Jam Master Jay, best known as the DJ for Run DMC, was murdered in 2002 and his murders have finally been arrested after 18 years. Two men who had long been suspects in the case were arrested and charged on August 17.
Run-DMC
Jam Master Jay’s (legal name Jason Mizell) was murdered in his studio in Queens. His murder became notorious in the rap community as being one of the world’s coldest cases. One of the main questions asked by his fans was why this happened, to Jay of all people. Jam Master Jay was known for being a peaceful, old-school DJ whose group rapped mostly about sneakers, girls, basketball and their hometown of Hollis. His murder was baffling to the rap community and finally, after 18 years, there are some answers from New York City and Federal authorities.
According to The New York Times’ article, New York City and Federal authorities blamed the fatal shooting of Jam Master Jay on a cocaine deal gone wrong. The suspects charged with the murder are Ronald Washington and Karl Jordan Jr., who were also charged with engaging in drug trafficking in a 10-count indictment unsealed on Monday in U.S. District Court in Brooklyn. Jordan had his arraignment on August 17 and pleaded not guilty. Washington is expected to be arraigned later in the week. Both Jordan and Washington face minimum sentences of 20 years in prison if convicted. Washington is currently serving a federal prison sentence for six robberies. Mr. Jordan was taken into custody on August 16, 2020.
Seth D. DuCharme, the acting U.S. attorney in Brooklyn spoke on the matter saying,
“This is a case about a murder that for nearly two decades has gone unanswered. Today we begin to answer that question of who killed Jason Mizell and why.”
According to court papers, Mr. Washington and Mr. Jordan are both suspected of breaking into Jam Master Jay’s studio on Merrick Boulevard in Jamaica, Queens, at about 7:30 p.m on Oct. 30, 2002. Both were armed. Mr. Washington forced someone inside the studio to the ground at gunpoint, the papers say, Mr. Jordan fired a bullet into Mr. Mizell’s head, killing him almost instantly, according to The New York Times.
Give your favorite A Tribe Called Quest album a spin today. The man behind the turntables, Bedford-Stuyvesant’s Ali Shaheed Muhammad, who mixed up the beats that Q-Tip and Phife Dawg rhymed on celebrates his birthday today.
Born August 11, 1970, Ali Shaheed Muhammad became one of New York City’s underground rap legends. As a hip hop producer, Ali Muhammad is responsible for the early jazz rap sounds that A Tribe Called Quest is known and loved for.
Growing up in Bed-Stuy, Muhammad’s uncle, Michael Jones, who was a bassist and DJ himself, began teaching him at the age of eight. Ali would DJ parties in his Bed-Stuy neighborhood and recorded demos before joining Tribe in 1985.
Coming together in the early 1980’s in Queens, A Tribe Called Quest consists of Ali Muhammad (the only member not from Queens), who held the role of co- producer, assisted by the groups main composer, Q-Tip, along with Tribe’s MC, Phife Dawg. Together, the trio would be looked back on as pioneers of the alternative hip hop sounds which are still popular today. Muhammad was just 19 when the group released its first album, People’s Instinctive Travels and the Paths of Rhythm, in 1990
Ali Muhammad and A Tribe Called Quest rose in popularity through their second album, the 1991 jazz-influenced album Low End Theory. The album was stripped back compared to their previous, with instrumentals consisting mostly of bass, drums, and the regular use of Jazz sampling, all sounds that find themselves synonymous with the underground alternative hip hop scene.
Later on in 1995, Muhammad co-wrote and co-produced the Top 40 pop hit that launched the neo-soul movement, D’Angelo’s “Brown Sugar,” and earned another Grammy nomination via Lucy Pearl’s “Dance Tonight” in 2000. Muhammad has remixed songs for Janet Jackson, Maxwell, Maroon 5 and KRS-One, and has writer, producer or co-producer credits on more than 20 albums. He would also go on to found The Ummah, a production company with Jay Dee and Q-Tip.
Throughout the early to mid 90’s A Tribe Called Quest maintained their commercial success through the release of their 1993 album, Midnight Marauders, which saw technical improvements in the groups dynamic. A Tribe Called Quest seemed to be on an unstoppable rise to success however, the group went on an eight year hiatus. Despite not working together during those years, individual members had the chance to pursue moderately successful solo careers until their reunion in 2006.
Jazz musicians from around the world connect with their audience in virtual jam session.
