melow melow

Finally, I was able to give this sample a run for it's money. The Funky Drummer has been cracked! 

Therapy Chop 126: James Brown  -  Funky Drummer

Now available on 7" vinyl from BSTRD BOOTS on Crosstalk Intl http://www.crosstalkintl.com/node/42267

Tall Black Guy - Funky Drummers In A Space Suit (Slap and Blap Edit)88bpm

Ifan Dafydd - Tree House

Featured on Brownswood Bubblers Five forthcoming on Brownswood Recordings.

Itunes: https://itunes.apple.com/fr/album/gilles-peterson-presents-brownswood/id547304814

Greedbag: http://brownswoodrecordings.greedbag.com/buy/gilles-peterson-presents-brownsw-9/

Bandcamp: http://brownswoodrecordings.bandcamp.com/album/brownswood-bubblers-five

Amazon: http://www.amazon.fr/Brownswood-Bubblers-V-Multi-Artistes/dp/B00375DC00/ref=sr_1_5?ie=UTF8&qid=1370354512&sr=8-5&keywords=brownswood

Trilogy - Brother Don't Cry - Brownswood Bubblers Five

#japanesejazz #sample #typebeat #hiphop #producer

rush hour.mp3

first met you

04.HER HANDS Feat. Allysha Joy - SO.Crates

Hear the track live on #TightSongs hosted by @freshselects https://www.mixcloud.com/FreshSelects/tight-songs-episode-108-july-2nd-2016/

** FREE DOWNLOAD : https://www.toneden.io/cosmic_children/post/marvin **

This Ain't Livin (Marvin Edit)

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

Download Shop
https://djmaruyama.stores.jp/items/5c571e2cc2fc2848c4d24630

title:『FULLMOON LOUNGE 2017』
mixed:DJ MARUYAMA

design:
instagram.com/kenyesco
@kenyesco
送料込み
￥1,000円(代引きは別途)
DMにてお待ちしています。

作品内容
自分の好きなものと合わせる時にぴったりな音楽をレコードのみから選曲しました。
スピリチュアルなJAZZ、心地よいインストゥルメンタル、そして日本語など
オールジャンルで楽しめる作品となっています。
コーヒーを飲み、スイーツを食べる。時には、インセンス(お香)を嗅ぎながら、雑誌や本に集中するなど。
あなたのLOUNGE TIMEに、音楽を。

最後に収録されている曲は
札幌発 ノース・アンダーグラウンド・ドープ・ビーツ。札幌のジャム・バンドCHUVA CHUVAのコンポーザーAtsushi Oikawa主宰
Arts The Foundation よりMidnight Cruising。
https://soundcloud.com/user-168191255

https://www.crossculture-records.com/store/

ご購入について
https://twitter.com/DJMARUYAMA

まで。

「FULLMOON LOUNGE 2017 mix」 sample 13min

"Lost in the Sauce" is the second single from King Garbage's debut LP, Make It Sweat, out 9/22 on Styles Upon Styles. Kicking off the album with a bittersweet vibe, laid-back yet celebratory with a hangdog's sense of perseverance, the track is a lover's inebriated lament for one last jam before heading home and starting it all over again.

King Garbage’s Make It Sweat LP will be available on September 22, 2017 from Styles Upon Styles.

Learn More: bit.ly/SUS025-KG

King Garbage – Lost In The Sauce (SUS025)

@abasemusic delivers groove and sateen sweetness on this eight-minute stunner via @cosmiccompositions.

Read more: http://www.stampthewax.com/2018/11/30/premiere-abase-align-feat-wayne-snow/
Listen on Youtube: http://bit.ly/abase-snow

Listen on Youtube

Àbáse - Align feat Wayne Snow (STW Premiere)

Pre-save the album on Spotify:
https://presave.kud.li/jrf0016

Drift Glass

Afronaut - SEED ENSEMBLE

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.
But before they became Azymuth, Jose Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil.

Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward.Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.
When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).

Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Vinyl / CD / Digi

Azymuth - Manha

'Goodnight' is the first song from my new solo album "SUBS", coming soon. 

First played on BBC by Gilles Peterson at the end of 2012, 'Goodnight" has appeared on both Gilles Peterson's and Anthony Valadez's (KCRW) 'Best of 2012' shows, as well as Jason Bentley's (KCRW Music Director) 'Top 10 Most Anticipated Albums of 2013', lists.

It is available for download at http://philipowusu.bandcamp.com/


Lyrics:

Oh yeah girl you keep me off the ground
with a spin on my head
Hmmm

The skyline leans, tips and turns
I gotta sleep low, take me to my bed
please

Them demons are not easily appeased
My unflinching nerve, i'll hear verse sung of my
chivalry

Oh you can drop my stained trainers right here on the side
Be good to leave one foot on the floor for
me

The evening rose up from a lull to meet it's urgency
a tremor ran down through the company
A few stood down, others fell or saw their saw their chance to leave
and easily men taller and broader than me

I lined the shots and chasers up and lined them up again
in the order served by a legion of serving men
I lit the fumes and vapours and scorched the bristles off my chin
then hurled each down the rank and ravenous den



Written, Arranged and Produced by Philip Owusu 
Philip Owusu: Vocals, Bass, Piano, Synths
Francis Osei: Drums 
Engineering credits: Sink and Woody 'bendingechoes', thanks

Download

Goodnight

"Hey that's no way to say goodbye" Lianne Le Havas featuring Gonzo on piano
http://www.liannelahavas.com

BUY IT

Hey, That's No Way to Say Goodbye - Piano by Chilly Gonzales in Paris

Selfish

Welcome to Brownswood Recordings, the London-based indie label from globe trotting purveyor of all sounds soulful and inspired, Gilles Peterson.

Trilogy - Brother Don't Cry - Brownswood Bubblers Five

Brownswood

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