An Exclusive mix from Brussels very own LeFTo to celebrate his new collaboration with our JAW Family for booking representation in Germany, Switzerland and Austria. Please your ears and get in touch.

Booking representation GAS 
JAW Family 
thomas@jawfamily.com

Light at the horizon mix

In preparation for our next J.A.W on November 9th at Festsaal Kreuzberg in Berlin, the L.A. beat master Justin McNulty aka. Kutmah delivered a well-crafted mixtape, juggling Brazilian influences next to smoked out beats and a whole lot of Funk. 

Save the date and catch him dj’ing alongside our two live acts for the night: Makaya McCraven, who just released his new album ‚In These Times‘ (International Anthem / Blue Note / XL) and Àbáse, who will exclusively premier material from his forthcoming album with his full band present.

More info:
jawfamily.com

Kutmah :: JAW Family mix

As part of a special collaboration between JAW Family and the magazine of magazines WAX Poetics, we are proud to present a special mix by South African Dj and journalist Atiyyah Khan. 

This mix digs into Abdullah Ibrahim's vast contribution to music spanning eight decades, and works as a companion piece to the feature. 

It highlights some of his most impactful compositions and pays particular attention to his solo piano works, earliest and latest releases, Islamic influence in sound and noteworthy collaborations - reflecting throughout his career how closely he has carried the spirit of his home, Cape Town and more broadly, Africa, with him.

Abdullah Ibrahim will give a solo performance at J.A.W | RBB Sendesaal in Berlin on November 29, 2022. 

More info: www.jawfamily.com/next/november29

Tracklist ________

1.	Salaam - Peace - Hamba Kahle - Dollar Brand (African Sketchbook, 1969)
2.	Blues for Hughie - The Jazz Epistles (The Jazz Epistles Verse 1, 1960)
3.	The Moon - Dollar Brand (African Piano, 1969)
4.	Tintinyana - Dollar Brand (Anatomy of a South African Village, 1965)
5.	Black Lightning - Dollar Brand (Black Lightning, 1976)
6.	Kalahari - Dollar Brand (Underground in Africa, 1974) 
7.	Ornette's Cornet - Dollar Brand (Blues for a Hip King, 1988)
8.	Tsakwe/Royal Blue - Abdullah Ibrahim (Mantra Mode, 1991)
9.	Tuang Guru - Abdullah Ibrahim & Ekhaya (The Balance, 2019)
10.	Msunduza - Abdullah Ibrahim (Good News from Africa, 1973)
11.	Sister Rosie - Dollar Brand (The Journey, 1977)
12.	Cape Town District - Abdullah Ibrahim (Dreamtime, 2019)
13.	Adhan and Allah-O-Akbar - Abdullah Ibrahim & Johnny Dyani (Good News from Africa, 1973)
14.	Nisa - Abdullah Ibrahim (Senzo, 2008)
15.	Blue Bolero - Abdullah Ibrahim (Solotude,2020)
16.	Gafsa (Life Is For The Living, Death Is For Us All) - Abdullah Ibrahim (Memories, 1973)
17.	Salaam (Peace) - Dollar Brand + 2 (Peace, 1971)

Shukran Abdullah Mix by Atiyyah Khan

Dissociation 0.02 recording

@scottzacharias closed down Hemlock Nights on Friday evening.

Campout Mix Series: Scott Zacharias

ky0mix2

制作期間：2023.02.28~2024.05.31  

malta:５弦ベース 
Eigan:その他

Eigan x malta - Don't Believe The Hype

One of the truest stylists in DJing.

Although leaving behind only a small repertoire, sadly cut short by an early and unexpected passing, what we have left as evidence of his deep dedication to the pleasures of music is so unique and designed with such charming consistency, that when listened to, can only be Zecky’s selection.


Since the late 2000’s we studied the few mixes we could get our hands on obsessively, to the point where for example: we will never be able to hear Pats and Pat “Tobago” without the expectation of “City Lights” to be mixed in next, courtesy of the 2008 Ebisu Bar Jam recording. To us, Zecky became a sub genre of music — "Zecky style tracks" — something in the realms of what we might consider as Balearic, but still somehow blurring the borders of acceptable Italo-disco, and then coming way out of left field with something contemporary like Simply Red...and somehow it all made perfect sense. A lot of these tracks may seem obvious now, but keep in mind this was mid 2000’s, a lot of these tracks were still not known, discogs was not what it is today: contextually, the calliber of his research was heavy. Imagine living in a time when the idea of what a good DJ should be doing is minimal techno yet you’re a Japanese guy going to Italy to look for completely expired Italo material, one can only imagine the facial expressions and dialogues that might have emerged between Italian record store owners and Zecky throughout his digging travels.


