Off The Radar Screen 
By Ron Wynn

 There's an incredible amount of fantastic music being recorded and released weekly. Unfortunately, for a variety of reasons, numerous great records not only aren't played on radio, they're also not well publicized or promoted. Everything Underground's new biweekly column "Off The Radar Screen" cites worthy discs in various formats that have either been completely ignored or haven't gotten anywhere near the attention they deserve. The column's aimed both at hardcore music fanatics and general listeners who might be seeking alternatives or additions to what they frequently hear and enjoy. 

Michael Franti's been at the helm of two politically controversial, musically eclectic ensembles, the Disposable Heroes of Hiphoprisy and Spearhead. He also founded the Beatnigs several years ago. Franti's latest Spearhead project Everyone Deserves Music (Boo Boo Wax/BMG) expands his legacy of diverse, lyrically edgy and unpredictable material. The songs "Bomb The World" and "We Don¹t Stop" are dynamic protest vehicles, while the title track celebrates African-American cultural tradition, and "Pray For Grace" and "Bomb The World (Armageddon Version)" include production assistance and musical support by reggae legends Sly and Robbie. Franti's music isn't for everyone; it lacks the razor-sharp textures or busy rhythmic foundations usually heard in rap, and he sometimes mixes vocals and spoken word in unorthodox fashion. Still, Everyone Deserves Music boasts intriguing themes and vital sentiments. KRS-One's Kristyles (Koch/In The Paint) is even more vociferous and assertive. 

While some rap pundits and artists have criticized KRS-One for his brashness and ego, he remains willing there to take on all comers. The disc's 17 cuts range from confrontational items like "Gunnen' em down" and "The Only One" to such inspirational tunes as "I's All a Struggle" and "Things Will Change." Overall, the mood alternates between anger at what KRS-One considers betrayal by some rappers, his concern with the contemporary scene, and his hope things will improve in the future. Though hardly a commercial record, Kristyles merits close inspection by anyone interested in hearing rap creatively utilized in a sociopolitical, cultural context. Pianist Cyrus Chestnut's swirling phrases, remarkable improvisational prowess and blend of gospel, blues and jazz influences make You Are My Sunshine (Warner Bros) a delightful musical excursion. 

Chestnut's brilliance was taken for granted when he was on Atlantic's jazz roster, making a label switch mandatory. The disc includes many masterful gospel tunes, among them beautiful renditions of "God Has Smiled On Me," "Sweet Hour of Prayer," "What A Fellowship" and "Pass Me Not O Gentle Savior." But he's equally splendid on secular material, particularly the title track, "Erroling," a salute to the great Errol Garner, and "Hope Song." Superbly backed by bassist Michael Hawkins and drummer Neal Smith, Cyrus Chestnut has cut a wonderful record that should satisfy gospel and jazz fans alike.

 Saxophonist Branford Marsalis ventures farther into the past than usual on his newest release Romare Bearden Revealed (Marsalis Music/Rounder). The session pays homage to the remarkable African-American artist Romare Bearden who died in 1988. There's a good mix of vintage tunes such as "Carolina Shout" and "I'm Slapping Seventh Avenue" and contemporary fare like "J Mood" and "Seabreeze." Freed from the burden of dealing with artistic and business conflicts presented by corporate label functionaries, Branford Marsalis' solos sound freer, more animated and intense. Besides his core group of pianist Joey Calderazzo, bassist Eric Revis and outstanding drummer Jeff "Tain" Watts, the guest roster includes brothers Delfeayo, Wynton and Jason on trombone, trumpet and drums respectively; the clan's father Ellis on piano, plus keyboardist Harry Connick, Jr. and guitarist Doug Wamble among others. This is first-rate jazz from one of the Crescent City's greatest contemporary musical performers. 

Vocalist Lizz Wright has a strong, engaging, often hypnotic voice that is wonderfully showcased on her Verve album Salt. Wright nicely reworks Mongo Santamaria¹s classic "Afro-Blue," while also showing great range and articulation on "Soon As I Get Home" and "Blue Rose." Wright can credibly sing the blues, scat, handle story songs, or experiment with classical material as she demonstrates on "Vocalise/End of the Line," which blends Rachmaninov with current lyrics. She also offers a fine rendition of the Chick Corea/Neville Porter tune "Open Your Eyes, You Can Fly," which opens the disc. Wright's music isn't easily categorized, something that unfortunately seems to have limited her radio access. The current Trojan records reissue campaign is easily the most extensive and comprehensive in reggae history. Numerous great releases from the Œ60s and Œ70s are once more available, many included in reasonably priced multi-disc boxed sets. Trojan 12 Box Set s a prime example of this trend. It features 36 classics over three discs, all originally issued as extended 12-inch singles. There's so much great material it's hard to cite just a few songs, but personal picks include Bob Marley's "Small Axe/Battle Axe," Delroy Wilson's "Worth Your Weight In Gold," Sugar Minott's "Ghetto-ology" and Dennis Brown's "Money In My Pocket." Several numbers also have either instrumental or DJ "versions," some of which proved more popular than the original single. 

Anyone who loves reggae shouldn't ignore these great collections and anthologies. The series is also issuing several individual titles that are being repackaged with bonus cuts, thanks to Sanctuary Records, a division of BMG. Finally, another outstanding various artists anthology is  Westbound Funk (Ace), a 20-track single disc English import. It covers rare and obscure tracks primarily from the Œ70s initially released by Detroit's Westbound label. There's also one Funkadelic cut from 1969, their humorous single "I'll Bet You" that was produced by George Clinton. Many of the set's featured artists are beloved by funk and soul fans, but unknown otherwise. The menu includes songs from Alvin Cash, Freddie Wilson, Robert Lowe, Albert Washington and Spanky Wilson, as well as a tune from jazz guitarist Melvin Sparks, and early material from the Ohio Players and Counts. Westbound was a prolific label in funk's early days, and this disc provides a good reminder of Detroit's importance in the idiom's development.

 (Ron Wynn is also editor of Everything Underground).