Myele Manzanza Trio - "Montara" by Bobby Hutcherson
Recorded March 2014 at Studio Faust Records, Prague CZ.

Mark de Clive-Lowe - Keys and effects.
Matt Dal Din - Bass
Myele Manzanza - Drums
#OneTakeWonders

"Montara" - (Bobby Hutcherson)

Taken from 'The Epic', released 4th May 2015 on Brainfeeder.

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'Re Run Home'
Composed, Arranged and Produced by Kamasi Washington. Copyright Control. Recorded at King Size Sound Labs. Engineered by Tony Austin. Mixed by Benjamin Tierney. Mastered by Stephen Marcussen at Marcussen Mastering.

Kamasi Washington - Tenor Saxophone
Ryan Porter - Trombone
Igmar Thomas - Trumpet
Cameron Graves - Piano
Brandon Coleman - Keyboards
Miles Mosley - Acoustic Bass
Stephen "Thundercat" Bruner - Electric Bass
Tony Austin - Drums (Right Side)
Ronald Bruner Jr. - Drums (Left Side)
Leon Mobley - Percussion


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Kamasi Washington - 'Re Run Home'

R & B - Erikah Badu featuring guru - Plenty

The hushed murmur in the light, so soft
A gentle scent of varnish, wood, and paint
I walk the halls, where every clock is off,
A silent feast for eyes that turn faint.

The canvas thick, a textured, heavy prize
It holds the light, it catches every gleam
A lingering taste of sweet surprise,
Lost in a thousand stories, like a dream.

Oh, the awe! This is a place of grace,
Where angels stand, 
Though none can see their face.
I am alive! I am allowed to gaze,
In this stillness that outruns all days.
This is the awe! This is a place of grace.

The soft scuff of a shoe upon the floor,
An echo travels in the high-domed air
I wait for what the next grand door will pour,
A clean aroma from a page of paper.

The window streams with light, a dusty haze
Illuminates the air where worlds converge.
A faint perfume on one who silent prays,
And feels the deepest, inner heart emerge.

Oh, the awe! This is a place of grace,
Where angels stand, 
Though none can see their face.
I am alive! I am allowed to gaze,
In this stillness that outruns all days.
Oh, the awe! This is a place of grace,
Where angels stand, 
Though none can see their face.
I am alive! I am allowed to gaze,
In this stillness that outruns all days.

To be here now, a vessel for the sight,
A soul-receiving in this sacred clime.
The masters built their eternity of light,
And tore their forms from the mere hands of time.

Oh, the awe! This is a place of grace,
Where angels stand, 
Though none can see their face.
I am alive! I am allowed to gaze,
In this stillness that outruns all days.
Oh, the awe! This is a place of grace,
Where angels stand, 
Though none can see their face.
I am alive! I am allowed to gaze,
In this stillness that outruns all days.
This is the awe! This is a place of grace!

All praise to those who made this world more true!
The creators, artists, in their striving great.
Thank you for every color, every hue,
For giving form to what transcended fate!

—
Arrangement and vocals: Volker Redder, Udio, GarageBand
Loops and samples: Volker Redder, GarageBand
Editing and sound design: Volker Redder, Ozone 11, Sound Studio, GarageBand
Lyrics: Volker Redder, translated with the help of Google Translate
Cover design: Volker Redder, Photoshop, FLUXpro

This is the Awe

from 'Antiphon' - https://alfamist.bandcamp.com
Alfa Mist - Keys
Kaya Thomas-Dyke - Bass
Jamie Houghton - Drums

Antiphon

Brian

BADBADNOTGOOD ft. Charlotte Day Wilson- In Your Eyes (NPR Tiny Desk)

Jazz Liberatorz-Ease my mind ft Tre Hardson Fat lip Omni

A piece that will take you far away into the sunniest Cuban beach. Dive into the beautiful "Cariño" by okvsho (@soulofzurich) and Sreya. Taken off their Traphouse Jazz EP.

Read our premiere feature at www.stereofox.com/premiere-okvsho-carino-feat-sreya/

If you enjoyed this, feel free to support with a [Repost] ↻ and a [Heart] ❤︎

Chill Spotify playlist

okvsho - Cariño (feat. Sreya) [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.

R & B - Erikah Badu featuring guru - Plenty

FMDias