Every Tuesday night at Philadelphia’s The Five Spot, the most earnest expressions of poetry and song are popping off. On any given night you can catch an up and coming act like Jazmine Sullivan, or a veteran of the business like Erykah Badu might grace the stage right after a nervous high school student puts it down. It’s intimate, it’s tangible, it’s accessible to new talent – and it’s all thanks to two young ladies that call themselves the Jazzyfatnastees. Tracey Moore and Mercedes Martinez are only two albums deep in the game – the third on its way – but they have twelve years of experience in this topsy turvey music industry. They have seen deals come and go, group member leave, come back and leave again, albums completed and never released… all the usual events that many successful artists can attest to. Regardless, through it all the two young ladies remained focused, blessing us with two distinctly different, yet individually solid albums – Once and Future in 1999 and The Tortoise and The Hare in 2002. Their trials with the music game have generated cohesiveness between the ladies that is rarely seen. Students of life and music, Tracey and Mercedes saw experience and genuine stage presence as their way to establish their position in the fickle music climate. Driven and committed, the ladies didn’t wait for venues to come to them, they created their own venue, one in which they could constently perform at until their stage set was impeccably dope. The Jazzies called their creation the ‘Black Lily Women in Music Series’. They did not horde their creation, but instead fostered its growth by inviting any and all to grace its stage, as long as performers with sincerity and dopeness. Thus, the Black Lily was born. The list of artists who have rolled through the Black Lily music series is thick: Alicia Keys, Jill Scott, Erykah Badu, Macy Gray, Bilal, Musiq, Aaries, Floetry, Nona Hendryx, Toshi Reagon, Jaguar Wright, Kindred, Jazmine Sullivan, Glenn Lewis, Julie Dexter, Common, Mos Def and, of course, The Roots…just to name a few. Boasting talent and experience that precedes the term neo-soul, these ladies produce music that is challenging and intriguing. They promise to continue that tradition on their forthcoming, as yet untitled third album. The Jazzies took a minute from finishing up their third studio album to chat with Allhiphop.com Alternatives about the new record and the importance of the Black Lily music series. AHHA: What’s up ladies, what’s been going on? Mercedes: We’re putting the finishing touches on the new album and getting ready to start working on our new show. AHHA: When you say ‘finishing touches’ how many tracks do you have left or all the songs done? Mercedes: We might do one or two more tracks. AHHA: I understand that you girls are from Cali. What motivated the move to Philly? Mercedes: We had gotten out of our deal with Tommy Boy and we had pretty much worked with all the producers we could in L.A. that were willing to do anything for free, and we didn’t have a manager either so we were kinda doing it on our own. Tracy: We were struggling in L.A., ‘cause we had exhausted every resource that we had. We dealt with different management, different musicians, we were in between a couple of camps and it just wasn’t going anywhere. I was really hard because there was no musical community in L.A. AHHA: What role did the Roots play in your moving? Mercedes: When we met the Roots, we were blown away. And actually Ahmir had heard of us too through Pos from De La Soul, so he was kinda excited to meet us and wanted us to do some stuff on their album, Illadelph HalfLife. They said in exchange for us doing some stuff with them, they would do some stuff for us, so we came out to do that and they just embraced us and were willing to do what a lot of companies and people aren’t willing to do, and that’s develop new talent. Tracy: We were supposed to only be in Philly for two weeks but it ended up being forever [laughs]. And it turned into like seven years. Mercedes: We found a support system in Philly. AHHA: You guys dropped your first album, Once and Future, about a year after Badu’s Baduizm and you guys kinda preceded the whole neo-soul marketing of the music…what do you think of it now, now that the industry has stamped it with a name and it’s kinda… Mercedes: Cheesy [laughs]…Well, there’s a double edge sword to that, it’s cool when people start labeling something a movement cause it means that they’re paying more attention. What’s not cool about it is that you all getting lumped into this one thing. Like now everybody’s gonna be ‘neo-soul’, which means everybody’s stuff is rooted in the 70’s, which is cool, but then there are all these other influences that just aren’t represented by the term neo-soul. So we’re kinda happy that it seems to be on the down slope and everybody can be looked at as individuals. The danger with lumping everybody into the neo-soul thing, is the minute somebody categorizes something it starts to seem corny and they might not give you a chance, ‘cause they’re like ‘oh here’s another neo-soul group’. Tracy: I think people have been scared to take chances in Black music, we don’t trust ourselves enough to believe in something, we can’t ever take a stand, we always have to find something that emulates something else. AHHA: Don’t you think the drive for money and riches in Black music creates a lot of that follow the leader mentality? Tracey: I don’t think the alternative Black sound isn’t one that couldn’t make money, if money was put behind it, it’s just that no one knows it exist…these kids don’t know anything about that, their being sold sex right now, fancy […]