Dimitri From Paris & DJ Rocca present Erodiscotique: I Love New York E.P. 
Released April 15 on Gomma, 4 track vinyl and digital 

"your Gomma release is bananas!!!" Tommie Sunshine

Support from:

Tim Sweeney (WNYU-Beats In Space)
Tommie Sunshine
Larry T
James Hillard (Horse Meat Disco)
Luke Howard (Horse Meat Disco)
Severino (Horse Meat Disco)
Social Disco Club
Danny Krivit
Q-Burns Abstract Message
Rocky (x-press 2)
Manuel Tur
Mike Monday
Michael Reinboth
UnaBombers
RUB N TUG
Mustang
Nathan Wilkins
Stephen / The Magician
Jacques Renault
Raoul Lambert
Pilooski
Harri (Sub-Club)
Nick Chacona
cosmic boogie
Marius Våreid (Full Pupp/Maxi Discs)
Michael Cook (DJ History)
Moodymanc
Martin Brodin
Jonathan Moore (Leftside Wobble)
Tristan da Cunha
Miles Maeda
Lars Behrenroth
Ben Watt (Buzzin' Fly)
Kiko Navarro
Graham Sahara (Ibiza Global Radio)
Milton Jackson
charles spencer
Chris Duckenfield
My Cousin Roy and many more...

The legend strikes back! Dimitri from Paris was the first DJ to pioneer house music in France in the late 80ies and became world famous with his album "Sacrebleu" in 1996. He is one of the godfathers of the "french touch" and a cult figure with dance music connoisseurs. His "Philly" and Disco compilations on BBE, Defected and Salsoul are essential and "A Night At The Playboy Mansion" (Virgin) charted in Mixmag's top 100 of best compilations ever. He remixed Björk, the Cardigans, James Brown, New Order and Quincy Jones! Dimitri teamed up with Italian DJ Rocca and Italian Cult singer Fred Ventura to create this 4 track EP for Gomma. Inspired by late 80ies/early 90ies hiphouse and electroboogie. These tracks are pure dancefloor burners. DJ Rocca (also a part of Ajello, Crimea X, Supersonic Lovers) is one of the key figures in the new Itaian House scene. Not only is he a classically trained flutist featured on "Downtown", he is also remixing for Classic, Rekids, International Feel, Modular, Luke Solomon, Blaze, Isolee, Pete Herbert and many more.

Erodiscotique - DOWNTOWN Snippet

Subterranean Swing is an ambient jazz journey into the heart of the city after midnight. It's an exploration of the space between the hypnotic pulse of a deep house basement club and the smoky, introspective haze of a forgotten jazz lounge. 

Club IR

Musique - Keep on jumpin'

Tenderness - Gotta Keep On Trying (Cream Color Edit)

Mtume - So You Wanna Be A Star 
Jonny Meek Edit

Mtume - So You Wanna Be A Star (Jonny Meek Edit)

Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor. 

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Getting Next To You

Purchase here

Randolph Baker - Getting Next To You [Kalita Records]

Nightlife Unlimited - Let's Do It Again (Secret Sun Night Edit)

Pumpin them out
sample credit to Patrice Rushen - never gonna give you up

We've seen this story in music time and time again; Al Kent - the ambitious producer who spent his life's earnings making his dream project. The project was the Million Dollar Orchestra, an army of musicians whose sole mission was to complete a fully orchestrated Disco LP born in Al's mind and inspired by the lost sounds of classic '70s material much in the vein of the Salsoul Orchestra or MFSB. The MDO LP achieved just that. The music was rich with lush strings, thick brass sections and filled out with arrangements of epic Disco proportions. The LP was magnificent, however much like history has also shown us time and time again; this ambitious project left the producer completely spent, both emotionally and financially.

As we all know any producer worth his salt rises from the ashes and always comes back, usually with a newer stripped down sound and condensed studio budget. This is Al Kent's rise from the ashes that sees him coming at us full throttle even with his bruises and broken bones. This is part of the natural cycle we've seen before in Disco history. Private press Disco records sell for hundreds of dollars on ebay because of the mixture of raw energy that is harnessed in one studio take and the underfunding involved creates a distinct sound on those vinyl platters that can't be replicated. That is unless of course like Al Kent, you record much of your new secretive LP in your bedroom hence using a lot less musicians than you did last time around and then complete the rest of the project in a fully analog studio called The Barn.
 


Al dug out some old tracks he'd been working on previously. Some were half finished, others were little more than ideas, and a few were demos he'd put together for the Million Dollar Orchestra. He got some musicians back together to record a few bits and put these nine new tracks together. It didn't take as long as MDO, but then he didn't record a brass or string section this time. However the tunes do focus on neck snapping drum breaks, heavy boogie bass lines, the bottom heavy aspects of Disco, or as I like to think of it - the underbelly of real independent Disco. It was all mixed at The Barn again, "because that desk and reel to reel tape is just too nice." On the technical side, the difference between digital and analog especially in the right hands is night and day. When it goes through a proper desk where all the effects and all the reverbs etc, are real, it makes a massive difference. It throws up all sorts of challenges which on a computer would be fixed in seconds with some preset. It takes a lot of time and thought to do this using more traditional methods but it's worth it when it works out. 

The finished mixes were bounced to tape - i.e. played back through the mixing desk to a reel to reel machine then recorded back to the computer via valve compressors and other gizmos. That process just pulls everything together and the tape adds a certain something - a warmth that's totally missing in digital recording. 

On the creative side Al thought that an album of all up tempo tracks that were primarily DJ friendly didn't make for a particularly interesting album, except to DJs. He wanted to find a way to make it more interesting for the general public to listen to as well. The LP starts off with a banger and track tempos vary from fired up dancers to mid tempo hustles and down tempo steppers, all the while woven through recordings of lost DJ interviews, commercial advertisements for old Discos, and even revisits the Disco Sucks riot in Chicago's Comiskey ball park over the course of the LP. Al expropriates the Disco Sucks chants and even including it in one of the tunes. The phrase "Disco's Revenge" immediately comes to mind. Don't forget Al got his start as a soul boy and the star tune of this LP may even just be the vocal anthem "Come Back Home" featuring Tyrone Taylor on vocals. This is a welcome addition to Al's discography and brings his sounds full circle.

This independent Disco LP is woven from the mind of a true Disco aficionado (some may even say Disco obsessive) using both real history and new sounds to create a modern disco fantasy for all to enjoy on their headphones or on the dance floors. It is with great honor that I introduce Al Kent's latest burner of a Disco LP: SECRET SOUNDS - So turn up that stereo or put on your best outfit for the discothèque, and get down-get down... 

Love On The Run, New York, August 2009

Come Back Home

This is the Dimitri From Paris official Soundcloud page. The purpose of this page is to act as a showreel for my skill as an artist, producer, remixer or editor. 
Please note that due to the host's strict copyright policies NO DOWNLOADS will be possible unless I have a written authorisation from copyright holders.