Recommended by Baby Phife
Although hip-hop can be a be a brilliant way to discover new music, the hints and signposts to great and interesting music that you are yet to discover is most usually found in the consistently inventive use of samples, of musical interpolations and references, and the reverence in which these are often held. The odd lyrical metaphor or passing reference may also pique a listener’s interest, and props given to fellow rappers/producers are informative, but often driven my ego as opposed to critical acclamation. It is not so common, for an artist to make a point of giving an unadulterated shout out to an artist, especially one of not general recognition already. And when the shout out comes from none other than the incomparable Phife Dawg, then something suggests it is worth paying heed to.
The line in question comes from “Baby Phife’s Return” on fourth Tribe album “Beats, Rhymes and Life” and is relatively incongruous to the rest of Phife’s typical mix of swagger, braggadocio and cheeky metaphor. In the middle of verse one he drops the couplet “You lose your grip from chalk climbin, Let me take this time to say R.I.P. to Phyllis Hyman, Who never got the props that she damn well deserved, But see me, you don't wanna see me, cuz all MCs are gettin served”. Odd, no? Well less odd give that soul and jazz singer Phyllis Hyman had tragically taken her own life at the age of just 45 in 1995, the year before this Tribe album was released, and so a mark of respect is well-timed and a nice gesture from someone who clearly means what they say, otherwise why say it. But, still, it is an interesting shout out and if anything reveals something of Phife’s own impressive tastes, and of course he is correct because Hyman really is a fantastic singer, and interesting character, who never really got her dues, in her lifetime or since.
But if you can be moved to explore her music, it truly is a hugely rewarding experience. Hyman was a singer as well as model and actress, and was quite stunning physically. But it was her sultry, deep and smooth voice which was her true brilliance, lending itself initially to a jazz styling, before finding a home also in soulful balladeering and even disco offerings. And what a voice it was, a rare instrument of depth that really seemed to convey in a very powerful way, the emotions and sentiments of the affairs of the heart she so often sang about. It shimmered with intensity, and recordings of her live appearances reveal a singer of passion and captivating showmanship.
Hyman was discovered in the late 1970s and her voice can be found as collaborator on a huge array of work (itself often tinged with jazz leanings), from The Fatback Band to Pharaoh Saunders, Jon Lucien, Lonnie Liston Smith and Grover Washington Jr. Hyman was also sometime muse of Philly Soul godfathers Gamble & Huff, as well as legendary producer Thom Bell. Her Tony-nominated stage work in the Duke Ellington tribute Broadway show “Sophisticated Ladies” is also worthy of mention, displaying once more her impressive stage presence and gift for live performance. And her recorded performances are themselves a deep well of solidly great music. The balladeering and smooth jazz-inflected style that dominates may not be everyone’s cup of tea, but there is no doubting the quality throughout, and while singers with barely half of her range or control have gone onto be massive stars, it was partly the failure to break through big time that caused Hyman such angst later in her career.
I would not normally recommend “Best Of” packages as a route into an artist’s work, but the posthumous release put together by English producers Ralph Tee and Michael Grimaldi, “In Between The Heartaches”, is a notable exception, bringing together familiar tracks with some rare an unreleased recordings, including sessions with jazz legend McCoy Tyner. Indeed these are worth discovering Phyllis Hyman all by themselves. So, as with so many other things, don’t be afraid to follow the nice advice of the five-foot assassin and give Hyman some overdue props. In fact, while you’re at it, tell your mother, tell your father, send a telegram.
The line in question comes from “Baby Phife’s Return” on fourth Tribe album “Beats, Rhymes and Life” and is relatively incongruous to the rest of Phife’s typical mix of swagger, braggadocio and cheeky metaphor. In the middle of verse one he drops the couplet “You lose your grip from chalk climbin, Let me take this time to say R.I.P. to Phyllis Hyman, Who never got the props that she damn well deserved, But see me, you don't wanna see me, cuz all MCs are gettin served”. Odd, no? Well less odd give that soul and jazz singer Phyllis Hyman had tragically taken her own life at the age of just 45 in 1995, the year before this Tribe album was released, and so a mark of respect is well-timed and a nice gesture from someone who clearly means what they say, otherwise why say it. But, still, it is an interesting shout out and if anything reveals something of Phife’s own impressive tastes, and of course he is correct because Hyman really is a fantastic singer, and interesting character, who never really got her dues, in her lifetime or since.
But if you can be moved to explore her music, it truly is a hugely rewarding experience. Hyman was a singer as well as model and actress, and was quite stunning physically. But it was her sultry, deep and smooth voice which was her true brilliance, lending itself initially to a jazz styling, before finding a home also in soulful balladeering and even disco offerings. And what a voice it was, a rare instrument of depth that really seemed to convey in a very powerful way, the emotions and sentiments of the affairs of the heart she so often sang about. It shimmered with intensity, and recordings of her live appearances reveal a singer of passion and captivating showmanship.
Hyman was discovered in the late 1970s and her voice can be found as collaborator on a huge array of work (itself often tinged with jazz leanings), from The Fatback Band to Pharaoh Saunders, Jon Lucien, Lonnie Liston Smith and Grover Washington Jr. Hyman was also sometime muse of Philly Soul godfathers Gamble & Huff, as well as legendary producer Thom Bell. Her Tony-nominated stage work in the Duke Ellington tribute Broadway show “Sophisticated Ladies” is also worthy of mention, displaying once more her impressive stage presence and gift for live performance. And her recorded performances are themselves a deep well of solidly great music. The balladeering and smooth jazz-inflected style that dominates may not be everyone’s cup of tea, but there is no doubting the quality throughout, and while singers with barely half of her range or control have gone onto be massive stars, it was partly the failure to break through big time that caused Hyman such angst later in her career.
I would not normally recommend “Best Of” packages as a route into an artist’s work, but the posthumous release put together by English producers Ralph Tee and Michael Grimaldi, “In Between The Heartaches”, is a notable exception, bringing together familiar tracks with some rare an unreleased recordings, including sessions with jazz legend McCoy Tyner. Indeed these are worth discovering Phyllis Hyman all by themselves. So, as with so many other things, don’t be afraid to follow the nice advice of the five-foot assassin and give Hyman some overdue props. In fact, while you’re at it, tell your mother, tell your father, send a telegram.
posted by Twelve Bar at 5:34 PM
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