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Black Mahogani

Rate It! Avg: 4.5 (73 ratings)

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Black Mahogani album cover
01
Holiday
3:38
$0.49
02
Roberta Jean Machine
3:09
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03
I Need You So Much
2:41
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04
Runaway
11:48  
05
I'm Doing Fine
9:16
$0.49
06
Shades Of Jae
6:55
$0.49
07
Riley's Song
3:53
$0.49
08
Back At Bakers (on Livernois)
2:56
$0.49
09
Mahogani 9000
7:58
$0.49
10
Black Mahogani
8:28
$0.49
Album Information
EDITOR'S PICK

Total Tracks: 10   Total Length: 60:42

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NOT FOR THE DANCEFLOOR

Henrydm1

I beg to differ. There is 3 classic cuts on here: Shades of Jae which keep the dance floor movin' where I am, I'm doing fine feat. Amp Fiddler a deep soulful classic which here in the east kept the dance floor, movin, and Runaway which is deep and soulful is a staple in dj bags. There is another Black Mahogani which is deep soulful and depending on what kind of vibe and soulful house headz, will keep it movin'. A classic album yes with some headphone material, but don't get it twisted the party vibes are there just deep for most of the album. A must.

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Not for the dancefloor?

mycroft.wooster

Maybe not the whole record, but Shades of Jae is a dancefloor classic, do not miss this.

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Essential listening

Vinster

This album is absolutely superb. The album is a very cleverly layered fusion of jazz, soul and when the beats kick in, they are minimal and understated. It is simply one of the best albums I have heard in a very long time, truly refreshing music.

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Cinematic

Needlz

Not for the dancefloor. Definitely headphone house/triphop/downtempo, with a distinct smokiness to it. Some parts get monotonous, and I wanted to like it more than I finally did. Reminds me of Cinematic Orchestra's Everyday, if not as good. Black Mahogany is the most distinct track.

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Get it, get it now before they take it away!

regis

This wasn't available to UK until recently and it might go away again, so get it now. It's wonderful.

They Say All Music Guide

Black Mahogani is Kenny Dixon, Jr.’s fifth compilation (not compilation), another disc constructed with previously vinyl-bound tracks and a little bit of newness. This is nearly as reliant upon old material as Silent Introduction, making it potentially frustrating for folks who have remained on top of every move made by the enigmatic producer. True to the tradition of the past full-lengths, Black Mahogani nonetheless casts the oldness in a new light; the adept soundtrack/score-like manner in which all of the tracks are weaved into a continuous mix — with perfect pacing — make the original 12″ releases seem like puzzle pieces in retrospect, every single one of them crucial to this fresh whole. The end result is even more cinematic in attack than Forevernevermore, and that’s not only due to the sampling of extended dialogue bits from Superfly and Detroit 9000 — as a house producer, Dixon’s ability to create, sustain, and release tension must be unrivaled at this point in his career. It helps that he has some excellent raw material to work with, a fair portion of which benefits from a little assistance. Roberta Sweed’s steamy, mature voice is spotlighted during the first third of the album: beginning with the alternately rolling and clicking soul-jazz of “Holiday” and “Roberta Jean Machine” (the latter using the same stick-drum-accented foundation lent to Amp Fiddler for his “Love and War”), Sweed’s voice winds seductively on through “I Need You So Much,” a hushed, stately lead-in for “Runaway,” one of the album’s central tracks. Pulled from the context of its surroundings, “Runaway” can be mind-numbing for its hyper-repetitive simplicity. In this place, symbiotically related to what leads up to it, each button-pushing pulse is met with anticipation, and Sweed’s steady phrasings have a similar effect. “I’m Doing Fine,” featuring a sensational vocal turn from Fiddler, is another jewel re-presented, as is “Black Mahogany,” which is mixed a little differently and split between two tracks here (titled, confusingly enough, as “Mahogani 9000″ and “Black Mahogani”). However, most dynamite of all is “Shades of Jae,” a stupefying exercise in beat-teasing that indicates how Dixon often favors foreplay over climaxing. From entrance to exit, the typical characteristics of his productions remain. There’s plenty of crowd chatter to accentuate the live feel; samples spring up everywhere (all the usual suspects, including Marvin Gaye, Syl Johnson, and the Time); and rhythmic templates constantly shift through jazz, funk, and house, as if the differences between the past, present, and future are actually nonexistent. – Andy Kellman

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