In this edition of Liner Notes, we dive into “Phrenology,” The Roots’ groundbreaking 2002 release. 

The Roots were no strangers to pushing boundaries. By the time “Phrenology” dropped, they had already solidified their status as hip-hop’s premier live band, transcending the genre’s traditional trappings with their celebrated albums “Do You Want More?!!!??!” and “Things Fall Apart.” But “Phrenology” was different.

It wasn’t just an album, but a seismic shift in sound, scope and ambition. 

This album represented a crossroads. Recorded between June 2000 and September 2002 at the legendary Electric Lady Studios in New York, “Phrenology” was born out of a period of creative restlessness. The title itself references the discredited pseudoscience of phrenology, which claimed to determine a person’s intelligence and character by studying the shape of their skull — ironically nodding to the absurdity of boxing in human potential, much like The Roots refused to be confined by hip-hop’s conventional borders. 

This was the early 2000s — a transitional moment in hip-hop when the underground scene began colliding with mainstream sensibilities. Artists like The Roots, part of the Soulquarians collective, are redefining what hip-hop could be by infusing it with jazz, soul, rock, and avant-garde experimentation. Let’s start with the opening track, “Rock You.” 

Track 1: “Rock You” 

“Rock You” makes a bold statement, opening the album with a visceral punch. The track’s raw energy reflected The Roots’ decision to lean into a heavier, grittier sound, inspired in part by their desire to replicate the raw intensity of their live performances.

Questlove’s hard-hitting drums and Black Thought’s ferocious flow set the tone, announcing that this album isn’t here to play it safe. 

Track 2: “Sacrifice” (feat. Nelly Furtado) 

The track “Sacrifice” features the ethereal Nelly Furtado. This collaboration wasn’t a random pairing. At the time, Furtado was an emerging artist whose blend of folk and pop sensibilities intrigued The Roots. Her delicate yet commanding voice juxtaposed beautifully with Black Thought’s introspection. The lyrics dive into the emotional costs of ambition, a theme that resonated deeply with The Roots as they balanced commercial success with artistic integrity.   

Next, we have a tune featuring Talib Kweli, a track that underscores The Roots’ commitment to showcasing lyrical craftsmanship. 

Track 3: “Rolling with Heat” (feat. Talib Kweli) 

Talib Kweli was more than a collaborator — he was a kindred spirit. The Brooklyn emcee has long been a champion of socially conscious rap, being one half of the group Black Star with Mos Def and a Soulquarians collective member. This made him a natural fit for this track. The chemistry between Black Thought and Kweli is palpable, as they exchange bars over a beat that feels both urgent and menacing.    

Track 4: “Thought @ Work”

In “Thought @ Work,” Black Thought proves why he’s one of the all time greatest lyricists in hip-hop. This track draws inspiration from the Bomb Squad’s chaotic production style, with Questlove layering drum breaks and samples to create a sense of controlled chaos. Black Thought’s rapid-fire delivery makes this one of the album’s standout moments, a showcase of technical mastery that leaves listeners in awe.

Next, we transition into one of the most iconic tracks in The Roots catalog. 

Track 5: “The Seed (2.0)” (feat. Cody ChesnuTT) 

“The Seed (2.0)” was done in collaboration with indie rock artist Cody ChesnuTT, who had recorded the original version of “The Seed” as part of his lo-fi debut album. When The Roots heard it, they saw its potential and invited ChesnuTT to reimagine the track with them. The result is a genre-blurring anthem that fuses rock, funk, and hip hop into something utterly unique. 

Track 6: “Break You Off” (feat. Musiq Soulchild) 

As an album, “Phrenelogy” was one of the most sonically diverse in The Roots catalog.  “Break You Off” brings the album a smooth, seductive vibe. The song features fellow Philly artist Musiq Soulchild, whose soulful crooning adds a layer of vulnerability to this exploration of love and temptation.

Recorded late at night during jam sessions at Electric Lady Studios, this track captures the intimacy of those sessions, with The Roots leaning heavily into their neo-soul influences.

We next dive into a track that explores themes of addiction and recovery, which provides a daring experiment, one that solidifies “Phrenology” as an album unafraid to take risks.  

Track 7: “Water”

Clocking in at over 10 minutes, the sprawling, experimental epic “Water” finds Black Thought delivering some of his most introspective verses. 

The eclecticism of the album is rounded out by interlude tracks “Phrentrow” and “WAOK (Ay) Rollcall,” both featuring noted Philadelphia artist and poet Ursula Rucker; straight-up spoken word vibes on the jazzy, avant-garde instrumentation of “Something in the Way of Things (In Town)” featuring legendary poet Amiri Baraka; along with funky and intricate groove-heavy tunes like “Quills,” “Pussy Galore,” “Rhymes & Ammo” and “Thirsty,” that explored even more provocative and sonic terrain that tackles complex themes without losing their musical edge. 

Breaking musical barriers

As a full album work, “Phrenology” broadened the scope of what hip-hop could sound like while positioning The Roots as both traditionalists and futurists. By maintaining their identity as a live band in a genre dominated by producers and drum machines, The Roots showcased the richness of organic instrumentation in hip-hop, inspiring artists like Anderson .Paak and Kendrick Lamar to incorporate live musicianship into their work. They proved that hip-hop could be cerebral, boundary-pushing, and unafraid of experimentation without losing its soul.

This ethos influenced future experimental hip-hop projects, from Kanye West’s “808s & Heartbreak” to OutKast’s “Speakerboxxx/The Love Below.” It was a critical link between the boom-bap era of the 1990s and the genre-blurring hip-hop that defined the 2010s and became a touchstone for artists looking to challenge norms while staying rooted in the culture’s foundations.

At its core, “Phrenology” is a triumph of artistry and audacity because it was an album that dared to ask questions — about the limits of genre, the nature of identity, and the role of music in shaping culture. The Roots delivered a sonic experience and a statement of purpose, solidifying their place as one of hip-hop’s most innovative and enduring acts.

