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MP3 Jaspects - The Polkadotted Stripe
11 MP3 Songs in this album (47:49) !
Related styles: URBAN/R&B: Urban, HIP-HOP/RAP: Alternative Hip Hop
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"The Polkadotted Stripe" defined:
The concept of The Polkadotted Stripe derived from the world of fashion. Wearing stripes and polka dots in concert is a fashion faux pas. However, very few people question why the combination of the two can prove disastrous to a clothing ensemble. Delving deep into research, Jaspects learned that the fashion truth bastardizing the marriage of polka dots and stripes is manmade. Therein lies the question that The Polkadotted Stripe examines: “What is truth?” Upon much discussion and studying, Jaspects recognized that in most instances the truth and in turn reality is—well, relative.
To some, this may be a startling revelation. Upon further introspection, it is clear that most Americans advocate for finding “relative” reality even though they may not exercise the product of their advocacy. In the United States of America, freedom is the prized jewel of citizenry. Freedom defined is “the power or right to act, speak, or think as one wants without hindrance or restraint.” In that context, the fashion commandment of polka dots and stripes being counter to each other appears to be more the product of cultivated mass compliance than edict. Viewing life in the spectrum of summarized “conventional wisdoms” passed down through generations, across cultures and through classes; one will notice how civilization has been molded into a plethora of rules that we as people tend to accept without much debate. Jaspects’ The Polkadotted Stripe looks to cross-examine the ideas that many of us hold as truth without challenge.
In reality, truth is neither black nor white, but lies somewhere in-between. Likewise, viewing both stripes and polka dots together forces us to reveal the ugly truths of our past and confront the problems of the present. There is power and promise in the gray area that separates the two colors. For the sake of convenience, we tend to look at reality in terms of polka dots or stripes. But in order to be truly free, one must attack issues with anxious curiosity and wrestle with the less tailored facets of life.
“The Polkadotted Stripe” is something that debunks the notion of social standards. “The Polkadotted Stripe” is someone who sees things outside of the proverbial box on a consistent basis and challenges the status quo. Throughout its career, Jaspects has managed to do just that by fusing genres fluidly without adhering to the music industry’s antiquated idea of conforming artistry into static classifications. With its history as a free-flowing entity, it is clear why many see Jaspects as a liberating musical force, focused on destroying the “genre discrimination” rampant in the world of music.
As Mitchell Martin puts it, “cool is the new lame and different is the new same.” For a hip hop culture preoccupied with being cool, the aforementioned quote speaks volumes. In Jaspects’ rulebook, there is only one criterion for coolness:
You are not cool if you are not free; you are not free if you cannot see the polkadotted stripes.
--Jeff “PK” Cohran
More about Jaspects:
Born during the hip-hop movement, Jaspects integrates their youthful skill to progress music and build a bridge between musical genres in ways parallel to Earth, Wind, and Fire, Tony Toni Tone, and The Roots. Formally trained jazz students at the illustrious Morehouse College, Jaspects’ goal is to produce an exhaustive musical experience that involves TRUE freedom of expression via musical and lyrical creativity.
Jaspects'' most recent single "Unifunk" stretches its musicianship to a new realm of musical freedom and experimentation that debunks the music industry''s notion of genres. Techno meshed with soulful horns, a grooving bass line, and T. Brown''s futuristic vocoder stylings engulf "Unifunk" and provide an opportunity for serious social commentary to entrench the listener during this dancer''s delight. "Unifunk''s" lyrics focus on the state of the world today and spread the message of unity through "universal funk" or "Unifunk." Simply put, things will be much better if we work to understand our commonalities instead of fixating on our differences.
Jaspects works to rescue the concept of musicianship while breaking down the structural constraints of hip-hop. The band promotes the idea that the culture of hip-hop can support an entity that focuses on musical depth without ostracizing the mainstream fan of the genre. Jaspects uses music as a change agent in ways pioneers such as Public Enemy, Erykah Badu, and Marvin Gaye have. Whether they''re playing at the legendary Bohemian Caverns in Washington DC or talking to a group of high schoolers in southwest Atlanta, the message conveyed by Jaspects is the same, "make your music mean something to the world at-large."
While the men are fresh out of college, they have thrived on the music scene for six years. The band operates out of Atlanta and consists of pianist/music director T. Brown (Memphis, TN), bassist Jon-Christopher (Dallas), drummer Henry “HC3” Conerway, III (Detroit), tenor saxophonist Dwayne “Spacey” Dugger (Queens, NY), alto saxophonist Stagolee (Aniston, AL), and trumpeter King James (Stamford, CT).
Jaspects has released four independent albums (2005’s “In ‘House’ Sessions, 2006’s “Broadcasting the Definition,” 2007’s “Double Consciousness,” and "The Polkadotted Stripe" of 2009) and conducted six self-promoted tours of the eastern United States. Their 2009 national independent release “The Polkadotted Stripe” expands the boundaries of contemporary music by meshing traditional jazz, hip-hop, soul, Euro pop, and techno comfortably together to create a project with influences from Herbie Hancock’s “Headhunters,” Outkast’s “Stankonia” Radiohead’s “Ok, Computer” and Stevie Wonder’s classic 1972-1976 recordings.
Individually, Jaspects’ works have appeared in the 2005 major motion picture “Hustle & Flow,” on Chamillionaire’s platinum albums “Chamillitary” and “Sound of Revenge,” on Carlos Santana’s “All That I Am,” and with platinum recording artists David Banner, Wyclef Jean, Big Boi (“Kryptonite”), and Mary J. Blige (“Just Fine”).
Collectively, Jaspects has shared bills with: Dwele, Bilal, Mike Phillips, Herbie Hancock, Eric Roberson, Stevie Wonder, Brian McKnight, Regina Bell, and Amanda Diva. Jaspects has performed behind Grammy-nominated acts Emily King, Anthony David, and PJ Morton. Jaspects has also collaborated with Grammy-nominated artist Janelle Monae, in addition to Kedar Entertainment act Algebra, and Good Music’s Fonzworth Bentley.
CNN featured four selections of Jaspects’ music on their 2008 documentary “Black in America.” Additionally, https://www.tradebit.com highlighted Jaspects with a video and an online feature. Jaspects is a two-time selection for “Best Atlanta Band” by Creative Loafing newspaper (2007 and 2008) and “Future of Jazz” winners (2006 and 2007) for the Atlanta Jazz Festival. The John F. Kennedy Center for the Performing Arts featured Jaspects in January 2009 as a headliner for the Millennium Stage Series.
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