The free online series is Flushing Town Hall’s attempt to keep the public safe from the spread of CODIV-19. As a result of it being completely virtual, their mission is to bring global arts to global people.
Hundreds of artists flock to the jam ever since its formation four months ago. Participants span from New York to Italy and Germany. It has also become a showcase of the global arts institution.
The Jazz Jam invites all members of the public to watch the live stream through Facebook or Zoom.
Flushing Town Hall’s website directs anyone interested in participating to email a three to four minute tune to education@flushingtownhall.org. 20 musicians will be selected to play along with the theme of the month.
The website states, “the mission of Flushing Council on Culture and the Arts (FCCA) is to present multi-disciplinary global arts that engage and educate the global communities of Queens, New York and New York City, New York, in order to foster mutual appreciation.”
Being part of a team is great; when you’re part of a successful one – like Wu Tang Clan – even better. Yet, there may always be that inkling of wonder of what could be accomplished by oneself. For musical acts whose contributions to the world are dissected and compared to one another, that one little thought may be enough to isolate said artist from the group, not to mention the monetary differences between a solo artist and being part of a group.
Ego has played a part in the demise of many great factions — the likes of New Edition, NWA, The Fugees – they’ve all fallen victim to the individualistic desires of man. Yet, when tamed, this possibly destructive force can be channeled into producing some of the greatest albums in history. Bobby Brown’s Don’t Be Cruelfits in that mold, so does Ice Cube’s Amerikkas Most Wanted. This was also the case for one of the greatest Hip Hop albums ever. Raekwon’s Only Built 4 Cuban Lynx set the tone for a genre of mafioso themed albums that took the 90’s by storm.
Failing to distinguish himself from some of the other charismatic members of the Wu Tang Clan, the man known as “The Chef” was motivated to go out and make himself a classic body of work. And on August 1, 1995, Only Built 4 Cuban Lynx set a new standard for rap. The album received a 4.5 mic rating from The Source magazine (at the time, hip hop’s Bible). While the Method Man and Ghostface Killah assisted “Ice Cream,” was the LP’s most successful record, album cuts like “Verbal Intercourse” are what set the tone for the project. The twelfth track features a young Nas on the heels of his own soon-to-be classic, Illmatic, as well as Wu Tang mate Ghostface Killah – who plays a supporting role in the mafia movie themed album. Considered one of Nas’ best verses (which is saying something), it also stands as one of the greatest opening verses in history.
Wu Tang Clan – a tough act to follow
Nas sets the tone for the record early, rapping:
Through the lights cameras and action, glamour glitters and gold I unfold the scroll, plant seeds to stampede the globe.
When I’m deceased, by then the beast arise like yeast to conquer peace leaving savages to roam the streets.
With his newfound fame and fortune from his individual success, his principles haven’t changed, as he still plans to take over the world. And after he has long passed, he hopes to have planted enough seeds in the minds of the youth to bring about a revolution. A Queensbridge legend long before platinum albums, Nas’ lyrical aptitude was as shocking as his youth, as he was barely 21 at the time of this recording.
With ‘God’s Son’ written across his stomach, Nas looks to accomplish everything he prophesized.
On the second verse, Raekwon deliver’s a high-quality opening bar of his own.
Perhaps bullets bust, n**** discuss mad money true lies and white guys, we can see it through the eyes. Catch the most on tape, kilos disintegrate Pyrex pots, we break, fiends licking plates.
While Nas’ verse pertained to his yearning for a mental uprising, Raekwon keeps with the album’s theme. Describing the dangers that come with operating on the wrong side of the law.
On the song’s last verse, Ghostface Killah – maybe the most charismatic of the three – adds to the story, Further detailing the greed, jealousy, envy that comes with monetary success, with hopes of a light at the end of the tunnel.
With the green leathers, hundred-pound snakes and cakes. Fiends found in lakes, jealously jakes we shake. What I strive for is what I live for. Infatuated by material things in this wild life of war like somewhere over the rainbow, I see a big pot of gold.
“Verbal Intercourse” is defined as “conversation between more than one person.” But in this case, you could say they went a step further and f***ed the beat. The album featured every rapper in the Wu Tang Clan besides ODB, so Raekwon didn’t completely deviate from the already winning formula. Still, as the creative mastermind behind the LP, it helped Raekwon continue to establish himself as his own entity, outside of his groupmates. Debuting at number four on the Billboard charts, Only Built 4 Cuban Lynx sold 130,000 copies its first week, and while not a single, “Verbal Intercourse” saw each respective rapper plant seeds towards their now legendary status.