Two decades later, its impact still echoes as a major triumph in The Roots discography and in the evolution of hip-hop as an art form. We’ll conclude this segment with a track that that is fittingly named as it features Jill Scott delivering warm, yet ebullient and expressive vocals as the perfect counterpoint to Black Thought’s cerebral rhymes. The song’s title reflects its intricate layers, both lyrically and musically as it navigates the nuances of human connection.

 “Complexity” featuring Jill Scott

This album cemented The Roots as not just a hip-hop band, but a cultural institution — leaders of the Soulquarians movement and pioneers of progressive rap. It’s an album that challenges, inspires, and endures. 

Listen to The Progressive Underground with host Chris Campbell every Saturday from 6-8 p.m. ET on Detroit Public Radio 101.9 WDET.

This week, we’re diving into a track by the inimitable Michael Kiwanuka that is as soul-stirring as it is sonically rich. It comes off his latest release, “Small Changes,” that seamlessly blends his brand of folk, soul and rock into a sound that is uniquely his own.

In “The Rest of Me,” Kiwanuka pens a musical letter to vulnerability and connection. It’s a slow burner that brims with emotive delivery and delicate interplay with acoustic guitars, understated strings and a steady percussive heartbeat that creates an atmosphere that is both intimate and expansive.

If you’re drawn to music that moves the heart and stirs the spirit, make sure to lock in with The Progressive Underground every Saturday evening at 6 p.m. on 101.9 WDET FM or stream worldwide at wdet.org as we explore the rich soundscapes of progressive soul, nu-jazz, deep house, and rare grooves you won’t hear anywhere else.

For The Progressive Underground, I’m Chris Campbell and we’ll see you next time.

This week’s Pick of the Week comes from Eddie Chacon, who was one half of the ’90s duo Charles & Eddie. He’s reemerged in recent years as a pioneer of atmospheric, understated R&B. Teaming up with producer John Carrol Kirby, Chacon crafts a track that feels like an emotional excavation.

Chacon has been busy at work on his upcoming album release, Lay Low, so we will check out one of its lead singles, “Empire.”

If you’re drawn to music that whispers to the soul and challenges you to feel deeply, make sure to lock in with The Progressive Underground. Join me every Saturday at 6 p.m. on 101.9 WDET or stream worldwide at wdet.org, where we explore the vast soundscapes of progressive soul, nu-jazz, deep house and rare grooves you won’t hear anywhere else. Until next time — stay soulful, stay curious and keep vibing.

Welcome to Liner Notes, where we dig into the stories and offer commentary behind the albums that resonate beyond the music. Today, we’re unpacking Candace Nicole, the self-titled album by Detroit-based pianist, composer, arranger and bandleader Candace Nicole. 

Nicole’s musical journey began at age 3. Inspired by her piano-playing mother and musically-inclined grandmother, she embraced a family tradition – taking piano lessons. Her classical training introduced her to the works of Beethoven, Bach, and Gershwin, while her Detroit roots infused her artistry with the rich sounds of Motown, jazz, and R&B. Over the years, Nicole would hone her craft performing at concerts and showcases, but her true passion lay in creating original music.   

Balancing family life and work, she composed her debut album during quiet late-night hours, the only time of day where she had the opportunity to create, and soon she had compiled a number of original works that would comprise the album.

Fashioning herself as a “neo-classical” artist who fuses the worlds of classical with jazz and R&B, she secured the services of noted percussionist and producer Jeff Canady (of the Don Was Pan Detroit Ensemble) as well as a cauldron of some of Detroit’s top-tier musician talent to play on the album, including Twon Green II (keys), Anthony Booker (guitar) and Terry Washington (bass/music direction) along with audio engineers Derrick Holmes and Greg Reilly to help bring the album to life.   

1. Latin

Let’s start with the opening track, “Latin,” a lively fusion of Latin and Afro-Caribbean rhythms. This tune channels the vibrant spirit of music legends like Joe Sample and Chick Corea, while adding Nicole’s improvisational jazz flair.  

2. Paradise to See

While the album spotlights Nicole’s piano mastery, it also features standout collaborations with talented vocalists. One such gem is “Paradise to See,” featuring the radiant Yolanda “Yo-Yo” Buckman.  This track evokes the breezy elegance of Natalie Cole’s “La Costa,” blending island-inspired grooves with a hopeful message. Buckman’s soulful delivery paired with Nicole’s lush arrangements creates a sonic escape amid uplifting sentiments of hope toward better times ahead.  

3. Time Goes On

Throughout the album, Nicole’s compositions reflect a variety of styles, and “Time Goes On” is a quiet storm ballad that explores enduring love and commitment and features a heartfelt duet featuring vocalists Kenyatta and Nate Smith, a.k.a. N.A.T.A. 

Nicole’s graceful chord progressions provide the perfect backdrop to the vocalists deftly swapping melodic verses, making this duet a gorgeous slow burn and portrait of unrequited love.

4. Alive!

All throughout the album, Nicole’s restrained gracefulness on the keys belies a dazzling yet rhythmic economy as she avoids the traps of so many jazz and R&B artists, who tend to overplay or drown a tune in bombastic soloing. Nicole blends subtlety and technical brilliance, which is clearly apparent on the track “Alive!” as she delivers a hauntingly beautiful composition that captures both strength and vulnerability. The tune features Kenyatta once again, who delivers soaring soprano vocals.  

5. Mi Mamasita

There are distinctive Latin influences peppered throughout the album, and Nicole’s versatile treatment of Salsa/Merengue/Bachata vibes make for a jubilant celebration of rhythm on “Mi Mamasita.” Again featuring Buckman’s warm, heartfelt vocals, Nicole wrote the tune in celebration of her mother. The song also serves as an homage to the nurturing influence of all motherly figures. 

6. Midnight

The breezy and organic chord structures of the track “Midnight” close out the album in grand fashion.

