Wednesday, December 29, 2010
Ariya Astrobeat Arkestra by djgilla
Saturday, December 25, 2010
Thursday, December 23, 2010
Wednesday, December 22, 2010
Produced by fellow Chicagoan Jeff Tweedy at Wilco’s studio The Loft, the intimate and textured production showcases the iconic singer at her most powerful and fervent. You Are Not Alone mixes traditional gospel numbers with two new songs written for Mavis by Tweedy, plus her unique interpretations of songs by Pops Staples, Randy Newman, Allen Toussaint, John Fogerty, Rev. Gary Davis and Little Milton.
Tuesday, December 21, 2010
When global bass music matriarch Mary Anne Hobbs recently told The Fader “Flying Lotus, for me, is like the Hendrix of his generation” it seemed more then an audacious opinion, and with the arrival of Cosmogramma, it's revealed as a revelation. In the past couple of years, Flying Lotus has grown into the position of being far more than a producer, he has helped materialize a far-reaching strain of musical ideology that has encompassed not only a global family of like-minded artists, but also a nearly infinite palate of planetary (and interplanetary) sonics.
People speak about ‘important’ albums all the time, but rarely is it so apparent that person behind them is following their own, chosen path – Flying Lotus is one of those precious few artists. When one is presented with an invitation for space travel, it’s not something to pass up.
READ THE FULL WARP ARTICLE HERE AND DOWNLOAD THREE RECENT SONGS FOR FREE ...HERE!!!
Flying Lotus - Galaxy In Janaki by Hypetrak
Monday, December 20, 2010
Orgone dropped Cali Fever, their second album for Ubiquity earlier this year. They have also played a ton of dates including Jazz Fest, the High Sierra Festival, been touring with the Roots, and Greyboy Allstars, and opening for bands as varied as Snoop Dogg, Sharon Jones and Gil Scott-Heron. With new management pushing Orgone out to as many dates as they can handle, the band have been selling out of merch on every road trip - so they decided that it was time for a new album for their newfound and rapidly expanding fanbase. Somehow, amidst their insane schedule they have put together a brand new, exclusive and all-instrumental album for Ubiquity called Killion Vaults.
Latest tracks by Orgone
Sunday, December 19, 2010
Most of the contributions blur the boundaries between reinventions and covers versions, reworks and homages. Much like its source material, this music is by turns serene, invigoratingly noisy or aimed squarely at open-minded dancefloors… yet always intriguing and in some way revelatory: this album pretends to be nothing other than a joyful homage to what has become a true phenomenon of contemporary music - but listen in, and maybe some unlikely musical bloodlines can be traced...
Featured artists include prominent US indie bands such as Animal Collective, Deerhoof, Andrew Bird, Megafaun, Oneida, Portland's AU, New York's Skeletons and Chicago's Allá, unique personalities such as Juana Molina, Jolie Holland and Glenn Kotche (of Wilco), London's mutant pop sensation Micachu & The Shapes, innovative electronic music producers such as Shackleton, Optimo and Bass Clef from the UK, and Germany's Burnt Friedman and Mark Ernestus (of Basic Channel and Maurizio fame), Crammed's young pan-European band Lonely Drifter Karen, as well as a rare appearance by the label's seminal band Aksak Maboul and many more. The Congotronics bands paid tribute to are primarily Konono N°1 and Kasai Allstars, but also Sobanza Mimanisa, Kisanzi Congo, and Kasai Allstars offshoots Masanka Sankayi and Basokin.
The album booklet includes quotes and statements by all contributors, who explain what drew them to Congotronics, and/or how they approached their track.
Wednesday, December 15, 2010
Saturday, December 11, 2010
There’s a lot audacious about Ya- Ka-May, but New Orleans is long overdue for an audacious album. In this case, Galactic has made one that challenges many of the city’s musical conventions while showing a profound affection and belief in the fundamental impulses behind them. That it’s not just bold but engaging makes it doubly successful.
Wednesday, December 8, 2010
Havana Cultura – the global arts initiative by Havana Club that champions the work of some of Havana’s most exciting yet unseen creative talent - is presenting the latest chapter in Havana Cultura music releases. Under the creative directorship of Gilles Peterson, the first in a series of Havana Cultura Sessions highlights the vocal talents of Danay Suarez, backed by the masterful Roberto Fonseca and the elite Havana Cultura band.
