Join DJ Ayana and Simeon Viltz (of the Primeridian) as we stretch out musically at Morseland. I’ll be spinning with a Chicago accent, as always, and will be featuring local treasures including a cut or two by Leroy Hutson. A college friend of both Donny Hathaway and Roberta Flack (all attended Howard University), Hutson was on Curtis Mayfield’s Curtom Records in the 1970s (listen below to 1976’s “Lover’s Holiday”, and for more on Leroy, click here).
Groove Conspiracy. All vinyl, no cover. Jive on!
Pictures, above, from last night’s affair. Join us TONITE for a special night of musical madness, and monthly every Third Thursday at the Morseland (1218 West Morse, Chicago).
Ayana Contreras (me) and Simeon Viltz (of The Primeridian) are the “Groove Conspiracy…”
In the land of 10 million grooves only a few can grab a hold of the people’s aural senses and captivate their shokras. Spinning cutting edge beats juxtaposed with gritty, get down gems from the cradle of soul. Their weapon of choice: vinyl.
Join us at The Morseland: 1218 West Morse. (I’m there most Second Thursdays, too!)
We will also be there Friday the 17th (this Friday).
Two genres that Chicago artists have left their indelible mark on,
Gospel & Hip-Hop, were highlighted in this Sunday’s Chicago Sun-Times, with a feature profile of Simeon Viltz from The Primeridian:
From Sunday’s Sun-Times:
February 22, 2009
Like heavenly clouds, snippets of hip-hop rise from gospel music.
“Simeon Viltz, who goes by Simeon, is half of the popular Chicago hip-hop duo the Primeridian. His partner Race (a k a Darshon Gibbs) is formerly with the Late Show, a group from the Common camp. Their soulful music addresses contemporary ideals through a historical lens while providing positive inspiration.
Simeon, 34, also plays keyboard, vibes and trumpet. He has studied the blend of jubilee gospel and hip-hop.
“Rhythmically, a lot of the pioneers of rap were the pastors,” said Simeon, 34, also a teacher at the Digital Youth Network (for laptop/media usage) in Hyde Park. “There was a certain drawl and cadence they had in their sermon. With the words in their sermons they were basically rapping. Then the pianist or the organist or the drummer would be in synch. That’s what I heard early on.”