Viva La Hip Hop

Doodlebug of Digable Planets

Pigeon John

DJ Alex J

Shattuck Down Low
2284 Shattuck Ave
Berkeley, California
Monday June 21, 2010
Showtime: 9:00pm
21+

When hip-hop trio Digable Planets emerged in the early 90s, their memorable moniker raised eyebrows. What, exactly, did it mean? The name sprang, they explained, from the notion that every individual is a planet. But the unique worlds that their tracks mapped out were not insular ones; as their Grammy-winning hit Rebirth Of Slick (Cool Like Dat)” would prove, the Planets were primed to connect with audiences weary of the aggressive posturing of gangsta rap. Filled with literate lyrics, honey-smooth flow, and inventive arrangements, their albums Reachin’ (A New Refutation Of Time And Space) (1993) and Blowout Comb (1994) redefined hip-hop, and set standards for the generation of soul poets and innovative producers that followed, as the new anthology Beyond The Spectrum: The Creamy Spy Chronicles effortlessly reiterates. The group first took shape in the early 90s, in New York City. Former Seattle resident Butterfly (a k a Ishmael Butler) hooked up with Philadelphia native Doodlebug (Craig Irving), who was a member of New York collective Dread Poets Society, and Ladybug (Mary Ann Vieira), a Maryland denizen of Brazilian descent. Like the name chosen for their band, the new handles each member adopted also reflected a universal consciousness. Insects stick together and work for mutually beneficial causes, Ladybug observed in Essence. Doodlebug added, Humans are supposed to be the most intelligent beings on the planet, and yet we cant seem to come together in a peaceful manner. On their 1993 debut, Reachin’ (A New Refutation Of Time And Space), the threesome showed just how rich and vibrant the musical product of three distinctive minds working in harmony could be. Musically, they incorporated elements of funk, samba, and psychedelia into their street-savvy hip-hop; jazz, in particular, played a pivotal role. The group gave shout-outs to icons Charles Mingus and Charlie Parker, and sampled others, including Sonny Rollins and the Last Poets. Like hip-hop, they developed a language and style that was unique, noted Butterfly of their jazz forefathers. Those cats used their vernacular to communicate a new perspective. With unabashedly intelligent lyrical references to everything from Karl Marx (on the reggae-tinged Where I’m From) and Jimi Hendrix, to feminist bell hooks and poet Nikki Giovanni, the Planets boldly followed suit. Critics responded to the Planets debut platter enthusiastically. Reachin’ (A New Refutation Of Time And Space) is everything hip-hop should be: artistically sound, unabashedly conscious and downright cool, proclaimed Kevin Powell in a four-star review for Rolling Stone. And Digable Planets is the kind of rap act every fan should cram to understand. The record would eventually hit ..15 on the Billboard 200, break the Top 5 on the R&B/Hip-Hop Albums chart, and achieve Platinum sales status. Buoyed up by a bubbling bass line and curlicues of brass (the latter lifted from a sample of Art Blakey and the Jazz Messengers), and peppered with finger-pops, the sublimely chill single Rebirth Of Slick (Cool Like Dat)” became the albums biggest hit. It peaked at ..15 on the Billboard Hot 100 chart, winning legions of fans across a variety of radio formats as well as in clubs. The track deservedly earned the 1993 Grammy Award for Best Rap Performance by a Duo or Group. After touring extensively, accompanied by a live band, the trio returned to the studio, emerging in 1994 with their sophomore outing, Blowout Comb. Even more so than its predecessor, the Planets second full-length pushed stylistic boundaries. The group downplayed samples in favor of live performances: Dog It juxtaposed animated sax and vibraphone turns (by Donald Duck Harrison and Bill Lounge, respectively) with a slightly harder vocal style, while sultry, summery singing on Dial 7 (Axioms Of Creamy Spies)” evoked an air of vintage 70s soul. Special guests on the Blowout Comb sessions included Brooklyn rapper Jeru The Damaja (Graffiti) and pioneering female hip-hop DJ Jazzy Joyce (9th Wonder (Blackitolism)), who also toured with the group. Although Digable Planets dissolved in 1996, all three members have remained active musically. Butterfly went on to form the band Cherrywine, releasing the album Bright Black in 2003. He also composed music for commercial clients including Pepsi and Fila, and ventured into acting, with roles in film (the 2002 Sundance fave I Am Ali) and Off Broadway. Mecca the Ladybug now Ladybug Mecca dropped her new solo album, Trip The Light Fantastic, in June, 2005 on her very own record label Nu Paradigm Entertainment. She also composed the score for a short film entitled The Monster courtesy of Scenarios USA – Kids Creating Social Change in 2001. A segment of the film was featured on ABC World News Tonight with Peter Jennings. Working as Cee Knowledge, Doodlebug has been leading Philadelphia live hip-hop ensemble Cosmic Funk Orchestra since 2000. In addition Doodlebug is actively the CEO of the successful multimedia company 7 and a Cresent. But most importantly for Digable Planets fans worldwide, the original trio recently reformed to play a number of well-received live dates (including Lollapalooza 2005), and begin work on their first album in over a decade.

http://www.myspace.com/digableplanets

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Pigeon John hails from sunny Southern California, Inglewood to be exact. It’s easy to assume his signature blend of wit, charisma and undeniable stage presence is a fortunate gift (and it is), but let’s be real. Everyone starts somewhere. Pigeon John cut his teeth in the early 90s at the legendary Good Life Cafe, spitting rhymes on the same stage with then fledgling, now established artists like Freestyle Fellowship, Kurupt, The Pharcyde and Jurassic 5. Good Life open-mic nights became PJ’s ritual. It was the perfect environment to hone his performance and delivery skills amongst discerning peers.

Time at the Good Life gave way to time spent at local venues and in the studio with friends like Brainwash Projects and LA Symphony. His appearances on the underground classics, The Rise and Fall of Brainwash Project and Composition ..1 from Brainwash Projects and LA Symphony, respectively, put him on the radar as one to watch.

In 2002, Pigeon John released his solo debut Pigeon John Is Clueless, selling over 11,000 copies with no distribution. He followed up with Pigeon John Is Dating Your Sister and Pigeon John Sings The Blues. The albums garnered significant praise landing him features in Spin’s “Next Big Things” issue, URB’s “Next 100” and Mic Check in The Source. PJ’s infectious tunes have been used by XBOX for the games “Project Gotham” and “NBA Inside Drive 2002,” as well as the major motion picture “Get Over It.” John has also performed and appeared in print and television ads for both Levi’s and Nestle Crunch.

Touring the nation 8 times over, Pigeon John has earned his veteran status, using a clever balance of self-deprecating humor and confidence to rock any crowd, any stage. His boundless energy seduces crowds making ladies swoon and fellas embrace their geek appeal.

Enamored by PJ’s infectious energy and raw talent exhibited on the Cali Comm tour, Lyrics Born brought Pigeon John into the Quannum fold in 2005. His Quannum Projects debut Pigeon John And The Summertime Pool Party (his best album yet!) hits stores September 12, 2006.

www.myspace.com/pigeonjohn