Vuelo Dubs the Master of Motown, "Mercy Mercy Me (the Ecology)"
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Vuelo Meets Marvin - Lord, Have Mercy, Father, Have Mercy

7" and Digital out May 13, 2014. 

Order the 7" and get instant download of this song : https://bastardjazz.bandcamp.com/album/montreux-sunrise-trans-alpine-express

After the dynamo sophomore release that was 2013's "Curiosities", New Zealand's Lord Echo returns to Brooklyn's Bastard Jazz label, this time producing Kiwi trio The Elder Statesman comprised of twin brothers and Wellington fixtures Christopher (piano) and Daniel (double bass) Yeabsley with Lord Echo himself on percussion and drums. 

On the "A" side, Montreux Sunrise is mellow meander through a laidback early 70s souljazz vibes, while "Trans Alpine Express" picks things up on the B side with a deep, spiritual piano groove, upfront doublebass, and Echo's percussion perfectly in the pocket. 

A timeless gem of a 7" from Bastard Jazz, releasing their own namesake for once!

Buy 7" or Digital

The Elder Statesman - Trans-Alpine Express

Download: mokolours.bandcamp.com/album/texture-like-sun

facebook.com/mokolours
onehandedmusic.com

Taken from 'Texture Like Sun', the follow up to the much-loved self-titled debut by Anglo-Mauritian producer, singer and percussionist Joseph Deenmamode aka Mo Kolours. The Guardian described ‘Mo Kolours’ as “the best album Curtis Mayfield never made with A Tribe Called Quest and Lee Perry”.

Mo Kolours - Pots & Pans Ceremonial Intro

Khruangbin - Mr White - Dupont Underground Sessions

About “The Egyptian Second Line” 

In the spirit of reclaiming that which colonization sought to destroy, I'm releasing the first single from my upcoming album Afro-Caribbean Mixtape at the top of Columbus Day weekend. Like a piece of African patchwork, this track is comprised of a lot of different elements — some old, some new. The main body of this record was constructed from the end vamp of a tune I wrote for Dr. Greg Carr (chair of African-American studies at Howard University) called, “Kimathi.” In fact, throughout the piece, you can hear my turntablist, DJ Lady Fingaz, scratching a sample I chopped from one of his interviews. I constructed a new work by cutting and pasting the best moments of Kevin Hays and I playing keyboards on top of the extended jam, and superimposed that over the groove laid down by bassist Vicente Archer, drummer Joe Dyson, and percussionist Daniel Sadownick. I did this with the help of my mix engineer, Blake Leyh (The Wire, Treme). 

Towards the beginning of the piece, you'll hear a chant from vocalists Yolanda Robinson, Jolynda Phillips, and Christina Machado. It's from a thing my father made up while walking through his childhood neighborhood of 13th Ward New Orleans back in the 1940s, “Na-na ni-ta ho-ho. Left, right. Left, right.” Thirty years later, as an elementary school band teacher at McDonogh #15, he had us chant this whenever we marched in second line parades. It recalls the syllabic prayers of ancient languages used in modern dance songs like Mani Dibango's “Soul Makossa,” of which Michael Jackson borrowed for “Wanna Be Startin' Something.”  


The centerpiece of the single is my recitation of a poem I wrote back in 2006 in the aftermath of the flood commonly referred to as “Katrina.” It's called “The Egyptian Second Line.” The gist of the poem toys with the theory that somehow Africans submitted to slavery in an attempt to become better versions of themselves. After the ladies chirp the hook, I step away from the keyboards and embrace the instrument I'm most known for — the trumpet — and blow a few before we take it out. With this song, I am channeling the energy of the ancestors to help give Africa back to herself in the best way I know how, through the power of music. 


In New Orleans, a “second line” is the procession where we dance in the streets to music played by a brass band to celebrate either life or death. When I think about what an Egyptian second line looks like, I think of the imagery of that photo of Louis Armstrong serenading his wife, Lucille in front of the Sphinx — again Africans giving Africa back to herself.
credits
released October 7, 2016 

Nicholas Payton: trumpet, spoken word, Fender Rhodes, Hammond B-3, Clavinet 

Kevin Hays: Fender Rhodes 

Vicente Archer: acoustic bass 

Joe Dyson: drums 

Daniel Sadownick: percussion 

DJ Lady Fingaz: turntable, sampler 

Yolanda Robinson: background vocals 

Jolynda Phillips: background vocals 

Composed by Nicholas Payton (BMI) 

Produced by Nicholas Payton 

Recorded, mixed, mastered, and designed using the PAYTONEsonic™ programming process 

Recording Engineer: David Stoller 

Assistant Engineer: Emily Eck 

Mixing Engineer: Blake Leyh 

Recorded at The Shed, New Orleans, LA 

Mastering: Michael Fossenkemper, Turtletone Studios, NYC 
turtletonestudio.com 

Art Direction: Nicholas Payton 

Cover Painting: Ayanna Bassiouni 

Cover Design: Ayanna Bassiouni

The Egyptian Second Line

Mandla Mlangeni:Trumpet,Mark Fransman: Tenor saxophone, bass clarinet and accordion Keenan Ahrends: guitar, Nicholas Williams: bass, Clement Benny: drums, Vocals: Zoe Modiga, Yonela Mnana and Vuyo Tshuma Music Composed by Mandla Mlangeni

Voices of our Vision

Umhlangano

'The Idea' (Feat. @nubya-garcia, @sheldon-agwu & Dylan Jones)
Buy or stream now: https://bluelabbeats.lnk.to/TheIdea

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The Idea (Feat. Nubya Garcia, Sheldon Agwu & Dylan Jones)

Multi-instrumentalist, composer and producer @peter-beardsworth will release his new EP Pour Un Homme Seul via Nottingham-based label Running Circle this September.

Read more @  https://wp.me/p471L0-98z

Pete Beardsworth - To The Place (TS Premiere)

* Read more : boltingbits.com/james-wright-trio-pieces-ft-danika-smith-horatio-luna-remix-la-sape/
* Watch on YouTube : youtu.be/MfbCJJWvGfw
* Pre order : Coming soon

Melbourne’s jazz and soul scene has drawn some well-deserved international attention recently, so we’re happy to fan this worthy musical flame by premiering an upcoming digital single and the fourth release of Melburnian label, La Sape. Brisbane’s James Wright Trio has prepared a 12” EP for the label, so, as a warm-up of sorts for that release, La Sape headhunted rising Melbourne musician Horatio Luna to remix some 2017 demos of James Wright Trio’s track, Pieces.

And those with a special affinity with jazz-house blends could do themselves a big favor by sifting through Horatio Luna’s nascent but promising discography. He’s the bassist of jazz-heavyweights, 30/70 (whose music we’ve premiered before), and has, apparently, been honing his production skills.

So it’s no surprise this seven-minute remix exudes musical dynamism. It morphs from an archetypal jazz loop of splashy cymbals and a stuttered chord progression of moody keys to frantic drums and flurried keys of a much lighter, dreamier kind. Yet it all sounds like one, cohesive piece of music. The continual threads throughout the track are the live-recorded drum samples (courtesy of drummer and bandleader, James Wright) and Danika Smith’s captivating, echoed vocals that loop over and over again to blanket the song with an alluring and almost psychedelic veneer.

This song is like a makeshift raft: it’s a little bit rough, made of parts that fit surprisingly well together, and will probably make you float for a few minutes.

Keep an eye out for SAPE004, releasing soon.

Mo Kolours - Pots & Pans Ceremonial Intro

alexchase

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