It is now July 2020, the fifth month with minimal, if any, live music performances throughout New York State, let alone the country. Our venues are not yet open, but as the threat of COVID-19 decreases, parts of New York will enter Phase 4 and beyond, with the hope that live music will return, even if gradually.
While we may be stream weary, the prospect of live music is a motivator for many, and staying safe is the key given that New York and much of the Northeast are faring better than other areas of the country.
From viewing these photos taken during mid-late June, we can see the presence of the Black Lives Matter protests that spanned all 50 states. In all corners of New York there were protests, particularly in New York, protests that continue to push for defunding of the NYPD.
Working with 13 photographers to document more than 60 venues in 20 cities across New York State, NYS Music presents the second edition of our monthly series that looks at the current state of our beloved venues. When the venues reopen, we will share photo documentation recording the changes over time in all corners of the state.
Immense thanks goes out to all photographers and venues who are taking part in this monthly series. We’ll start this month in the Capital District, with a drone montage from Zach Culver, covering the venues we long to return to, sooner, rather than later.
Flushing Town Hall announced a tribute to the late Jimmy Heath, nicknamed Little Bird in the industry, who was an NEA Jazz Master and Queens Jazz Orchestra Music Director. Heath passed away back in January of 2020 at the age of 93 and was a jazz legend for his saxophone skills in particular. The event will be live-streamed on Flushing Town Hall’s Facebook page on Friday, June 19 at 7:00 PM.
Percy Heath (Left) and Jimmy Heath (right) performing in June 1977.
Jimmy Heath received three Grammy nominations over the years. He was nominated for Best Historical Album with John Coltrane: The Heavyweight Champion: The Complete Atlantic Recordings (Album) during the 38th Annual Grammy Awards in 1995, Best Large Jazz Ensemble Performance with Little Man, Big Band (Album) during the 36th Annual Grammy Awards in 1993, and Best Jazz Instrumental Performance, Group with Live At The Public Theatre (Album) during the 23rd Annual Grammy Awards in 1980. Jimmy Heath was also a recipient of the 2003 NEA Jazz Masters Award and in 2004 he was awarded an honorary Doctorate in Human Letters. With performing in over 100 albums and writing over 125 compositions Jimmy Heath was truly a legend in the Jazz world.
Flushing Town Hall plans to honor him with this special tribute by including appearances by many celebrated musical artists who have crossed paths – and taken the stage – with Jimmy Heath throughout his career. People on the docket include Jimmy Heath’s wife, Mona, and jazz legends Albert “Tootie” Heath, Barry Harris, Jimmy Owens, and Dorthaan Kirk; and members of Queens Jazz Orchestra, including Antonio Hart, David Wang, Jeb Patton and Douglas Purviance. On top of the musical component of the tribute there also will be testimonials about Jimmy Heath from special guests such as New York City Council Member Francisco Moya.
Flushing Town Hall seemed like the right venue for this tribute for Jimmy Heath according to Town Hall Executive and Artistic Director Ellen Kodadek because, “Jimmy Heath was an iconic presence at Flushing Town Hall. Whenever we would announce that our Queens Jazz Orchestra would return, performances would sell out – because people wanted to come together to experience the music and the man.”
The event will take place Friday, June 19 at 7:00 PM and can be viewed for free on Flushing Town Hall’s Facebook page. Donations will be accepted to support the Jimmy Heath Fund at Queens College. They can be sent to: The Jimmy Heath Fund, c/o Mike Lipsey, Queens College Music Department, 65-30 Kissena Blvd., Flushing, Queens, 11367. Donations are also being accepted for the Jimmy Heath Scholarship Fund at Queens College. They can be made by writing a check to the QC Foundation (and putting “Jimmy Heath Scholarship” in the memo), and mailed to: Queens College Foundation, Keily Hall, Queens College, Queens, NY, 11367, or by calling Joann Acquista, Queens College, Director, Donor Relations, at (718) 997-5864.
For more information on the event visit Flushing Town Hall’s website.
Thin Lear, an indie folk-rock singer-songwriter from Queens, just released his new single “A Simple Phrase” from his debut album Wooden Cave, which will be released on July 24, 2020.
Photo by Shervin Lainez.