Across the continuum of this six-song opus, Candace Nicole is many things. First, she is a superb musician with a complete understanding of both a lyric and its relation to the melodic content of a track – her piano serving as an extension of her thoughts and your ears the filter for its distillation.

She is a tunesmith of the highest order who can seamlessly blend classical, jazz, Latin and R&B elements. Her music is deeply personal yet universally resonant, drawing listeners into an intimate, emotional journey.

The album is a debut of remarkable vision, maturity, control, professionalism and iridescence. It shows a riveting, classically-trained artist who can finesse a track from gentle whisper to searing crescendo and allow you the space to ruminate in between while you connect with the music.

But above all, it shows that Candace Nicole, the musician, makes music that is a reflection of you, the listener. She gives listeners something they can feel.

If you dig music like this, check out The Progressive Underground every Saturday evening at 6 p.m. on 101.9 WDET where the genres of future soul, progressive hip-hop, nu-jazz, deep house, techno and rare grooves are presented on a sonic palette just for you. See you next time! 

To learn more about Candace Nicole, visit candacenicolemusic.com.

For this week’s Pick of the Week, we’re turning back the clock 40 years to highlight a masterpiece from Jean-Luc Ponty’s 1984 album, Open Mind. Coming off the success of his 1983 release Individual Choice, Ponty sought to push the boundaries of his craft even further, blending his signature avant-garde jazz fusion with the cutting-edge sounds of synthesizers and sequencers.

The result? A groundbreaking project that merged meticulous rhythm programming and pulsating synths with Ponty’s virtuosic violin and Violectra, creating a soundscape that was both futuristic and timeless. Open Mind isn’t just an album — it’s an exploration, a journey into the possibilities of sound.

Adding to the album’s brilliance are cameo appearances from none other than jazz legends Chick Corea and George Benson. These collaborations elevate Open Mind to another level, infusing it with the gravitas and artistry that only such icons can deliver.

For this week’s pick, we’re spotlighting the track “Modern Times Blues,” an exquisite exchange of melodies between Ponty’s soaring violin and Benson’s unparalleled jazz guitar. The interplay between these two titans is nothing short of mesmerizing — a duel of strings that’s equal parts fiery and elegant, weaving a narrative without words but bursting with emotion.

If progressive, jazzy, genre-defying sounds like this are your vibe, then make sure to lock in with The Progressive Underground. Catch me every Saturday at 6 p.m. on 101.9 WDET, or stream the show worldwide at wdet.org. Together, we’ll journey through the rich soundscapes of progressive soul, nu-jazz, deep house and rare grooves you won’t find anywhere else.

Until next time, stay soulful, stay curious and keep vibing.

Welcome to Liner Notes, where we dive deep into the stories, sounds, and moments that define the albums we love. Today, we explore “Until We Meet Again,” the latest masterpiece from Sy Smith, the undisputed queen of independent soul.

With a five-octave range and a fearless approach to music-making, Smith has spent decades redefining the boundaries of soul, jazz, and R&B. A proud D.C. native and Howard University alum, Smith first captivated audiences as the lead singer of go-go band In Tyme before making her way to Los Angeles. There, she became an in-demand vocalist for legends like Whitney Houston, Brandy, and Usher. But while her work as a background singer showcased her vocal prowess, Sy was destined for center stage.

Frustrated by the constraints of major labels after releasing her debut album “Psykosoul” on Hollywood Records, Smith took matters into her own hands. Founding her own label, she released a string of critically acclaimed albums (“The Syberspace” “Social,” “Conflict,” “The Fast and the Curious,” and “Sometimes a Rose Will Grow in Concrete”) that solidified her status as a sonic pioneer. Now, with her first album on The Foreign Exchange Music imprint, “Until We Meet Again” delivers an opus that is as elegant as it is personal.

This is more than just an album. It’s a memoir told through song, with producers Zo! and Tall Black Guy crafting a lush Gamble and Huff-inspired sonic backdrop that elevates Smith’s artistry to new heights.

Track 1: “Flowers”

The opening track, “Flowers,” is a soulful prelude where Smith sets the tone for the entire album — a love letter to her audience and an acknowledgment of life’s fleeting beauty. This track blooms into the upbeat, introspective vibes of “Why Do You Keep Calling Me,” a song that captures the complexity of emotional entanglements with wit and warmth.

Track 2: “Why Do You Keep Calling Me”

The track “Why Do You Keep Calling Me” exemplifies Smith’s ability to balance playful storytelling with emotional depth. The production is expertly helmed by Zo and Tall Black Guy who seamlessly blend hypnotic grooves and intricate melodies that places her voice front and center.

Track 3: “Photograph”

Next up, we dive into “Photograph,” a poignant ode to the bittersweet nature of nostalgia and the memories we hold dear. The song echoes Smith’s journey as an artist who’s always been unafraid to revisit the past while forging ahead. This segueways us into the next track, which features a standout collaboration with Grammy-winning trumpeter Chris Botti.

Track 4: “Remember How to Fly” (feat. Chris Botti)

Smith first connected with Botti while touring as his featured vocalist, where their onstage chemistry became a show-stopping highlight. Audiences were always thrilled by Smith’s voice and Botti’s trumpet going note-for-note in playful competition on stage. On this track, their musical interplay belies a mesmerizing synergy, with Botti’s haunting trumpet lines soaring alongside Smith’s transcendent vocals. The song is a call to rediscovery — a theme that resonates deeply in Smith’s own journey in music and life. 

Track 5: “Always Pick Up for You”

By this time the album imbues many similarities to the golden era of 1970s soul music, reflecting a musicality that could easily fit into that era, but that is also timeless. In the  track, “Always Pick Up For You,” Smith slows things down and gives a nuanced vocal performance that conveys both strength and vulnerability while waxing poetic about the sacrifices and loyalty inherent in love.

