Below, enjoy the soundboard audio as D'Angelo performs his last show with his band The Soultronics.
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| The Electric Lady Studios promo for D'Angelo's "How Does It Feel", now available here at eBay (after clicking my eBay Partner Network affiliate link and purchasing I will receive compensation) |
Inside D'Angelo's Recording Techniques & Performance
Here is an inside look into D'Angelo's recording and performance techniques as revealed by Isaiah and Bilal in this discussion:
Based on the insights shared by Isaiah Sharkey and Bilal, D'Angelo's approach to music is characterized by an intense focus on feeling, meticulous arrangement, and a "raw" sonic aesthetic.
D'Angelo's approach to music is characterized by an intense focus on feeling, meticulous arrangement, and a "raw" sonic aesthetic.
I. Recording Process and Philosophy
The "Record Everything" Rule: D'Angelo followed a strict policy of recording every moment in the studio
. He often preferred first takes or early captures because they contained the "initial feeling" and essence of a song
.
Capturing the "Gibberish": During the recording of Black Messiah, Isaiah Sharkey noted that D'Angelo often kept "gibberish" parts—the moments where a musician was still trying to figure out their part—because the natural struggle and discovery felt better than a polished take
.
Vocal Layering and "Scratch" Tracks: D'Angelo would often record "scratch vocals" consisting of gibberish rather than lyrics to capture the melody and emotion first
. He would then harmonize and stack these layers of gibberish until they eventually evolved into actual words
.
The "Oil Painter" Approach: He had no concept of time and would constantly "go back in and touch" his work, much like an oil painter, often spending years refining a project
.
II. Instrumental and Sound Techniques
Multi-Instrumental Mastery: D'Angelo was deeply involved in every layer of the music. He played piano, guitar, and bass, often performing the bass parts himself on tracks like "A Thousand Deaths" and "Another Life"
.
Guitar-Centric Keyboard Style: Even when playing keyboards, D'Angelo thought like a guitar and bass player
. He avoided "big huge chords," preferring a leaner, more rhythmic approach that emphasized the relationship between the right hand, left hand, and the bass line
.
"Drippings": This was D'Angelo’s term for a specific guitar technique used by Isaiah Sharkey, characterized by atmospheric, fluid melodic lines found in songs like "Till It's Done" and "Another Life"
.
Experimental Sound Design: He encouraged unconventional sounds, such as Isaiah Sharkey using a drumstick on guitar strings to imitate Johnny Guitar Watson, which became the intro to the Black Messiah album
. He also utilized "space echo" and cranked amplifiers to achieve specific textures
.
The ASR-10 and "Book Bag of Sounds": D'Angelo relied on the ASR-10 sampler and carried a book bag full of floppy disks containing his signature sounds
.
III. Rehearsal and Performance Standards
Meticulous and Intense Rehearsals: Bilal described D'Angelo as "extremely meticulous," noting that he knew every note of every part for every instrument in the band
.
Unconventional Work Ethic: D'Angelo often operated on a delayed schedule, sometimes showing up at 2:00 AM for a session or rehearsal
. However, once he arrived, he was "on fire" and "on it," maintaining a crazy work ethic that often lasted until 6:00 AM or 10:00 AM
.
Physical Preparation: To get his musicians in the right headspace, D'Angelo would sometimes smack or poke his band members right before performing to ensure they were "ready to play"
.
IV. Sonic Aesthetic and Influences
The "Dirt" and the "Grit": A core element of D'Angelo's sound, particularly with engineer Russell Elevado, was a refusal to "shine" the music
. They aimed to capture the raw, gritty vibe of the room, prioritizing "dirt" and "feeling" over "plastic beauty"
.
Gospel Quartet Roots: Much of D'Angelo's rhythmic foundation comes from Gospel Quartet music, which mixes blues, doo-wop, and a driving vamp known as "the drive"
.
Space and Intentionality: A major takeaway for musicians working with him was learning how to use space and being "very intentional" about every note played, ensuring nothing was "buried" in the arrangement
Last month we presented an evening of one-off musical collaborations in Los Angeles.
Our creative director (and world-renowned DJ) Gilles Peterson worked with Miguel-Atwood Ferguson and his 11-piece orchestra to take us on a journey through LA’s musical heritage.
In this section you will hear the ensemble welcome the Gaslamp Killer, Bilal, Nai Palm and Kamasi Washington.
"It was one of the highlights of my life. It was a major triumph, not just for LA, but for music, for the world." - Miguel Atwood-Ferguson
“It is magical to be able to put on such a unique event. I don’t think this is going to happen again, putting these musicians together. Thanks to the WeTransfer Crew for putting on one of the best events I've ever been a part of…” - Gilles Peterson
Featuring The Gaslamp Killer ft. Miguel Atwood-Ferguson Ensemble, Gilles Peterson, Bilal ft. Sa-Ra Creative Partners ft. George Clinton ft. Miguel Atwood-Ferguson Ensemble, Miguel Atwood-Ferguson Ensemble, Bilal ft. Miguel Atwood-Ferguson Ensemble and more.
These great minds all have one thing in common besides being groundbreaking and innovative musicians, they all look to the past as inspiration to create classics for the present and future to admire. Take a look into the minds of Adrian Younge, RZA, Raphael Sadeeq, Bilal and DJ Premier in this mini-doc and read the full feature on NOWNESS.
Otis Brown III draws from talented friends, collaborators and family in his journey as a drummer, graduating from his childhood musical household to performing as a sideman with leading artists such as Terence Blanchard, Herbie Hancock, Kurt Elling, Somi, and Gretchen Parlato, Joe Lovano and Esperanza Spalding. Releasing his first album as a veteran, Otis Brown discusses his unique approach to Jazz derived from his experience by providing examples of how a wide variety of musical influences and mentors have shaped his work. His artistic purpose his explained as one who uses the drum as a form of communication and evoking the listener to dance as the foundation of each style or mood he plays.
This discussion by NPR sheds light into the expansive sound which awaits your ears on "The Thought Of You". Co-produced by bassist Derrick Hodge, this album features Robert Glasper, trumpeter Keyon Harrold, saxophonist John Ellis, and bassist Ben Williams as the core band, with special appearances by organist Shedrick Mitchell and guitarist Nir Felder. Vocalists include Bilal, Gretchen Parlato, and Nikki Ross.
Enter the futuristic Funk sound of Georgia Anne Muldrow as she lays down the groove for Bilal on the remix of "Little One". Georgia provides a swaying rhythm and heavy mood to carry the weight of Bilal's vocals with an arrangement which builds as the song progresses, emphasizing the emotions delivered in each bar. The intensity of guitar and synth instrumentation in contrast to the mellow vibe of her laid back Funk groove adds to the unique vibe of this remix. Georgia structures the sound against Bilal's performance to boost your adrenaline with exciting soloing combined with a calm rhythmic feel.
In October of 2012, ArtDontSleep & Mochilla presented a special performance event to commemorate classic American Soul music called "East Side Story". Led by Miguel Atwood-Ferguson Ensemble with special guests Mayer Hawthorne, Coco O. of Quadron, Bilal, drummer James Gadson Myron & E and Joey Dosik, this event bridged the essence of classic Soul with the sound of a string ensemble. Music covered in this performance includes the songs of Etta James, James Brown, Brenton Wood, The Chi-Lites, The Delfonics, The Temptations, Billy Stewart, Mary Wells, The Flamingos, Barbara Lewis, Smokey Robinson and many more.
Enjoy highlights from the "East Side Story" show above, including a surprise jam session by the ensemble of classic Wu-Tang Clan songs!
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