Name: BLUES ALLEY by GE-OLOGY featuring YUKIMI NAGANO (LITTLE DRAGON) by GE-OLOGY in delph
Duration: 5 min 23 s
Description: Available HERE: https://ge-ology365.bandcamp.com/

This is so unique. It's rarely duplicated. Goes smoothly with a cool temp night. 

Ge-ology with Yukimi Nagano - magical combo - bliss.

delph

Available HERE: https://ge-ology365.bandcamp.com/

BLUES ALLEY by GE-OLOGY featuring YUKIMI NAGANO (LITTLE DRAGON)

Hade pays tribute to the man. Interviews courtesy of hhv.demag / Philipp Kunze and RBMA / Madrid 2011 (where Hade had the honour to meet Rashad in person). Teklife Forever.

Hade - R A S H A D

(20th J-WAVE GOLDEN WEEK SPECIAL) - AMERICAN EXPRESS presents "RELAXING MOMENTS", with DJ GE-OLOGY (NYC):

01:  "Time Will Tell" - Eric Lau featuring Sarina Leah - Ubiquity Records
02:  "Blues Alley" - GE-OLOGY featuring Yukimi Nagano - exclusive
03:  "Dirty Old Bossa Nova" - Marc Mac presents Visioneers - BBE Records
04:  "Roberta Flack" - Flying Lotus featuring Dolly - Warp Records
05:  "Wrong Way" - Georgia Anne Muldrow - Stones Throw
06:  "Movement" - Sergio Mendes featuring Slum Village - exclusive
07:  "Ghana Emotion" - Omar - Ether Records
08:  "Holiday (DJ Spinna Instrumental Remix)" - Roy Ayers - Rapster Records
09:  "Nelson" - Teddy Rok - Raw Fusion Recordings
10:  "A Tribute To Troy" - J Rawls presents The Liquid Crystal Project - Polar Music
11:  "Soul Vibrations" - Dorothy Ashby - Verve


GE-OLOGY mix (J-WAVE 81.3FM TOKYO)

Wax Poetics and WhoSampled Presents:
Notorious BIG 'Ready to Die' 20th Anniversary Mixtape mixed by Chris Read

For tracklisting, please visit Wax Poetics:

http://www.waxpoetics.com/music/mixtape/wax-poetics-whosampled-present-notorious-big-ready-die-20th-anniversary-mixtape-mixed-chris-read


Notorious BIG 'Ready to Die' 20th Anniversary Mixtape mixed by Chris Read

Brass Fever - Djingi (1975)

Coconut-jam

Day Spa Studios Vol. 1 (Side A)

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: https://www.xlr8r.com/mp3/2017/09/3070-slangin/

[via XLR8R] - Elevate

Download

Download: 30/70 - Slangin

"I love The Expansions their futuristic leanings inject new life into the form. Fresh material!" Ian Merchant (Black Acre)

“Exudes all the qualities I cherish most in music, warmth, integrity and a dedication to the groove… it’s a hard road to travel when you step in the footprints of giants, The Expansions are treading that path with ease and assurance.” Patrick Forge

"Coming off something like the UK's more jazz-funk fueled answer to BBNG, all four quarters of this monstrous unit are on point on this hugely anticipated release. There's got to be a very special long-player in the works, and I for one can't wait to immerse myself in that!" Dom Servini (Wah Wah 45s) 

“The Expansions, very funky! Headhunters/Weather Report inspired, and definitely worth checking out. My new favourite band.” Steve White (Style Council, Paul Weller)
=========
When The Expansions self released their first single in 2013, the laid-back jazz funk of Lavender, it quickly gained strong support from soul and rare-groove aficionados including Kenny Dope, Dom Servini, Patrick Forge and Andy Smith. A run of shows followed and before long, when someone was asking if there was a soul-jazz band around to play with, “The Expansions” was the answer. 

Although this popularity meant a hiatus in releasing music, the band have been constantly busy, playing around Europe with legendary British-Ghanaian soul singer, Andrew Ashong and the exceptional, upcoming talent Connie Constance. 

Murmuration, recorded over three days at Big Noise in Southend, is constructed of single takes, with minimal overdubs, as the band attempt to capture the feeling and energy they create live. 

Debut single Breakthrough introduced the insanely catchy but deeply soulful blend of synths and groove, but here on the album that is explored to the fullest with longer breakdowns and more expansive, experimental solos. Pocket 5 displays the, possibly unexpected, influences of broken beat and almost combative rhythm playing – particularly in the complex guitar and keys breakdown where Koor and O’Keefe layer conflicting time signatures and battle to ride it out to the heavy drum return. 