The next song, “Slide,” puts Smith’s versatility on full display with hypnotic rhythms and sensual vibrations, with the track feeling like an intimate confession set to music. Here the production of Zo and Tall Black Guy really gets immersive with atmospheric textures that highlight their long-standing creative partnership and the trust and synergy that have been built over years of collaboration.

Track 6: “Slide”

Over Smith’s three decades in the music industry, she has cultivated numerous relationships that have developed into familial bonds. One such example is her relationship with the legendary Escovedo family out of Oakland, California. Smith began touring with Sheila E and the Escovedos in 2011 and they developed a deep bond, where Sheila’s family virtually adopted Smith and her actor husband Shawn Carter Peterson as one of their own. The next track features her close sister-friend, the legendary percussionist Sheila E and guitarist Leo Amuedo. The song is a showcase of virtuosity, with each artist bringing their unique flair to create a song that is as technically impressive as it is emotionally resonant.

Track 7: “Masterclass” (feat. Sheila E. & Leo Amuedo)

“Masterclass” lives up to its title featuring Shiela E’s fiery percussion and Leo Amuedo’s intricate guitar work, making it a song that is as technically impressive as it is emotionally resonant. 

Track 8: “Summer of ’93” (feat. Tracey Lee & Dontae Winslow)

The track “Summer of ’93,” featuring rapper Tracey Lee and trumpeter Dontae Winslow, is a nostalgic celebration of youthful freedom and introspection that show’s off Smith’s range as both a vocalist and storyteller.

Track 9: “All The Ways”

“All The Ways” is a minimalist masterpiece that really allows Smith’s voice to take center stage, showcasing her ability to convey deep emotion with subtlety and grace. Here she is accompanied by The Foreign Exchange’s Phonte Coleman who steps up to the mic to croon. It’s essentially a love letter set to music that leaves listeners hanging on every word.

The legacy of ‘Until We Meet Again’

By this point, it’s undeniable: “Until We Meet Again” isn’t just another album — it’s a defining moment in modern soul music. Smith has always been a trailblazer, but this record cements her legacy as one of the most important voices of her generation.

Drawing from the golden era of 1970s soul while infusing elements of jazz, R&B, and Brazilian music, “Until We Meet Again” bridges past and present. It’s a masterclass in storytelling, collaboration and musicianship. You hear shades of Denice Williams, Minnie Riperton, Jean Carne, Marlena Shaw, Phoebe Snow and many other trailblazers from that time period, in a masterwork that deftly translates those vibes into a contemporary context that is both natural, organic and seamless.

With every track, Smith embraces her musical regality, crafting songs that are deeply personal yet universally resonant. This is an album you don’t skip tracks on; it’s a fully immersive experience that carries listeners through a spectrum of emotions. If Smith’s artistry is a journey, then “Until We Meet Again” is the destination we didn’t know we needed.

Now, let’s conclude this journey with the album’s title track, a moving requiem that serves as both a farewell and a celebration of the enduring power of love.

Track 10: “Until We Meet Again”

This track is a poignant closer to an album that is an instant classic. To stay updated on happenings, releases and activities related to Sy Smith visit syberspace.shop.

Listen to The Progressive Underground with host Chris Campbell every Saturday from 6-8 p.m. ET on Detroit Public Radio 101.9 WDET.

This week’s Pick of the Week is an eclectic journey — an ethereal trip through sound, emotion and artistry. Today, we shine a light on an emerging songbird whose music is as expansive as the cosmos itself: Detroit’s own Beverly Johnson, aka Bevlove, now based in Los Angeles but forever rooted in the creative soil of the Motor City.

Bevlove isn’t just an artist; she’s a force. A product of Detroit’s Cass Tech, she was guided by the Tony-winning Marilyn McCormick in the school’s storied theater department. That foundation gave her the poise, presence and artistry that would later define her as a live performer. But Bevlove didn’t stop at acting — she pivoted to music, and in doing so, created a lane all her own.

Her resume is nothing short of impressive. From critically acclaimed EPs like Talk That Ish and Letters to a string of singles that showcase her genre-defying sound, Bevlove has proven she’s more than a vocalist — she’s a curator of vibes. Her performances at Detroit’s Movement Festival and her appearances on bills with powerhouses like Lizzo, Danity Kane, Azealia Banks and most recently Tweet, underscore her versatility and magnetic presence.

Now, let’s talk about the elemental musical romp that is “Spacetime.” This isn’t just a song; it’s an atmosphere. It’s the kind of track that stops you in your tracks and commands your attention. The production is lush and otherworldly, pulling you into a dreamy soundscape where Bevlove’s multi-octave voice becomes your guide. It’s a song that feels like a conversation with the cosmos, as if Bevlove has tapped into the frequencies of the universe and is translating them into sound. It’s not just music — it’s a meditative experience, a moment to reflect, dream and get lost in the beauty of the unknown.

So here it is: Bevlove with “Spacetime,” my Pick of the Week.

That was Bevlove with “Spacetime,” a maxi-single release that takes you to another dimension. If you’re as captivated by soulful, progressive sounds as I am, then lock in with The Progressive Underground every Saturday evening at 6 p.m. on 101.9 WDET or streaming worldwide at wdet.org, where we traverse the soundscapes of progressive soul, nu-jazz, deep house and rare grooves you won’t hear anywhere else. Stay curious, stay soulful, and as always, keep digging deeper.

Marsha Ambrosius is a powerhouse vocalist, a lyrical genius, and a staple in the music industry — both as part of the groundbreaking duo Floetry and as a thriving solo artist.

She was born and raised in Liverpool, England, where she discovered her love for music early on. While her initial dream was to pursue a career in basketball, a knee injury changed her course, steering her towards music. Ambrosius’ journey began when she connected with Natalie Stewart, forming the iconic duo Floetry — a blend of spoken word and sultry soul that took the early 2000s by storm.

Floetry became a sensation with their signature blend of jazz, soul, and hip-hop influences. And it’s with that signature sound that we kick off this 5-on-5 with one of their most beloved tracks, which was written by Ambrosius.

