Happy 20th Anniversary to Jazzyfatnastees’ second studio album The Tortoise & The Hare, originally released September 2, 2002.
As an Amazon affiliate partner, Albumism earns commissions from qualifying purchases.
Note: ‘The Tortoise & The Hare’ is not currently available in authorized form via major streaming platforms, hence the absence of embedded audio in this article.
In the July 1981 issue of Essence magazine, Toni Morrison was quoted as saying “I don’t think one parent can raise a child. I don’t think two parents can raise a child. You really need the whole village.” While the origin of this notion is often attributed to an African proverb, it seems right to use the Nobel prize winning genius in this instance.
In music, as in life, this old adage stands true. Berry Gordy’s child was raised by the musical virtuosity of The Funk Brothers, the timeless song writing of countless geniuses, the instantly recognizable voices of renown and the artist development that saw the impeccably besuited pirouettes of groups both male and female grow Motown from a dream to an all-conquering record label beloved the world over. Not so much a village, as an entire town or even the whole city of Detroit.
In some cases, the village was the band itself. Parliament-Funkadelic’s sprawling cast list behind the incomparable George Clinton was enough to populate the entire village, whilst Earth, Wind & Fire could be said to be the slightly less outlandish next village across the way. Even Prince’s magnum opus Sign O’ The Times might be sold as one man’s reaction to his world in flux, but sure enough a small but perfectly formed village was there to help birth the monumental piece.
Philadelphia, Pennsylvania has had its share of musical villages, but the one that formed in the mid to late 1990s is as worthy of its place in history as any. A prime location in the development of a new version of soul music, it grew from open mic nights, spoken word cafes and a group of musicians and artists who mingled freely in those spaces. The Roots’ live instrumentation featuring Black Thought’s ferocious lyricism lay at the heart of it, but seemingly countless others sprang up to lay their piece of the puzzle on the table. Jill Scott, Bilal and Musiq Soulchild all provided evidence that this village was well and truly equipped to produce lasting legacies.
But like all of these ecosystems or communities, some of the constituent parts become more well-known than others. For every Hollywood-bound, platinum-selling Jill Scott, there was a Jaguar Wright. But that is no slight on those whose commercial success paled next to their artistic ambition. Music is a fickle enough business, but for Black artists the extremes of exploitation and ignorance have always weighed heavier.
Mercedes Martinez and Tracey Moore were part of an original four-woman lineup named Jazzyfatnastees, who signed to Tommy Boy in 1993. However, by 1997, the deal had ended and two members left, leaving the aforementioned duo to continue under the name. Philadelphia beckoned and they soon began to create a space for themselves with their delicious harmonies and keen songwriting. But beyond the musical prowess was a desire to not just be part of the village, but to be active participants in the construction of it.
Their formation of ‘Black Lily: A Women In Music Series’ led to a weekly slot at The Five Spot in Philadelphia between 2000 and 2005. Its aim was to highlight and uplift groundbreaking women musicians and filmmakers, and it gave opportunities to Jill Scott and Alicia Keys among many others. This intent to build a future for others and grow the community means that although others may have gained greater commercial success, Jazzyfatnastees contributed immensely to a thriving, important musical village.
Beyond their immeasurable community work though, their second studio album The Tortoise & The Hare—the follow-up to their 1999 debut The Once and Future—provided ample opportunities for their musicality to shine through. In an interview with Indie Life from 2017, Mercedes Martinez described her reason for re-joining the group after a brief hiatus. Simply put, she missed singing with other people and creating the joy that only voices in perfect harmony can create. Those harmonies are evident throughout the album and are a sheer delight.
The fabric of Philadelphia music runs throughout the album in the players and additional contributors—legendary string arranger Larry Gold appears and James Poyser and Scott Storch—both of The Roots (at various points) —lace most tracks with their keyboard magic. But don’t be in any doubt as to whose album it is—both singers write and arrange tracks on the album.
There is a constantly interesting variety of themes and musical styles across the album. There’s the sassy “All Up In My Face,” with its strident swagger and brass breakdown, the twangy simplicity of “Adolescent Blues” and the languidly sultry “El Medio.” And it is all held together by the twin glories of Martinez and Moore’s voices that intertwine beautifully throughout.
There is a further link to Philadelphia’s musical heritage in the marriage between Martinez and departed legend Rich Nichols. Nichols was the manager of The Roots, but so much more besides—a lynchpin of excellence that allowed others to take center stage and blossom to their full potential. Though other groups may be better known and more commercially successful, Jazzyfatnastees are indelibly woven into the fabric of the Philadelphia soul scene and this album demonstrates why perfectly.