Cannonball brings warm mellowness that delicately evolves through beats, touching on bossas alongside their fundamental hip-hop sensibilities. But even here there is a raucous zenith before the band sublimely recede into the silence of the a-side ending. 

Colossal album highlight Ivory Mountain is truly an epic. Evoking moments of 4Hero, there is a lightness of groove in the first half of this soulful exploration. But at the halfway point, all restraint is let go as a live string section joins the four quarters of the band for three glorious minutes of soulful disco. Evoking sounds of Quincy Jones, George Benson and Johnny Hammond, all the way through to a beautifully cacophonous finale. 

Dragonfly undoubtedly reflects on the work of Herbie Hancock and is the most direct throwback to the band’s earlier work, which is a welcome marker of how far they have come. A quintessential jazz funker. 

The album closes with the thoughtful and introverted shuffle of Miles Away. In the final eight minutes of Murmuration, The Expansions allow space and time to take precedence, with once-more-restrained peaks and developments. It becomes clear though, that the band cannot resist one last explosive finale, as they rise with screeching synths, strings and dubs for a perfect race to the finish line. 

You can hear the influences of Idris Muhammad, Grover Washington, even parallels with South London peers Yussef Kamaal and Ruby Rushton. But The Expansions have tirelessly worked to create a sound of their own and are very proud, along with label Albert’s Favourites, to finally share it.

Murmuration

The Expansions - Cannonball

'Oooo Lala' (Feat. Kaidi Akinnibi) taken from Blue Lab Beats' debut album 'Xover'.

Pre-order the album/stream the single here: BlueLabBeats.lnk.to/Xover

Follow Blue Lab Beats:
www.bluelabbeats.com
www.facebook.com/BlueLabBeats
www.twitter.com/bluelabbeats
www.instagram.com/bluelab_beats

Oooo Lala(Feat. Kaidi Akinnibi)

Multi-instrumentalist, composer and producer @peter-beardsworth will release his new EP Pour Un Homme Seul via Nottingham-based label Running Circle this September.

Read more @  https://wp.me/p471L0-98z

Pete Beardsworth - To The Place (TS Premiere)

Rhodes - Robert Finucane
Vox - Saara Maria
Trumpet - Nick Bianchini
Drums - Amir Oosman
Bass - Kevin Cameron

Produced by Kevin Cameron & Jonah Christian
Composed by Robert Finucane
Mastered by Cristiano Verardo @ Waterland Studios in Venice, Italy
Artwork by Raphael Cornford

Joomanji - Somethin Out Of Nothin (Feat. Saara Maria)

Fanni Zahar - flute
Szabolcs Bognar - Rhodes, synth
Levente Boros - drums

Mixed at Studio Einz, Budapest
Mastered at Analog Cut Berlin

Crossroads

In today's burgeoning culture of opportunism and ambition, you seldom meet an individual with exceptional abilities and a lengthy history of achievement without it being worn on their sleeve. GE-OLOGY’s sets reflect his diverse taste in music perfectly. Unfiltered mixes filled with records ranging from experimental Jazz, Gospel, Disco, Funk, House, Techno and Hip-Hop, GE-OLOGY does is all with ease. There is no single tread to be found in his sets, other than him taking risks and mixing in curveballs that light up the dance floor. On top of his sublime track selection, the skills of the Baltimore DJ are unparalleled and admired by everybody’s favorite DJs. Thus, the enigmatic virtuoso known as GE-OLOGY is a rare find indeed.

GE-OLOGY's ties with music were close from the start. After learning how to play the trumpet and starting collecting records at age 5, 6 years later GE-OLOGY’s interest in DJing and passion for music started rising to the heights he still beholds today. His interest in Hip-Hop brought him together with Tupac, Talib Kweli and Mos Def and later the Baltimore born, 80's New York City bred Renaissance man took the opportunity to produce for Jill Scott, De La Soul, Yukimi Nagano and Vinia Mojica and Jem. Yet, surprising to most, his dance floor oriented music dates back to the same time.

This masterful music producer, skilled DJ, and equally gifted visual artist has been acclaimed internationally for over two decades, however he remains somewhat of a mystery, letting his music and his mixes speak for themselves. To GE-OLOGY, music is something spiritual which reaches his soul and is inseparable from his being. This ethos is clearly emulated in his music, always digging deeper and weaving diverse music genres that coalesce to inspire soulful movement on the dance floor.

BLUES ALLEY by GE-OLOGY featuring YUKIMI NAGANO (LITTLE DRAGON)

GE-OLOGY

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