5 essential tracks by Marsha Ambrosius

1. “Say Yes” – Floetry

“Say Yes” from Floetry’s 2002 album “Floetic” is a timeless slow jam that put Ambrosius and Stewart on the map. The song was an intimate invitation to unwind and connect, and Ambrosius’ silky, soulful vocals showcased her ability to blend vulnerability with strength, making her voice instantly recognizable. This track solidified Floetry’s reputation for pushing the boundaries of neo-soul.

2. “Butterflies” – Floetry

Ambrosius’ talents extend beyond just her voice — she’s also an acclaimed songwriter. And the track “Butterflies,” which she originally wrote for Michael Jackson, is a testament to her prowess behind the scenes. The King of Pop’s version became a hit on his 2001 album release “Invincible,” but the original by Floetry captures Ambrosius’ raw, heartfelt emotion. “Butterflies” became a symbol of her ability to craft songs that resonate deeply, whether she’s singing them herself or gifting them to other artists.

3. “Far Away” – Marsha Ambrosius 

As Floetry’s success soared, Ambrosius continued to develop as an artist, eventually stepping into the spotlight as a solo performer. Her solo debut, “Late Nights & Early Mornings,” was both a critical and commercial success, showcasing her growth as a storyteller. “Far Away” — a deeply personal song where Ambrosius explored heartbreak, mental health, and societal pressures — is one of the standout tracks from that album.

The music video made waves for its portrayal of LGBTQ+ relationships and the impact of bullying, a brave and poignant statement that showed Ambrosius wasn’t just here to sing — she was here to use her platform for change. This track solidified her status as a solo artist who’s unafraid to address real-life issues while maintaining that soulful sound we all love.

4. “You & I” – Marsha Ambrosius 

Ambrosius’ second album, “Friends & Lovers,” was another evolution in her sound, leaning into lush, intimate vibes that explore the complexities of love. “You & I” from that project perfectly captures the depth of her artistry and offers a great example of her ability to paint vivid emotional landscapes with her voice. The track is a soulful exploration of the highs and lows of a relationship, blending her smooth vocal delivery with a rich, textured production.

Over the years, Ambrosius has become one of the most sought-after collaborators in the industry, frequently lending her voice to tracks by artists like Dr. Dre, Kanye West, and Busta Rhymes. But even as she collaborates, she continues to evolve her own sound. 

5. “Music of My Mind” – Marsha Ambrosius

The album “Casablanco” marks a new chapter for Ambrosius, showcasing her growth as an artist who continually pushes boundaries, both sonically and lyrically.

Throughout the course of her musical journey, Ambrosius has proven to be more that just an artist; she’s a storyteller, a boundary-breaker, and a voice that continues to shape the future of R&B and soul. Whether she’s collaborating with icons or crafting deeply personal solo projects, Ambrosius challenges us to feel deeply, to connect, and to remember that music — at its best — is both timeless and transformative.

If you’re into deep, soulful vibes that push the envelope, make sure you’re tuned in to The Progressive Underground every Saturday from 6-8 p.m on 101.9 WDET-FM and wdet.org. 

This week, we shine the spotlight on the immensely talented Tamisha Waden, a North Carolina-based jazz and soul vocalist whose voice is as rich and compelling as the stories she tells through song.

A pivotal member of the Grammy-winning music collective The Foreign Exchange, Waden’s artistry seamlessly merges soul, funk and jazz into a soundscape that feels both classic and forward-thinking.

Waden’s honey-toned alto has made her a sought-after presence — whether in the studio or on the stage — sharing her gifts alongside legends like Mavis Staples, Roy Ayers, Marion Meadows and Bob Baldwin. Her ability to evoke the golden era of late ’70s to early ’80s R&B while infusing it with contemporary elegance makes her a standout in today’s music scene.

Her track “Good For Me” is a gem from The Foreign Exchange compilation album “Hide & Seek.” From the opening notes, this song envelops you in nostalgia, as live instrumentation dances effortlessly with Waden’s lush vocal harmonies. It’s a track that harkens back to a time when R&B reigned supreme —grounded in sincerity and uplifted by craftsmanship. The groove is undeniable, the emotion palpable, and the overall vibe? Pure magic.

So, here it is — Tamisha Waden with “Good For Me,” and it’s my Pick of the Week.

If soulful, progressive sounds like this resonate with you, make sure to tune in to The Progressive Underground every Saturday evening at 6 p.m. on 101.9 WDET FM or stream us at wdet.org. We journey through progressive soul, nu-jazz, deep house, and rare grooves that you won’t hear anywhere else.

To stay updated on Tamisha Waden’s music and upcoming tours, visit tamishawaden.com.

This week was a special The Foreign Exchange (TFE) tribute edition of The Progressive Underground as we celebrated the group founded by Phonte Coleman and Nicolay Rook back in 2004. We chronicled their rise from a groundbreaking duo to a game-changing music ensemble with a burgeoning record label and music movement redefining the sound of progressive soul and conscious hip-hop while providing a multifaceted platform for independent artists.

We played tunes from the TFE catalog as well as individual works of its members such as Phonte, Matthijs Nicolay Rook, Zo! aka Lorenzo Ferguson, Carmen Rodgers and Tamisha Waden, while also mining cuts from artists on the TFE record label like Sy Smith, Bemyfiasco and YahZarah St. James. Plus, some TFE-adjacent artists like Eric Roberson (the king of independent soul), Maurice Pirahnahead Herd & Tee Diviniti Smith, Tall Black Guy Productions and many more! We give TFE and their family tree their flowers and celebrate them for the musical movement that they are.

See the playlist below and listen to the episodes on-demand for two weeks after it airs using the media player above.

