Dedications – PAUL db WATKINS

“Attuned choice by attuned choice, your entire life is a form of self-expression. You exist as a creative being in a creative universe. A singular work of art.”
—Rick Rubin

Dedications III (2024) completes the trilogy I started back in 2013. The album builds on the previous two, continuing to explore the space between poetry/words and music, and the intersections between jazz, hip-hop, and beyond. Additionally, there is a nod to film, with the cover serving as an homage to Saul Bass’s iconic Vertigo poster. Vertigo is a film about mirroring and doubling, as well as obsession—the desire to create the perfect person, a meta-commentary on filmmaking and art, and the impossibility and danger of such an act.

In large part, Dedications III is about the creative act, an extended homage to the act of being creative. Like the other projects, the album draws from various genres. If you listen closely, you will hear J Dilla, Sun Ra, Thelonious Monk, Ray Barretto, Dead Prez, Miles Davis, among a slew of other voices, sounds, samples, echoes, and cuts. The last two tracks look more outward, remixing Saul Williams’s “Not in Our Name” and ending with a simple mashup of Zeinab Shaath’s 1973 “The Urgent Call of Palestine” with Refaat Alareer’s “If I Must Die,” as read by the legendary actor Brian Cox. Both Shaath’s song and Alareer’s poem changed something in me the first time I heard them, and the message in each remains as urgent as ever.

As with the other two projects, I played most of the drums on an MPC Live, and many of the samples are recorded directly from vinyl. Dedications is a close listening exercise: it is a portal to the past and the future.

The music is FREE and is a not-for-profit creative project (although you can donate to my musical praxis and future projects when downloading).

Videos:

I say, play your own way. Don’t play what the public wants. You play what you want and let the public pick up on what you’re doing, even if it does take them fifteen, twenty years.
-Thelonious Monk

Lots going around on pauldbwatkins.com (Riffings) these days. You might have noticed the new look to my website. It’s still a work in progress, but take a look around. The other big news is that I’ve finally finished my DJ project, Dedications. Dedications is an experimental jazzy hip-hop remix project born out of a love of listening to records. The album mixes, mashes, samples, spins, cuts, signifies, rhapsodizes, poetizes, layers, collages, remixes, breaks, distresses, archives, remakes, reshapes, and re-edits pieces of recorded history to create a sonic audio homage to a host of musicians and styles with a nod to the avant-garde. There is a lot of poetry on the album because, as a literary scholar, I have also always understood that poetry is musical, and that music is poetical.

Dedications takes various phonogrooves (from jazz, hip-hop, and spoken word, to unusual recontextualized samples) and mélanges them together to create polyvalent dedications to a host of musicians and poets. If you listen closely you will hear William Blake (with Archie Shepp), Sun Ra, Glenn Gould, Pharoah Sanders, Ravi Shankar, Inspectah Deck, Jack Kerouac, Ella Fitzgerald, The Last Poets, Gil Scott-Heron, Charlie “Bird” Parker (with Ontario songbirds), Sonny Rollins, John Coltrane (with Michael S. Harper), Louis Armstrong (with Gwendolyn Brooks), Fats Waller, Earl Birney, the poetry of The Four Horseman, Tom Waits, John G. Diefenbaker, Ginsberg reading Howl over Horace Parlan’s keys, A Japan Airlines record chopped up, Thelonious Monk accompanied by Amiri Baraka, MF Doom, and Mutabaruka dubbing over The Zombies, among a myriad of other sounds, samples, echoes, and cuts. At times I add a live-recorded layer of chant, singing bowl, or beatbox. I played almost all the drums on an MPC, and most of the samples are recorded live from vinyl. If I made a mistake in a recording, I usually embraced it as part of the process.

In short, I hope you enjoy the album. It is available for streaming below, or for free download (name your price), here.