I get caught? They’ll find me floatin in the Hudson river
But if I escape, I’ll be in shape for my life
but they might, get my kid and my wife

Kool G. and Polo recorded the record in Los Angeles, which was unprecedented for an East Coast hip hop artist. Sir Jinx — a Los Angeles-based producer who worked on Ice Cube’s seminal AmeriKKKa’s Most Wanted album — worked with Polo on the beats.

“On The Run,” was built around a minor-key sample from Ray Bryant’s late-60s piano-soul 5-star classic “Up Above The Rock.” It’s a prime example of building and releasing tension, with the melody shifting from Ray’s piano to horn, Grady Tate’s drums maintaining the beat while upping the frenzy, and an occasional piercing “Hey!” jolting the mood to a new place.

If You’ve Got It, Flaunt It (Part 1)
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Do What You Wanna
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Uhuru
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Album: Another Voyage (1969)

Ramsey Lewis is a bad-ass keys player and you’ve probably never heard of him. With 80 albums and three Grammy Awards to his credit, that’s a crying shame. Don’t feel guilty, though; he’s still touring, and you’ll be blown away by all the progressive music he’s given to the world.

I’m proud to say I have a bunch of Ramsey’s records. I’m trying to remember where I picked up this Crate Diggin’ gem, Another Voyage. I’m pretty sure it was the first Ramsey Lewis record I owned and that it was recommended to me by Cool Chris at San Francisco’s legendary Groove Merchant record store. Living around the block from one of the world’s foremost vinyl palaces wasn’t easy on my wallet. But I have no regrets.

Though the LP is credited to “The Ramsey Lewis Trio,” the other two cats deserve their props. Rhythm sections came and went, but at the time of Another Voyage, Ramsey was playing with some serious talent. Cleveland Eaton remains one of the jazz world’s most revered double bassists and was a member of The Ramsey Lewis Trio from 1966-1974. Maurice White joined Ramsey as his percussionist in 1966; Another Voyage was Maurice’s last album with Ramsey before he created a little outfit called Earth, Wind and Fire.

The Ramsey Lewis Trio helped bridge the gap between jazz and more popular black music genres such as funk and R&B. From a production standpoint, Another Voyage manages to balance experimentation and spontaneity, with an eclectic range of styles and a boast (on the lower-right corner of the LP cover) that it was “Recorded in Concept 12,” whatever that means (Internet, you were of no help).

“If You’ve Got It, Flaunt It (Part 1)” kicks off the record with a hard-driving jam, showcasing the ferocity of Ramsey’s piano chops. By the way: Part 2, which closes the record, is just as funky.

“Do What You Wanna” is a classic blues progression elevated by slinky electric piano and Cleveland’s virtuosic bass playing. The background laughter, hand claps, and catcalls contributes to the uplift.

While in his favorite Chicago drum shop, Maurice found a kalimba, which sounds kinda like a toy xylophone. To witness Maurice play the kalimba is akin to observing a teenager play a video game — spasmodic thumbs in a meditative trance. “Uhuru” marks the first time Maurice recorded with the kalimba, and — decades later — Earth, Wind and Fire concerts still feature Maurice freaking a kalimba interlude.

Go do yourself a favor and pick up some more of The Ramsey Lewis Trio. His consistency starts getting shaky after Sun Goddess, so stick to the pre-1975 releases.

Wu-Tang Clan
Hollow Bones
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Album: The W (2000)

Syl Johnson
Is It Because I’m Black
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Album: Is It Because I’m Black (1969)

Introducing Musical Cousins, where I take two or more tracks that relate to each other in some way. The most obvious application — including this one — will be to pair a modern-ish song with the original beat it samples. But I may latch on to other, more esoteric pairings as well.

For the inaugural edition, I’ve chosen a joint from the uneven Wu-Tang Clan record, The W. Verses from Raekwon, Inspectah Deck and Ghostface flow beautifully in a track that is made for headphones (but not for the dancefloor).

Contrast it to Syl Johnson’s original and witness RZA’s minimal, yet effective, sampling methodologies. He doesn’t utilize any sounds that aren’t part of the original song. He just increased the tempo, looped a few bits, and sprinkled on a few effects.

Though lyrically, the two tracks are markedly different — Johnson is wailing on the dehumanizing effects of racism while the Wu deliver intricate, crime-themed wordplay — they share an underlying despair and a driving force to persevere regardless of the bleak circumstances.