The role that talent plays in the DJ "profession" can sometimes feel fuzzy, especially in the post social media/CDJ era. In our humble opinions however, listening to Zecky’s oeuvre gave this mystery a good amount of inspiring clarity. The aesthetic precision of his selection supported by his simple but flawless mixing created compositions so striking that the mixes became new stories or soundtracks to beautiful movies no one had ever seen before. It really felt like he was making something larger than the music he was using to compose these moments. A common (and disturbing) cliche one often hears when people go about describing a DJ’s work is the idea of being a “story teller”. To us Zecky genuinely put forth this idea on a meaningful level, his stories were some of the nicest of all.

We learned so much from Zecky.


Thank you for the music and happy birthday — Zecky would have been 54 today.


Thank you to Daisuke, his party partner, for making this possible ❤️
_
DJ 界での真のスタイリストの一人。
残念ながら、予期せぬ早すぎる死によって残されたレパートリーはわずかですが、音楽の楽しみに対する彼の深い献身の証拠として残されたものはとてもユニークで、魅力的な一貫性をもってデザインされており、聴くとZeckyのセレクションを感じざるを得ません。
2000 年代後半から私たちは手に入れることができる数少ないミックスを執拗に研究し、例えば、2008 年の恵比寿バージャムのレコーディングのおかげでパットとパットの「Tobago」を聞くと、次に「City Lights」がミックスされることを期待せずにはいられなくなりました。
私たちにとってZecky は音楽のサブジャンル、つまり「Zecky スタイルのトラック」になりました。これは、私たちがバレアリックと考えるものの領域に属しながら、それでも許容できるイタロディスコの境界を曖昧にし、その後 Simply Red のような現代的なものによって予想外の形で登場しました... そしてどういうわけか、すべてが完璧に理にかなったものでした。これらのトラックの多くは今では当たり前に思えるかもしれませんが、これは 2000 年代半ばのことであり、これらのトラックの多くはまだ知られておらず、discogs は今日ほどではありませんでした。文脈上、彼のリサーチの質は高いものでした。優れた DJ が行うべきのことはミニマルテクノであるという考え方がある時代に生きていると想像してください。しかし、あなたは完全に期限切れのイタロの素材を探しにイタリアに行く日本人男性です。彼のレコード探しの旅を通して、イタリアのレコード店のオーナーと Zecky の間に生まれたであろう表情や会話は想像するしかありません。 DJ という「職業」において才能が果たす役割は、特にソーシャル メディアや CDJ の時代以降は、曖昧に感じられることがあります。しかし、私たちのささやかな意見としては、Zecky の作品を聴くとこの謎がかなりはっきりと理解できました。彼の選曲の美的精度と、シンプルでありながら完璧なミキシングが、非常に印象的な作品を生み出し、そのミックスは新しい物語や誰も見たことのない美しい映画のサウンドトラックになりました。彼は、これらの瞬間を作曲するために使用した音楽よりも大きな何かを作っているように感じました。人々が DJ の仕事を説明するときによく耳にする一般的な (そして不快な) 決まり文句は、「ストーリーテラー」であるという考えです。私たちにとって、Zecky はこの考えを本当に意味のあるレベルで提示しており、彼の物語は最も素晴らしいものでした。私たちは Zecky から多くのことを学びました。音楽をありがとう。誕生日おめでとうございます。Zecky は今日 54 歳になっていたはずです。これを実現させてくれたパーティーパートナーの大輔に感謝します❤️

H.A.N.D. MIX 065 : Zecky – Metro 1st

C'mon Vibes

Recorded on July 2001
Mixed By: Izzy a.k.a. Utsumi

Izzy a.k.a. Utsumi - Chillout Set 2001 - Side A

Force Majeure is a mix series bringing inspired and inspiring musical selection from quarantine.

Chicago's own Darryn Jones opens up the series with his mix aptly named 'Pay Attention To The Drummer.'

@dj-darryn
@jawfamily

C'mon Vibes

FUTTAMAN

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