Taking up residence once more in Havana’s legendary EGREM studios for five days in May 2010 Gilles Peterson, Roberto Fonseca and their handpicked Havana Cultura band came together to practice for their European tour. The rehearsals were intense leading an excited Gilles to spontaneously book an extra day in the studio to record a handful of songs with Danay.
Danay possesses one of those rare voices which can shift - glide - through many vocal identities: as a soul and R&B singer and a cocktail jazz expressionist as well as a skilful improviser that makes her an effortless, articulate rapper. Her words flow fast, rhythmic and unpredictable and always finding or creating spaces that emphasize the emotional elements.
Danay Suarez – Havana Cultura Sessions is the latest album in a series of cultural projects from Havana Cultura celebrating fresh talent across all artistic disciplines. Since its inception in 2007, the initiative has provided an important platform for creative expression to aspiring film producers, visual artists, dancers and musicians. Havana-cultura.com showcases the remarkable profiles and work of such artists whose creativity would otherwise remain indefinitely obscured.
Submotion Orchestra is a live 8-piece project from Leeds, incorporating deep bass-driven grooves and dense textures in their progressive live dubstep sound.
Leaving crowds inspired and often open-mouthed in their wake, this is not live dubstep to be taken lightly. The members have all cut their teeth on live dub, funk, reggae, jazz and even grime bands previously, so are no strangers to complex rhythm or rootical bass. Having been formed in early 2009 as an experimental live project, the band have quickly established themselves as one of the most exciting up-and-coming acts this year.
Expect to hear blissful tones and weighty sub-bass, interwoven with tight rhythmic intensity from this incredibly talented outfit.Finest Hour (Planas Remix) by Submotion Orchestra by Ranking Records
Chaweewan Dumnern - Sao Lam Plearn
Wednesday, December 1, 2010
When one thinks of Afrobeat, it’s the mug of Nigeria’s Fela Kuti and his 1,000 watt smile that comes to mind. After all, he is the face of Afrobeat, what James Brown is to American funk. But in Kuti’s neighboring country was a composer, arranger, producer and guitarist who, unbeknownst to most, is considered almost as important to the genre. Surprisingly, the over-shadowed Ebo Taylor actually studied with Kuti from 1962 to 1965, at the Eric Guilder School of Music in London. Soon after, Taylor became a fixture in Ghana’s music scene, helping define the West African sound, studio session by studio session.
Ebo Taylor - Love And Death
Sunday, November 28, 2010
Ikebe Shakedown - Hard Steppin'
Tuesday, November 23, 2010
Having spearheaded the resurgence in deep, gritty funk and soul for 10 years, as well as working with Eddie Bo, Marva Whitney, Sharon Jones, Billy Wooten, and Sir Joe Quarterman amongst a list of many musical legends, and selling out tours of Europe and the Far East as well as a string of authentically rootsy albums and singles, this is the album where all that experience and hard work reaches its deeply soulful zenith!
The Shakedown marks a step change in the groups sound and style, featuring more vocal led songs, a wider musical horizon, the vocals of regular Speedometer vocalist Ria Currie and very special guests Myles Sanko, Natasha Watts, The Stilhouettes and former James Brown singer, Martha High!
The Shakedown is without doubt the strongest, most varied & accomplished Speedometer album to date, brimming with soul, beautiful songs and that unrelenting, deep groove that Leigh Gracie and the gang do so well!
LISTEN TO THE SHAKEDOWN IN ITS ENTIRETY RIGHT HERE:
Monday, November 22, 2010
After two releases on the Etage Noir label, one in collaboration with Loopa Scava and his album ‘The Big Fall’, Cayetano is now recognised in the world of electronic music, standing shoulder to shoulder with his artist influences such as Bonobo, Peder and Quantic.
Once more Cayetano continues creating music in his own unique way, a blend of dubby, jazzy, latin and trip hop sounds which sees our protagonist surrounded once again by his long time associates George Haritos playing trombone, Renos Psarras on trumpets, Jimmy Joanne on bass, Stephan Knuf on drums, DJ Booker on turntables, Akis Katsoupakis on Rhodes keyboards and finally the voice of Valia Athanasiadou.
An academic musician but most of all a modern and conscious artist, Cayetano is not afraid to use the latest technology in order to create musical compositions based on his influences and life experiences. Today, sampling faces glorious days, so the proper use of it can be a great proof of the value and respect an artist pays towards the art he serves. It’s a way to bring together sounds from different backgrounds and cultures, creating a landmark musical result of today's world.
