PIECES OF APRIL Adrian Younge

Jan 27, 2012

Dig the sound of 21st century blaxploitation music.

As film editor and music composer for the hilarious 2009 indie comedy Black Dynamite, Adrian Younge has helped to revive the 16mm essence of ‘70s blaxploitation cinema in the 21st century by perfectly recreating the vintage feel of classic soundtracks by the likes of Willie Hutch, Lalo Schifrin and Isaac Hayes for the best movie of its kind since I'm Gonna Git You Sucka.

For his latest project, the Los Angeles native, who also teaches Entertainment Law and co-owns a hair salon/record shop with his wife (how's that for a retail hybrid!), revisits his limited edition 2000 EP Adrian Younge Presents Venice Dawn (available for free here: www.waxpoetics.com/blog/free-tracks/adrian-younge-presents-venice-dawn) with a full-length album that brings his one-man band's psychedelic dream-funk template to a new level of sophistication and songcraft. Entitled Something About April, the Venice Dawn moniker is honed to its moody perfection as Younge levels a steady balance of his loves for Ennio Morricone, Portishead and Marvin Gaye to tell the aural tale of the travails of a mixed race couple in the height of the Vietnam era with the assistance of such names as singer Rebecca Jordan, beatmaker Shawn Lee and legendary Motown guitarist Dennis Coffey.

BLURT recently had the opportunity to speak with Mr. Younge about his latest release as well as the development of the forthcoming animated spin-off of Black Dynamite that will be featured on Adult Swim and working with Delfonics singer William Hart on a forthcoming album from the legendary soul group.

Something About April is out now on the Wax Poetics record label.

BLURT: How did you initially come up with the concept for Something About April?

ADRIAN YOUNGE: Upon completion of the first Venice Dawn EP (2000), I promised myself that my next album would be an album depicting the ups and downs of an interracial relationship (black & white couple), circa '68. The Black Dynamite album ended up being the follow up to Venice Dawn; hence, the follow up to Black Dynamite is the original interracial relationship idea.

Something about April represents the female's perspective regarding their relationship. She represents April, or springtime; the male character represents winter. The entire album explains how the seasons reflect the ups and downs of their relationship. Listen to the title song, and it wraps the complete story together.

I understand that your love for Italian film soundtracks played a key role in the creation of this record. Which ones in particular do you find most inspiring and why?

Actually, it's my love for European soundtracks. Many people use the term "Italian Soundtracks" but there was a lot of other similar and great music being created in surrounding European countries. For inspiration, I have always followed the composers work. Composers such as Francis Lai, Ennio Morricone, Pierre Bachelet, Nico Fidenco, and Peter Thomas created great music. Their music had feeling and served the purpose of enhancing the audiovisual experience of film. They had to make music that moved the listener and made the films more interesting. As great composers do, they captured the art of creating stimulating music with mere chord changes.

What is your favorite Morricone soundtrack?

Ennio Morricone is my favorite composer of all time. I can't pick one favorite from this guy; however, I will say that I have been listening to Revolver since '98 and have not stopped.

What is your favorite soundtrack by Lalo Schifrin?

He has a great and vast discography. As a record collector, I like to search for the more forgotten soundtracks from these types of artists. For Schifrin, I can't really pick one as my favorite. I can say that I greatly enjoy studying his compositions for Magnum Force and Bullitt.

As a self-taught musician, what was the first instrument you learned on?

First instrument was a bass guitar, then Fender Rhodes, then acoustic guitar, drums and so on. I just purchased instruments and played them until I sounded like a professional player. By taking on the challenge of becoming a multi-instrumentalist, I had to learn how to play like a session player. There is no genius involved here; just discipline. A basketball player becomes great with practice. Some players innately have more talent than others, but practice is what takes great players to the next level. It's the same with music.

How did you come up with the design of your own keyboard, The Selene?

I worked with Jack Waterson (band member and owner of Future Music, a vintage instrument store in Los Angeles) and Luke Jones (a design engineer at Ken Rich Sound Services, a custom keyboard and repair center). I had a vision, regarding the utility of the instrument; Jack Waterson had a broad design concept; Luke Jones synthesized the requests and led the crafting of the machine.

You started out producing hip-hop. Who were some of the artists that you created beats for and how would you describe your style as a beatmaker?

I created beats for local artists; no one that was known. When I was making hip-hop beats, I aspired to be a combination of producers such as RZA, DJ Premier and DJ Shadow.

How did the Black Dynamite cartoon series come about and what is the primary impetus for the series in correlation with the film?

The producers of Black Dynamite, Ars Nova, came up with the idea to create a cartoon. The primary impetus for the series is to expand the Black Dynamite brand. There are so many ideas/concepts that the team wanted to explore; this proved as a viable format, and will debut on Cartoon Network in July of 2012.

How did you link up with Dennis Coffey?