The Progressive Underground Playlist for Nov. 16, 2024:

• “Milk & Honey” – The Foreign Exchange
• “Brave New World” – The Foreign Exchange
• “Take Off The Blues (feat. Darien Brockington)” – The Foreign Exchange
• “Make Me Fool (feat. Jesse Boykins)” – The Foreign Exchange
• “Right After Midnight (feat. Sy Smith)” – The Foreign Exchange
• “So What If It Is” – The Foreign Exchange
• “We Are On The Move (feat. Eric Roberson)” – Zo!
• “Role Play (feat Bilal)” – Leron Thomas
• “We Can Fly” – Nicolay
• “Sweet Love (feat. Jeanne Jolly)” – The Foreign Exchange
• “The Answer” – The Foreign Exchange
• “If This Is Love (feat. YaZarah)” – The Foreign Exchange
• “Flight of the Blackbyrd (4Hero Remix) [feat. Phonte]” – Zo!
• “Love Come Save The Day” – YaZarah
• “Flowers” – Sy Smith
• “Close To You” – Art Nap
• “Pretty Little Love (feat. Lola Violet)” – BeMyFiasco
• “Saturday Night (feat. Carlitta Durand)” – Nicolay
• “Wonderluv” – Darien Brockington
• “Lifetime” – Bain
• “Follow (feat. Carlitta Durand)” – Phonte
• “The Beauty of Life (feat. Carmen Rodgers)” – Pirahnahead & Diviniti
• “Lifelines (feat. Dornik)” – Zo!
• “Body” – The Foreign Exchange
• “The Brightest Star (feat. Phonte & Carmen Rodgers)” – Nicolay
• “Why Do You Keep Calling Me?” – Sy Smith
• “Don’t Wanna Be Your Lover” – BeMyFiasco
• “Hold My Hand (feat. Phonte/Muhsinah & Darien Brockington)” – Zo! & Tall Black Guy
• “Funk in the Hole (Nicolay Remix)” – Roy Ayers
• “No More Waiting (feat. Creative Theory)” – Nicolay
• “Better” – The Foreign Exchange
• “Something” – Phonte & Eric Roberson
• “Count to Five” – Zo!
• “Asking for a Friend” – The Foreign Exchange
• “Sun Rings/Uprising” – Nicolay
• “All The Kisses (feat. Paris & Amber Strother of KING)” – The Foreign Exchange

I have a track for you that is steeped in soul, grit and the tenacity of hip-hop royalty. This week’s Pick of the Week comes from none other than Charyse Marshall, aka Mahogany Jones, a name that reverberates with authenticity, power and the kind of lyrical mastery that makes you sit up and take notice. She doesn’t just step onto the track; she commands it. And if you’ve been following her story, you know she’s been a force since her days on BET’s 106 & Park “Freestyle Fridays,” where she didn’t just compete — she became the first four-time undefeated champion, setting a high bar for freestyle.

From her early days in New York to her reign in Detroit, Jones has sculpted a career that transcends borders. As a cultural ambassador for American Music Abroad and the U.S. State Department’s Bureau of Educational and Cultural Affairs, she’s made hip-hop a global language, representing not just a genre but a movement. And now, Jones is back with her latest single, “Go,” featuring the sultry, soulful vocals of Detroit’s own Monica Blaire.

This track is whole a vibe, a layered experience that dips into the underground while embracing house and techno with a remix from Roberto “Ma$terPeace” Peace. The synergy between Jones and Blaire is electrifying, their voices effortlessly weaving through rhythm and melody. Jones’ lyrics are fierce, thoughtful and uplifting, a reminder of the resilience and beauty of Black womanhood, while Blaire’s hook is pure Detroit, grounding the track in a sonic landscape that’s as innovative as it is soulful. Check it out:

If deep grooves and underground energy move you, tune in every Saturday at 6 p.m., when The Progressive Underground takes you on a musical journey through future soul, techno, deep house, nu-jazz and those rare grooves that keep the spirit alive. See you next time, peace.

Stay up-to-date with Mahogany Jones at mahoganyjones.com.

Let me tell you, this week’s pick is nothing short of a revelation. Amber Mark, the bold and unapologetic artist who first commanded our attention with her 2022 debut, Three Dimensions Deep, has returned. Her latest single, “Sink In,” is not just a track — it’s a communion of sound and spirit, an invitation to experience the visceral pulse of after-hours grooves and an all-encompassing vibe.

Mark penned and produced this track herself, and it shows in every intricate layer. She’s crafted a rhythm that doesn’t just catch your ear; it ensnares your entire being, compelling you to, quite literally, sink in. The beat is anchored in a hypnotic, groove-laden bassline reminiscent of Giorgio Moroder’s disco mastery, yet transformed — shaped with jungle undertones and a 21st-century heartbeat.

And those piano flourishes? They swirl in the background, creating a landscape rich with emotion, suspense and the promise of dancefloor liberation. There’s a mystical quality here, wrapped in 808 beats that echo and reverberate, expanding the track’s sonic reach to feel like an immersive journey and a superb listening experience.

“Sink In” doesn’t just ask you to listen; it demands that you give in, that you allow the rhythm to take hold of you, to lead you to that place where time is irrelevant, and only the beat remains. Mark is giving us a taste of what’s to come with her upcoming EP, and if this single is any indication, we’re in for something truly exceptional.

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If you’re as captivated by electronic dance fusion as I am, join us on The Progressive Underground every Saturday at 6 p.m. Here, we journey across genres — future soul, nu-jazz, deep house, B-sides, and those rare grooves you won’t find anywhere else. I’m Chris Campbell, and until next time, keep digging deeper.

Stay in tune with Amber Mark’s latest, from releases to tour updates, at ambermarkmusic.com.

On today’s 5-on-5, we dive into the world of Terry Dexter — a Detroit native, now Los Angeles-based musical powerhouse, whose journey speaks to the soul of the city. From a very young age, Dexter was captivated by music. Growing up in a family that embraced creative expression, she started singing in Detroit’s rich gospel circuit. Her influences included the legends — Aretha Franklin, Marvin Gaye and Whitney Houston — whose sounds inspired her to develop a voice that blends strength with sensitivity.

