Info/Booking : missymgmt@gmail.com
Missy Ness plays the cream of alternative movements that illuminate the crazy nights of Istanbul, Ramallah, Beirut, London, Barbès or Tunis. Dub, Grime, Hip Hop, Trap, Electro or traditional rhythms feed her urban mixs which attest the unstoppable richness of the most exciting global trends and contemporary underground. Missy Ness' exact science of groove is enjoyed across borders in London, Lisbon, in the Arab World and all over France.

Recorded a year after her trip of Palestine, The Palestinian Tape is a journey to the struggling pride of the local musicians. Her latest mixtape, Urban Treasures, brings together the emblematic tracks that form the base of her mixs. They give a perfect example of her exigent talent.

A good DJ makes dance, a very good Dj tells a story. Missy Ness tells the story of today’s world in its geopolitical complexity, highlighting dreams, struggles and hopes, without ever letting the delicious tension necessary to the proper use of dancefloor drop. 

Missy Ness mélange la crème des courants alternatifs qui illuminent les nuits folles d’Istanbul, de Ramallah, de Beyrouth, de Londres, de Barbès ou de Tunis. Dub, Grime, Hip Hop, Trap, Electro ou rythmes traditionnels nourrissent ses mixs urbains qui témoignent avec fluidité de la richesse imparable des tendances les plus excitantes de l’underground mondial et contemporain.

On profite de la science exacte du groove sans frontières de Missy Ness à Londres, Lisbonne, dans le Monde Arabe et un peu partout en France

Conçue un an après son exploration sonore de la Palestine, The Palestinian Tape est une ode à la fierté combative des musiciens de ce pays. La récente Urban Treasures regroupe les morceaux emblématiques qui constituent le socle de ses mixs. Elles donnent un juste exemple de son talent exigeant.

« Un bon DJ fait danser, un très bon Dj raconte une histoire. Missy Ness raconte le monde d’aujourd’hui dans sa complexité géopolitique, soulignant rêves, combats et espoirs, sans jamais laisser retomber la délicieuse tension nécessaire à la bonne utilisation du dancefloor. »

Nominated for a Grammy and the German Record Critics Prize. Get BEJA POWER! Now —> https://ostlp.lnk.to/beja

Hamza El Din -- 1929-2006

Hamza El Din, the celebrated Nubian musician whose rich fusion of Arabic and Nubian sounds entranced audiences worldwide and inspired colleagues like the Grateful Dead and Kronos Quartet, died Monday, May 22nd, at a Berkeley hospital from a gallbladder infection. He was 76.
A longtime Oakland resident, Mr. El Din was a subtle master of the oud, the Arabic precursor of the lute, and the tar, the single-skinned drum that originated in Nubia, the ancient upper Nile land that was largely submerged after the Aswan Dam was built in the 1960s. Mr. El Din sought to preserve his native culture, singing Nubian songs and stories in a warm, reedy voice that merged with his instrumental overtones to create music of quiet intensity and beauty.

"It was mesmerizing. Hypnotic and trancelike,'' said Grateful Dead drummer Mickey Hart. "Hamza taught me about the romancing of the drum. His music was very subtle and multilayered.

"He was a deep listener,'' added Hart, who practiced daily for six years to master the tar Mr. El Din gave him. Sometimes the music they played together was so soft "we could hardly hear ourselves. He'd just suck you into this vortex, and all of a sudden what was quiet seemed loud in its intensity. He suspended time.''

Mr. El Din, who created music for "The Black Stallion" and other films, first played with the Dead in '78 at Egypt's Great Pyramid of Giza and joined the band a few months later at San Francisco's Winterland with a group of Sufi drummers. He was a serenely joyous man whose glowing black face was framed by his flowing white garb and headdress.