This dream-like ballad premiered on GoldFlakePoint, who called it “delicate and hypnotic.” The song is deeply emotional and moving, and the instrumentals deliver this same intensity as well as the lyrics do. The song has a somber tone while still maintaining a beautiful arrangement. This is Thin Lear’s fourth single of this year, and will be featured on his upcoming album Wooden Cave.
The track’s ethereal feel may come from Thin Lear’s inspiration: a dream. “I woke up with the whole thing one day, ideas for arrangement and all,” says Thin Lear, also known as Matt Longo. He expresses that “before [he] slept, [he] was thinking a lot about how insecurity operates,” and when he woke the “chorus was just ringing in [his] ears.” Although the song is about something so upsetting, the instrumentals are hauntingly beautiful, disconnecting the listener from the song’s negativity.
Longo’s inspiration for Wooden Cave came from the story of Netta Fornario, a woman who left all she knew to pursue magic and healing on a small island in Scotland, where she died inexplicably. Longo wanted his album to be “a set of songs existing on a sonic and lyrical island of their own” that would be for outcasts like Netta. He recorded the tracks at different studios around the city with various artists, making each song even more of its own personal island. The album took him two years to complete and has been a complete “labor of love.”
Wooden Cave is set to release on July 24 by EggHunt Records. Preorder the album on Bandcamp here, and follow Thin Lear on Instagram.
As we enter June, the fourth month where live music performances are postponed until it is deemed safe to have mass gatherings due to COVID-19, we take a look at the music venues across the state that are closed for now, but in the coming months will hopefully reopen.
Working with 13 photographers to document more than 60 venues in 20 cities across New York State, we present this monthly series that will look at the current conditions of these beloved venues. As they reopen, we will provide photo documentation recording the changes over time in all corners of the state.
Great thanks to all photographers and venues who take part in this series.
A breakout single isn’t the easiest thing to find. If it were, millions of aspiring rappers would have landed record deals. And although the ball seems to get rolling after that first big hit (save for the one-hit wonders, of course), an artist is still dependent on their initial ability to connect with an audience. For most, the components of the ever elusive-hit record seem to be simple (distinctive instrumental vocals, engaging lyrics, etc..) yet, the subtle ways in which they are applied often escape aspiring artists. Which is why when one finds one of those elusive records, they hold on to it, play it and share it to the world.
“Pressure,” the latest release from cousins and Queens duo Runitup Rich and Runitup Sho feels like one of those songs. With a Lil Uzi Vert-esque flow and delivery throughout, the Runitup duo seem to have found the exact medium they had been searching for. “The sound we started with was just something we mimicked and thought it sounded like a bump and as we kept going and following music trends, we decided to start trying to be more melodic,” says Sho. “With my background and singing and Rich’s chop-and-go flow, we came up with a sound that was still us but gave an opening for a broader spectrum of music.”
It isn’t just the distinctive guitar riffs nor the infectious chorus, but the duo’s effervescence throughout the song that will likely coax listeners into joining them in sing-a-longs. With the record also falling shy of two minutes, there will be plenty of people playing it on repeat.
As Runitup continue to establish themselves, they refrain from thinking about fame and opulence. The duo is more focused on growing, exploring their sound, evading any hastiness. “Who knows what the future holds as we continue making music. We get to see more of what the supporters of our music want, and we can form a better direction for Runitup as a whole.”
On the heels of a run of successfully executed song releases, Lefrak City rapper Kyngjo has unveiled the official music video for his most popular record “Calling Me,” continuing to build buzz with the prospects of a debut project drawing ever closer. His journey as a rapper dates back to just over two years ago – as hopes for a future in basketball became bleak, thanks to an injured knee – now with his mind fully focused on being a successful rapper, he hopes to etch his name amongst a list of legendary Queens natives.
Produced by Multi-platinum and Grammy-nominated producer TheBeatPlug – who gained notoriety with producer credits on Joyner Lucas’ viral record I’m Not Racist – “Calling Me” follows the classic adage that as a rapper, women will follow, and so too will interminable and deceit-filled adventures bound to leave those involved with querulous significant others. The record sees Kyngjo divulge tales of his experiences playing the side piece to a spurned woman who has now fallen for him and… won’t stop calling. The Dream of Dre directed music video brings to life the tension between significant others when Kyngjo is involved with the women having to convince their man that he is indeed “just a friend.”