Dexter’s talent emerged early. By the time she was nine, she was fronting a local band, Tristar, gaining experience that laid the foundation for her career. As a teenager, she recorded with artists like Simply Red, sharpening her skills and immersing herself in Detroit’s vibrant music scene.

5 essential tracks by Terry Dexter

1. “Yeah”

Starting with her self-titled debut album, Dexter’s entrance into the industry was marked by a unique mix of gospel roots and contemporary R&B. Released by Warner Bros. in 1999, the song “Yeah” signaled her as a force to be reckoned with.

The release introduced audiences to her soulful vocal range and storytelling – a reflection of her Detroit upbringing and a nod to the Motown spirit that raised her.  The industry took note as Dexter would also become an in-demand vocalist on various other producer projects.

2. “Lay Me Down”

Dexter’s voice was later featured on “Lay Me Down” from Lost Change, a project by Black Eyed Peas producer and frontman Will.i.am. The 2001 album brought Dexter’s voice into hip-hop’s evolving landscape, showcasing her innate adaptability and passion for collaboration. The song explored themes of vulnerability and resilience, making it a standout tune on the eclectic album.

3. “Sister”

Dexter would release a sophomore album in 2008 called Listen, which represented one of her most personal works. Created in honor of her late mentor Sami McKinney, who introduced her to icons like Patti LaBelle, this masterwork was a healing journey for Dexter. The project’s soulful depth and poignant lyrics revealed her as an artist committed to creating music that uplifts and connects. The album’s track “Sister” is a testament to friendship, loss and resilience.

4. “No Maybe”

Having been raised in Detroit, Dexter was exposed to the city’s R&B-infused techno and house sound. It was just a matter of time before she would meld her soulful delivery over the driving beats of the house music genre, proving her versatility and connection to the house music tradition that also emerged from the city. “No Maybe” is one of her more recent deep house music selections, this time done in collaboration with producer Frankie Feliciano.

5. “With You (Reelsoul Vocal Mix)”

“With You” is her latest release, and another example of her Detroit deep house connection.

Dexter’s career is a testament to the power of versatility. In addition to her musical exploits, she is also an accomplished actress having acted in a range of film, television and theatrical/stage projects, most recently in the Lawrence Hilton Jacobs/Paula Jai Parker series, A House Divided (2019–2023). She is celebrated as a multi-faceted artist, whose achievements in R&B, film and theater reflect her resilience and adaptability.

Her artistry speaks to Detroit’s soul as a creator unbound by genre, whose work in music, film, and theater reflects resilience, authenticity, and a fearless commitment to self-expression. Her voice carries the rhythm of her hometown, blending its grit, history and hope.

If you dig artists who embody the spirit of true musical evolution, keep listening to The Progressive Underground every Saturday evening from 6-8 p.m. on 101.9 WDET-FM and wdet.org.

On this installment of 5 on 5, we’re diving into the music of Rebekka Ling to explore her soulful sound in five key tracks that paint a portrait of her journey as both an artist and storyteller.

Born in a musical home in Amsterdam with a gospel-singing mother and a percussionist father, Ling absorbed a variety of influences, from soul to jazz, gospel to hip-hop. She studied classical flute for seven years but found her voice was her true calling. Ling’s early career began as a backing vocalist with the hip-hop group The Proov, contributing to their EP and album, Traditions.

Shortly after, Dutch soul singer Berget Lewis invited her to join her tour, expanding Ling’s exposure to live performance. She would briefly study jazz at Amsterdam’s conservatory but soon followed her own creative path, collaborating with artists like Benny Sings and Sandra St. Victor in jazz and pop. Her own solo debut album, Travel Light would soon follow.

5 essential tracks by Rebekka Ling

1. “Travel Light”

“Travel Light” is the title track from her debut album, whose message to listeners was an invitation to shed our burdens and embrace the lightness of life. Released in 2012 on Phoenix Wood Records, Travel Light fused NuJazz, soul and R&B with hip-hop and gospel, capturing an uplifting, whimsical feel.

The album charted well on the Dutch R&B/soul charts and earned Ling an invite to perform at the North Sea Jazz Club.

2. “Fly Away”

“Fly Away” is another track from the same album that showcases Ling’s smooth, laid-back vocal style and her embrace of the ’60s-’70s soul and jazz sound. The production was helmed by Glenn Gaddum Jr, bassist for artists like Frank McComb and Matt Simons, and brought another subtle groove and nuanced texture to Ling’s voice.

3. “Keep Rising”

“Keep Rising,” released in 2021, was produced during the COVID-19 pandemic and speaks to life’s challenges with resilience. The track would be a pandemic anthem, reflecting on the importance of perseverance and spiritual connection. It’s a soulful testament to finding strength in struggle, with Ling’s unique sound deeply resonating. 

4. “Be Alright”

“Be Alright” is not only a fan favorite, but also part of the soundtrack to the British indie film, “Crown.” Filmed in London, this song underscored a pivotal theme in the movie: staying grounded through life’s turbulent moments. In this track, Ling’s soulful and hopeful delivery shines to the degree that it has become one of her signature songs, reminding listeners to maintain inner peace amid external chaos. 

5. “Dynamite”

“Dynamite” is a special single release that shows off Ling’s versatility, blending her jazz roots with a more soulful pop-infused sound.

Ling stands as a true force in the Amsterdam music scene and beyond. Her soulful sound, steeped in jazz, gospel and hip-hop influences, resonates with a profound sense of resilience and authenticity. With each release, she captures the heart of classic soul while pushing boundaries that bring her style into the modern era. From her roots in Amsterdam to a growing global audience, Ling’s artistry and upward momentum reflect an artist deeply committed to her craft and connected to her audience. Her journey is one to watch. 

