- News & Reviews FeedTeena Marie - Congo Square (2009)
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At times Marie's marketing and overtures to the hip and Black feel comically overdone, if seeming to always come from a sincere place. Musically, these calculations have been known to undermine her latter day albums, particularly during her Cash Money years. Marie's latest release, Congo Square, has a bit of her side-eye worthy tendencies, but the project is largely a return to the kind of music-and dare I say vocals-that made her a star in the Black community in the first place, one without regard for color.
The Congo Square title references Tremé, a New Orleans neighborhood boasting a diverse musical history of jazz and rhythmic African and Haitian music that stems back to slavery. Some of those influences do make it on her album, albeit in the most modernized jazz and R&B possible, but Marie wants you to know that she is more than an admirer of high and low Black history and culture; she's an apt pupil as well. Marie's admiration extends to homage to Coretta Scott King ("Ms. Coretta"), a prayer for Barack Obama ("Black Cool"), a quizzical Creole interlude on "Rovletta's Jass," a metaphorical love song to Harlem ("Harlem Blues"), and phonetically ebonic song titles. Preciously, Marie raps with her daughter, burgeoning singer Rose LeBeau, on the auto-tune infused "Milk N Honey." Marie even claims the curious allegiance of "we" with the dancing, singing slaves of the real Congo Square on the opening verses of the title track. Beautifully sung politics need not be racial just because it's soul, which Marie compassionately demonstrates on her inspiring "Soldier." Yet, when it comes to social consciousness, Marie usually proves a wee bit heavy-handed.
Clearly, Marie wants to return the love that she's received over the years from her largely Black following. The mixed results of these overt tunes make me wish Marie understood that we love our honorary sister best when she's just singing the music that allows her-and us-to shine.
Consistently, Marie has been blindingly bright on cuts like "Déjà vu,""Now That I Have You," "Yes, Indeed," "Casanova Brown," "Have My Cake and Eat It Too" and so many other "quiet storm" jams. These often elegiac ballads were done with just enough live jazz and aching vocals that you longed to hear them rightfully performed at Carnegie Hall, with Marie fronting a full Basie orchestra. While she could also cut a mean rug on the dance floor with funky, oft-sampled hits like "Square Biz," "Lovergirl" and "Portuguese in Love," Marie ruled evening urban radio through her unique love and torch songs.
Longtime fans of those songs will be delighted to hear that the best of Congo Square is in the tradition of her early hothouse ballads and mid-tempo grooves. The pleading "Marry Me" is timeless Marie from her Motown days, "What U Got For Me" has the Joe Cool strut of a veteran jazz player, and the single "Can't Last A Day," her duet with Faith Evans, is already becoming a worthy classic. When radio is done playing with that fire, they can drop and roll right over to the doo wop infused "You Baby," an urban AC hit in waiting. Still, it's the epic sweep of "Rose N Thorn" that causes swoons, a throwback album cut sure to make fans fall back in love with Teena Marie all over again. On "Rose N Thorn," the voice, which had taken on some quivering affectations over the years, is magically returned to its lush, clear heights on this understated emotional tour de force. Actually, throughout Congo Square, Marie seems to be in her best voice in years.
At a daunting 17 tracks, largely written and produced by Marie, the album is bound to have its share of highs and lows. The tepid duet with Howard Hewitt makes you miss Rick James that much more; and a duet with MC Lyte is among a handful of questionable up-tempo choices. Yet, in many ways Congo Square represents the triumphant return of a soul sister who needn't convince us of her street credibility anymore. Marie earned them long ago, not by flexing her Black musical academics, but by simply creating good music like this--music that stands the test of time. Recommended.
By L. Michael Gipson
Comments
Shocked. I didn't know she
prayzehymn - June 9th, 2009
Shocked. I didn't know she was on the Stax label. For a moment there, the Stax label got quiet on us since its latest revival of re-releases and new material last year. But this one marks the spot and shows signs of the label's "bang" in today's music market.