’Back Home’ provides ten different musical stories that Cayetano brings together as one unique whole. From the sparkling shimmer of ‘Glassleaves’ to the scratched up funk of ‘K Blues’ and the dub inflected ‘Day After Day’ to the otherworldly waltz of the closing ‘Left My Girl For A Bizarre Sextet’, Cayetano’s new musical journey is full of subtle twists and turns.
"Like a boat trip across the Aegan sea... every song is like a precious little island with an unmistakable original flavour" -Michael Mayer
Wednesday, November 17, 2010
Friday, November 12, 2010
Bajka, the singer/songwriter with that unique voice - the one you recognize immediately and will never forget... releases her first solo album "Bajka in Wonderland" in 2010 on ChinChin Records. Her name means fairytale in slavic, she was born in India, grew up in South Africa and has been releasing music for almost 15 years, doing feature colabs for artists like Bonobo, Radio Citizen, Beanfield, etc.. Fortunately you can now listen to a remarkable and outstanding musical vision, an album with eleven tracks! This was made possible through the coóperation with the producer and composer team Daniel Regenberg and Jerker Kluge, both profiled Jazz musicians with a long list of projects and recordings of their own, with the capacity to organise a production of such an outstanding project.
"Ιn Wonderland" has been released on ChinChin Records as a remix album called "Escape from Wonderland" at September 17, 2010, including 14 fantastic remixes from: Bahama Soul Club / Basement Freaks / Bebo Best / Club des Belugas / Dr. Rubberfunk / Fab Samperi / Jojo Effect / Minimatic / MopMop / Renegades of Jazz / Smoove / Solo Moderna / Tim McVicar / Valique
Wednesday, November 10, 2010
This is the third volume celebrating the Acid Jazz label's 21st anniversary, and this BGP focus on the label's jazz heritage. This compilation, by Dean Rudland, covers all the bases from hard bop through organ grooves, latin rhythms and fast fusion.
This CD gives an alternative view of London's acid jazz club scene, showing where many of the label's bigger acts' influences come from. Artists such as the James Taylor Quartet, the Brand New Heavies and the New Jersey Kings show their love of the Mizell Brothers' fusion. Whilst future TV star Max Beesley, Simon Bartholomew and the obscure but brilliant Ohm take a turn at a more jazz-funk groove.
Others such as the Bukkyleo Quintet and the outstanding Ed Jones Quartet play it in a more acoustic mode. In this they are joined by Snowboy with his Latin take on John Coltrane's `Mr PC'. Looking at jazz from outside these points of view are the Emperors New Clothes with an almost free `Eyes That Burn' and the Filthy Six, Acid Jazz's newest signing, who explore a late 60s early 70s Donald Byrd sound.
The in-depth sleeve notes explain how jazz became so important to a generation of London musicians on the UK soul scene and how they imbued it with a unique British flavour. Also how a Swedish piano teacher spawned a generation of UK organ groups.
Tuesday, November 9, 2010
The sounds of Africa have taken multi-instrumentalist Chico Mann—aka Marcos García—all over the world. So it’s fitting that on Analog Drift, his second album and first for Wax Poetics Records, he’s returning the favor. Over the course of twelve thumping, impossibly soulful songs, including a cover of Talking Heads’ “Once in a Lifetime,” Chico Mann introduces the rhythms and guitarisms of Afrobeat to the music of Cuba, the Latin freestyle flavors of 1980s New York and Miami, and the synth-heavy electro beats of dance floors across the globe.
“I’ve spent years learning to speak Afrobeat, albeit with a Cuban accent,” García says. “What I do is engage Afrobeat in conversation with Afro-Cuban funk, while electro and freestyle set the stage. I’m employing several dialects to make a larger musical statement. They’re all branches of the same tree.”
And that’s exactly what Analog Drift is: a statement. It’s saying something. At a time when most artists are blowing smoke in your face, García is blowing soul in your face. Not to mention truth and feeling. Songs like the searching “Mentirosos” and the reflective “Hay Que Correr” are guaranteed to get right to the heart of your matter; plus, synthy rumpshakers like “Anima” and “All That Is Rising” have been proven to get you movin’. So García’s music is good for your mind and behind. And it’s always real. The total package.