His manager contacted Wax Poetics about a potential collaboration with another Wax Poetics artist; my name came up and somehow, I was fortunate enough to have him on my album. He played guitar on the track, "Lovely Lady."

What is your favorite piece of work by Mr. Coffey?

He has too many for me to have one favorite; I will say that I love his work in general. I love his Motown work as well as his Sussex/solo work. Of course songs like "Scorpio", but even simple guitar sounds and instrumentation that he blessed the Motown label with fall into my favorites category.

As someone so versed in ‘70s blaxploitation cinema, what film from that era do you feel does not get the respect it deserves and why?

The Mack. That is a great film period. The subject matter, acting and soundtrack alone make it one of the best movies period.

What is your favorite scene from The Mack?

"You better shut the fuck up while grown folks is talkin'!"

It has been said that Something About April harbors a King Crimson influence. What Crimson were you listening to that may have filtered into the sound of April and what other prog rock acts do you dig?

I love early King Crimson work, especially In The Court of the Crimson King. I also love the work of Bo Hansson, Gandalf, Syrius, Felt, Iron Butterfly, etc. I've been listening to this music since the mid ‘90s, so it is just in my soul I guess. A lot of it can be heard on my initial Venice Dawn release.

My first real taste of prog rock was Bo Hansson. In 2000, I was performing as Venice Dawn at the famous Whiskey A-Go-Go in Los Angeles. After my performance, an older lady approached me and said that my music reminded her of Bo Hansson. Thereafter, I searched and became obsessed with Bo Hansson and prog rock; however, this wasn't my first taste of prog rock.

Ironically, hip-hop heads have been turned on to so many kinds of music (including prog rock), due to the various sampling choices employed by many producers; however, a lot of heads never searched for the sample. I was the kind of guy that searched for the sample and it greatly expanded my musical palette.

How did you come into meeting William Hart and producing a new Delfonics album? Can you kindly talk about the direction the album will go sonically and how you intend to usher the Delfonics sound into the 21st century?

William's son, Khalid Hart, has a friend named Bux; Bux contacted me on Twitter because I posted a topic concerning the Delfonics. Bux proposed the idea of hooking us up in order to do an album. I didn't believe it, but a week later, I was on the phone with William. Three months later, I flew him out from Philly and we recorded 7 songs together. We are finishing the album in March. This Delfonics album will be my greatest artistic achievement to date. The depth of the music and his vocals give me chills. He sounds as good, if not better than he did in the ‘60s. The guy has a warm heart and is very musically intelligent. This album will synthesize the vintage tone of the Delfonics with that of Wu-Tang, Portishead, Ennio Morricone, and Something About April. I can't wait to finish this thing.

What other legendary acts would you consider entering the studio with?

That list is endless. I'd like to do a hip-hop album in the near future with someone like a Ghostface or a GZA for sure; Also, I would love to do an album with David Axelrod or Aretha Franklin.

Have you been approached by any modern pop acts for production work?

Not really. My fanbase is very niche and I doubt that many of these acts would consider working with me. However, you never know what the future holds and I am always down for a collaboration that makes sense; not a collaboration to merely pay the bills and tarnish my name. I'm a big proponent of good music, new or old....we will see what happens!

How did you get together with Wax Poetics?

Wax Poetics served as the record label for the Black Dynamite Score. Upon meeting, we all became pretty close. I love those guys and we look at each other like a big family.

Are you an avid reader of the magazine? Is there a particular article or feature that sticks out in your mind?

I read every word of Wax Poetics, without even skipping a page. I'm not sure if you are talking about wax poetics or Blurt; I have never read Blurt...send me a copy? Ha.

What kind of music is played in the salon you and your wife own together?

At The Artform Studio, a record shop and salon, we play everything from classic hip-hop to breaks. We get new inventory every week, and we focus on the hard to find records; the kind of records music nerds go crazy for. We play a lot of that kind of music. I have a serious record digging addiction because this is how I find "new music." I generally don't listen to brand new music; the old stuff, that I've never heard, serves that purpose for me.

As a professor of Entertainment Law, what is your thought and stance on the Stop Online Piracy Act and Protect IP Act? How far do you feel they go with regards to the infringement on our civil liberties?

It's stupid. There will be one day when my grandkid will say, "Granddad! Did you guys really pay for music when you were a kid?" This is an unfortunate stance, but I understand that it will be this way. Sampling laws are ridiculous as well because it requires the producer (using a sample) to acquire a master use license (from the true owner), even if the use is de minimis.

I do believe that artists should be paid what they are worth; however, the consequences for infringement should not be extreme, unless the offenders are infringing on a grand scale.

Where do you stand in regards to digital music?

Everything digital sounds thin to me; the kind of soundscaping that I appreciate encompasses a wide dynamic that only analog media captures. For example, I'd rather listen to a Portishead album that was recorded to tape and pressed to vinyl, opposed to a Portishead album recorded to Pro Tools and available as a digital download.

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