I'm not a big fan of her new album though. I fell in love with the funk ("I Need Your Lovin', "Square Biz," "Lovergirl") more than the steamy ballads. She does sound good, even though the vibrato is peaking more than ever before as time floats on. But I'm just not feeling the level of production and the obvious withdrawl of comfortable pop melodies on this release. Maybe with a few more listens I will better appreciate it than a repeat performance of La' Dona.
Still, I'm glad she has departed the Cash Money family.
J. Matt
Sorry but I disagee entirely
WinWard1 - June 11th, 2009
Sorry but I disagee entirely (all subjective of course). This album marks a fantastic return of a first class singer songwriter and vocalist. Teena is so much more and she continues to bring a high level of class to a market domininated by crap R&B et al.
I had the opportunity to see Teena in concert in 1991 at Hammersmith and that concert along with Patti LaBelle, Phyllis Hyman, Maze and Randy Crawford remains in a league all on their own. I even met Teena afterwards and she was humble and beautifully human, giving of herself freely.
Welcome back I say and thank God for bringing us a much needed Congo Square. First rate!
I completely disagree with
dreamgirl - June 11th, 2009
I completely disagree with J. Matt. Lady T has always been at her best doing the steamy ballads. Congo Square shows Teena just gets better with time. Teena Marie writes and sings intelligent, grown and sexy ballads that don't dumb down to the audience. Teena writes literature while so many today just put out the dime store street novel with little to say. Teena is an artist, a storyteller who takes you places while too many others merely sing. Baby, I Love You is my favorite on Congo Square but there are many other quality, foot tapping, finger snapping, head nodding tracks on this latest effort, including the title track with George Duke, Lover's Lane, Black Cool, Harlem Blues. BTW, J. Matt, you should check out another Teena CD, Sapphire which is rife with magnificent ballads such as Cruise Control, Simmer Down, The Way You Love Me, Romantica, Somebody Just Like You, and of course, Ooh Wee. Teena still outshines and thank God R&B still has a serious authentic voice.
Dreamgirl, I did check out
prayzehymn - June 15th, 2009
Dreamgirl, I did check out Sapphire. When it came out in 2006. And your point. :-)
Like I said previously, the album didn't do much for me. Some songs work, others don't necessarily. As I mentioned, I'm a big follower of the hard funk. In the last decade she's taken up the swagger of a R&B young princess instead of doing what she's highly known for. Nothing on the last two discs reflect the works of "Lovergirl," "I Want Your Lovin'," "Behind the Groove" and "Square Biz." "You Baby" works, but most of the up tempo tracks lack the fire I expect - and the production needs a little update. The album, after a few extra plays, has grown with better results, but I'm sticking with my first impression.
Cool, I feel you. I guess
dreamgirl - June 19th, 2009
Cool, I feel you. I guess I'm partial to the slower and mid-tempo ballads Lady T is so great at. Bottom line, she continues to reinvent herself. I admire artists who can do what they do and still remain relevant and contemporary. It takes a special talent to do this IMO. I actually liked the Ivory CD back in the 90s and I was anxious for her to do something as follow up but she seemed to have lulled then. I'm glad to see her back in form. I didn't like LaDona as much as Sapphire and Congo Square but there were definitely some gems on that CD as well, in particular, Baby, I'm Your Fiend and the joint with Gerald Levert (the title escapes me now). I just think she's a prolific artist.
THIS AND ALL HER RECENT
ashimasongs - August 3rd, 2009
THIS AND ALL HER RECENT ALBUMS HAVE NOTHING IN COMMON WITH THE MUSIC I GREW UP WITH OF HERS AND LOVED. TO ME HER RECENT ATTEMPTS TO BE CONTEMPORARY ARE MUSICALLY 'DUMBED DOWN' AND THE LYRICS ARE DOWNRIGHT EMBARRASSING COMING FROM A WOMAN HER AGE.