If you’re into genre-blending soulful music artists like Rebekka Ling, tune in to The Progressive Underground every Saturday evening from 6-8 p.m. on 101.9 WDET-FM and wdet.org.

Following in the footsteps of legends like Alice Coltrane and Dorothy Ashby, harpist Brandee Younger has transformed one of the world’s oldest instruments, bringing it into the modern era. By blending innovative techniques with jazz and beyond, Younger continues to push musical boundaries.

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Listen: A conversation with harpist Brandee Younger

 

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The following interview has been edited for clarity and length.

On how her music journey started long before she began playing the harp:

I’ve always been deeply involved in music. In high school, I was voted most musical—not for the harp, but for playing the trombone in the marching band. My first instrument was the flute, but we had too many flute players, so my teacher asked if I’d switch to trombone.

The harp came into my life through a woman at my dad’s job who played it as a hobby. My parents, knowing my musical interests, introduced me to her. We played some flute and harp duets, and she suggested I take lessons. She mentioned that with the right skills, I could even get a scholarship—and that’s how my journey with the harp began.

On how she got her start releasing music by acting on the advice of her mentor, saxophonist Ravi Coltrane, and recording her debut project, the analog-driven “The Prelude” EP:

I wanted to record music but wasn’t sure where to start. I told Ravi Coltrane that I didn’t feel ready to make an album. He reminded me that recordings capture where you are at that moment, and that helped me shift my perspective.

So, I went into the studio, wrote a song called “So Alive,” and recorded a few standards. I sent the demo to Casey Benjamin, who told me, “Don’t make demos, just make albums.” That advice stuck with me, so I decided to put the project on Bandcamp. Music blogs picked it up quickly, and I made my money back fast. That’s how “The Prelude” EP came to life.

On how blending contemporary styles with the timeless sound of the harp has made her an in-demand session musician:

I’ve always loved recording more than performing, so I focused on becoming a session musician. I wanted the harp to be part of the music I was listening to, which wasn’t the classical music I was studying. By recording with artists who were making the kind of music I loved, I created a space for the harp in contemporary genres. This approach laid the foundation for the music I create today.

On how Detroit artists like Alice Coltrane and Dorothy Ashby have influenced her approach to the harp and why she celebrates their legacies:

This has always been intentional for me. The harp is often seen as a classical instrument, and I felt it wasn’t getting the respect it deserved outside of the orchestra. Dorothy Ashby’s discography is incredible, and her level of playing was unmatched, yet she wasn’t recognized the way she should have been. The same goes for Alice Coltrane. Early on, I decided to honor their legacies by including their influence in everything I do — whether through playing their compositions or creating new works inspired by them.

On how she continues to honor the legacies of Alice Coltrane and Dorothy Ashby on her latest album, “Brand New Life”:

With “Brand New Life,” I wanted to pay homage to Alice and Dorothy, but without making it a straightforward tribute album. We recorded some of Dorothy’s compositions that had never been recorded before, literally giving them a “brand new life” (no pun intended as she laughs). It’s a way of continuing their legacy through my own lens.

On how she wants audiences to experience her music through her ongoing tour, newly reformatted trio, and meaningful connections with artists and fans:

I want the music community to feel the sincerity in my work, especially now with my trio. Downsizing from a larger group to just three of us has been incredible. We have such a strong dynamic, both on and off the stage. It’s been a rewarding experience, and I hope that connection comes through in our performances.

To stay updated on Brandee Younger’s tours, events and releases, visit brandeeyounger.com.

Born and raised in Brooklyn, the daughter of Haitian immigrants, Melanie Charles grew up in a one-bedroom apartment in the projects before her family of 10 moved to Bushwick. From those humble beginnings, she found her way to jazz, studying at LaGuardia High School and later at The New School for Jazz and Contemporary Music. Her path was unconventional, but she honed her craft and developed a penchant for blending jazz fundamentals with innovative beat-making, reimagining classics through a modern, exploratory lens.

1. “Without Us”

Her breakthrough came with her independent release The Girl With The Green Shoes — a criminally underrated album where she wove together her voice, flute, sampler and a variety of effects to create a deep, immersive, lo-fi quasi-mixtape experience. 

2. “Detour Ahead”

The Girl With The Green Shoes caught the attention of Verve Records, leading to her signing with the label. As she began work on her debut, however, tragedy struck: Breonna Taylor, a Black medical worker, was shot and killed by police in Louisville, Ky. during a botched raid on her apartment, touching off wide-scale demonstrations that erupted that year over policing and racial injustice in America.

Taylor’s death served as a harsh reminder of the fragility of Black women’s lives in America. Charles channeled her pain and passion into her music, titling her Verve debut, Y’all Don’t (Really) Care About Black Women. It was a bold statement that made Verve hesitate, but she stood firm, and they ultimately backed her.

3. “Jazz (Ain’t Nothing But Soul)”

In addition to making a poignant statement on racial injustice, Charles also pays tribute to the underappreciated Black women in jazz, reimagining the works of legends like Billie Holiday, Ella Fitzgerald and Betty Carter while making a powerful statement about the ongoing struggle for recognition and respect.

This album became a manifesto for fair treatment and recognition of Black women in the music industry. It didn’t just resonate within the jazz community — it sparked a movement. Her fearless approach earned her collaborations with legends like Wynton Marsalis and solidified her place in the new and emergent jazz vanguard.

4. “I Need Time”

Her innovative style, combined with her commitment to activism, places her among a new generation of artists, such as Theo Croker, Ego Ella May, Kamasi Washington and various others who are redefining jazz. She’s not just making music — she’s making a statement, whether it’s through her work with her podcast project “Make Jazz Trill Again,” or through her electrifying performances. Melanie’s music is a call to empower and uplift Black women, celebrating their resilience and creativity.

5. “Damballa Wedo”

Melanie Charles will be performing at this year’s Detroit Jazz Fest on Saturday, Aug. 31 from 7:15-8:30 p.m. on the Carhartt Stage.