"He was sweet, gentle soul,'' said Hart, who recalled that night at Winterland when Mr. El Din had the whole crowd clapping the 12-beat rhythm of the Nubian number "Olin Arageed.'' "If you took the time to visit his sonic universe, he'd welcome you with open arms. It was a joyous experience. Jerry (Garcia) just loved to play with him.''

So did Joan Jeanrenaud, the cellist who first met Mr. El Din in the 1980s when she was a member of the Kronos Quartet. It was in Tokyo, where he was living and teaching at the time. He played his signature composition "Escalay: The Water Wheel'' for the group. "It was a heart-touching experience,'' said Jeanrenaud, who played with Mr. El Din many times, as a member of Kronos -- which featured "Escalay'' on its hit 1992 recording "Pieces of Africa'' -- on Mr. El Din's discs and on her own.

"He put himself into the music so completely that when he played, it would take you away to another place. You went on a journey to this very peaceful, emotional, beautiful place. He was a mentor to many of us.''

Born in Toskha, Nubia, in Egypt, Mr. El Din began playing oud while studying engineering at the University of Cairo. He also studied at the King Fouad Institute of Middle Eastern Music. Learning of plans to build the Aswan Dam, he quit his engineering job in Cairo and set off to preserve Nubian music before the people were dispersed. With his oud, an instrument unknown in Nubia, he traveled from village to village by donkey, gathering songs. He was playing in traditional Arabic style; it wasn't until his music acquired a distinctly Nubian flavor that it caught on.

"One day I felt the oud had a Nubian accent,'' Mr. El Din told The Chronicle in 1995. "I played for people in my village and they were mesmerized. I knew I had something.''

He had studied Western music at the Academy of Santa Celia in Rome, expanding his sense of harmony and musical form. After moving to the United States, he taught at various universities and then settled in the Bay Area. At Mills College, he met the esteemed composer Terry Riley, who learned something about understatement from a comment Mr. El Din made to him about singing softly.

"Through very simple means, Hamza could create a spell on an audience. His music spoke directly to the heart,'' said Riley, whose groundbreaking minimalist music has some of the same hypnotic quality. "Audiences leaned in toward his music," he said. "It wasn't in their faces.''

Riley introduced Mr. El Din to Kronos. "He opened doors for a lot of people, doors between different forms of music,'' said Kronos violinist and founder David Harrington. "We lost a great musician and a great man.''

Mr. El Din is survived by his wife, Nabra, of Oakland. A musical tribute is pending.

Jesse Hamlin, SF Chronicle - Friday, May 26, 2006

A singer-songwriter and electronic music producer from Georgia, Tamada is named after the traditional Georgian table host, or toastmaster: the one who presides over banquets and conducts the evening’s salutes, songs, and stories. His debut album, "Dionysus vs Tamada", revolves around Tamada’s songwriting combined with elements from different electronic sub-genres. Both highly experimental and wildly catchy, his lyrics resemble toasts in ancient Georgian, touching on current social issues and romantic sentiments.

Upon the release of his debut album, Tamada gained the love and support of Georgians of different ages and musical tastes, as well as media coverage from magazines such as Mixmag Turkey, Songlines, Transglobal, Beehype, and more. Tamada is still searching and experimenting, an ongoing process that is unlikely to end.

Following his breakthrough debut, Tamada announced his sophomore album "9 Deadly Sins for Tamada," which was released on July 4th, 2024. He released two singles from the album, "Dao" and "Jinit," on the aesthetic music platform ColoursxStudio. The album continues his exploration of identity, culture, and music with a unique blend of experimental sounds and deeply rooted cultural influences, offering listeners a deeply personal and philosophical experience.

preserving the sonic imprint of sudan | all albums available for download

Collaboration between Alexis Pauline Gumbs and Toshi Reagon.  Marine Mammal Meditations will appear here for one month after release.  To read more Marine Mammal Meditations by Alexis see her book Undrowned: Black Feminist Lessons from Marine Mammals.  To buy the songs visit bandcamp.  All proceeds go towards an ocean of change.

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