Monday, November 8, 2010
John legend and the Roots - Hard Times
Sunday, November 7, 2010
The passion to push boundaries and to look for new innovative styles and sounds within jazz music brought four bands together. Monsieur Dubois, State of Monc, The Jazzinvaders and Flowriders joined forces in the Dutch Nu-Jazz Movement to explore and expand Dutch Nu-Jazz. At the dawn of a new decade they proudly present us the latest, roaring result of their Movement, the second compilation album 'What's Nu?'.
The CD 'What's Nu' is a true milestone in the history of the Dutch Nu-Jazz Movement. Since its foundation in 2006, the Dutch Nu-Jazz Movement has been rooted in solid grounds. These connected bands stir up discussion and confusion about the definition of today's (nu-)jazz. With respect for the traditional jazz and a great sense of tomorrows sound, they win the hearts and minds of thousands by playing the best Dutch Nu-Jazz music the world can groove on.
From Germany and the UK to Morocco and the Ukraine: the Dutch Nu-Jazz Movement rolls though Europe and beyond to get people off their feet and enjoy their new beats and sounds.
Saturday, November 6, 2010
Bahama Soul Club feat. Xantoné Blacq "Open Wide" by bahamasoulclub
Review by Craig Charles, June 2010 :
But then again, the main man behind The Bahamas, Oliver Belz, has a very fine pedigree having been one of the prime movers behind the wonderful JuJu Orchestra.
His debut album as The Bahama Soul Club, “Rhythm Is What Makes Jazz Jazz” was hardly ever off the show, and was one of my albums of the year in 2008.
But the big question is after making such a mark on his debut, can he deliver on that difficult second album.
All the signs are there as he has retained some of the vocalists from the previous album such as Berlin resident Pat Appleton and Bella Wagner from just over the border in Austria, and to augment that very solid base he has also drafted in the combined talents of two of the finest vocalists in the UK, Xantoné Blacq, and one of my personal favourites John Turrell who was recently voted on my show as lead male vocalist for the UK Fantasy Funk Band.
From the start, this album slips into gear with the superb jazz cut that is “King’s Wig” to the last knockout punch of the dancefloor monster “Nassau Jam” I can tell that Oliver has lost none of that Midas touch. There is something quite unique and mesmerising about the sound of The Bahama Soul Club, it is a gumbo in the best sense of the word, throwing in Bossa, Soul, Afro-Latin, and Jazz all into the pot and coming up with a sound that is both immediate, timeless, and above all has the sun shining through every single tune.
The question I asked earlier was, does he deliver on the difficult second album and the answer has to be a resounding “YES!”
Make a friend of this album as, believe me, it will be friend for life, it is that good!
BSC My Space page - BSC feat John Turrell 'Serious' on YouTube
Thursday, November 4, 2010
The album is already in huge demand with repeated radio play of upfront tracks by tastemakers including Benji B (1Xtra), Gilles Peterson (Radio 1), Mary Anne Hobbs (Radio 1), Alex Nut (Rinse FM), and a recent interview and guest mix for Ras Kwame on Radio 1. The album track “Further Away” feat Tawiah was voted No.3 track of the year in the 2010 Gilles Peterson Worldwide Awards, despite not being out yet; and another, “Lost On Tenori St”, was included in Martyn’s recent ‘Fabric 50’ mix.Madds' Tru Thoughts page - Zed Bias on MySpace - 'Special' feat. Omar (Atjazz Remix)
There was little in Bonobo’s first two albums – 2000’s Animal Magic and 2003’s Dial ‘M’ For Monkey – to suggest that Simon Green could ever craft anything as grand, expansive and accomplished as Black Sands.
Back then his moniker could almost have referred to his tendency to merely ape other trip hop producers without adding anything substantially individual himself. 2006’s Days to Come might have scooped Gilles Peterson’s Radio 1 listener’s prize for Album of the Year, but even then few would have predicted that four years later Green would have become a one-man Cinematic Orchestra, responsible for an album that can stand alongside Every Day or Ma Fleur as a classic of its genre.
For it’s not just a record label that Bonobo shares with Cinematic Orchestra these days. Like Jason Swinscoe, Green has progressed from predominantly sample-based production to more live instrumentation, although Green plays most instruments himself rather than relying on an extended family of musicians. But, more to the point, Green has become equally adept at mastering mysterious and multi-layered atmospheres.But although the parallels with Bonobo’s peers are obvious, his fourth album doesn’t just sit in their shadows. Rather, it’s an inspiring example of how, free of pressure and publicity, he has blossomed into something beautiful at his own pace.