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mixes

An irregular series of DJ mixes devoted to the world beyond the dancefloor.

From experimental electronics and dark ambient to psychedelic pop and blissed-out indie, the direction of each mix is completely of the artist's choosing. 
In keeping with the series' broad remit, featured selectors will include label owners, journalists, promoters and collectors as well as DJs and producers.

Mix Twelve is from producer, DJ and Circus Company cohort, Dave Aju.

San Francisco Bay Area native Marc Barrite’s alias Dave Aju has become a reliable name for fresh and expressive electronic music over the last decade, combining a deep knowledge and passion for dance music history with a fearless, forward-thinking approach to production and performance. A diverse range of influences, from his jazz upbringing and hip-hop roots to the outer realms of experimental rock and musique concréte can be heard in Aju’s unique sound.

Dave Aju remixes, DJ sets, and live performances are in high demand at labels, clubs, and festivals across the globe. And now, following the success and praise for his debut album Open Wide – created entirely with his mouth, and the acclaimed autobiographical follow-up Heirlooms, Aju is more active than ever further developing his musical universe, including some promising collaborations such as the voice of Guillaume & The Coutu Dumonts’ new band project The Side Effects, new works for Matthew Herbert’s Accidental label and more recently the release of his 3rd studio album, Black Frames.

ABOUT THE MIX

"This is a one-take vinyl mix of a few personal non-club classics that recall beautiful moments and people in my life. From the moment I first saw The Skull Sessions LP artwork in my father's collection as a kid, and being blown away at the first Tortoise show a good friend took me to almost 20 years ago, to landing in Brazil on tour with Arthur Verocai in the headphones, smashing down the 101 South freeway bumping J Dilla in summertime heat, or playing notorious SF bar nights with the Magnificent 7 DJ collective. 

Most of the records were just pulled from storage back home in the Bay Area last month and brought back overseas to Berlin, so in many ways this was like having a nice catch-up session with old friends while introducing them to some new ones I've met more recently. The mix was made in the cave with two Technics 1210 MK2s, a Rane Empath mixer, some pretty nasty back-up needles borrowed from Mike Shannon, and love."

(ARCHIVE) MIX TWELVE / Dave Aju

GP takes over mix duties this week, digging deep into his 7" collection. 

Tracklist at: http://www.gillespetersonworldwide.com/wws-guest-mix/gpww-933-gps-bag-of-7s-mix/

Gilles Peterson's Box Of 7s Mix (GPWW933)

Theory An Pratik
Konpilasyon Slam
Premye Pati
+50948160422

Theory ft Sniper T.P

We present to you the fifth instalment of our monthly mix series mixed at the DS studio in Amsterdam.

#TRACKLIST#

01. Los Amigos Invisibles - El Leon Bailarin (Ray Mang's Circus Dub)
02. Grooveman Spot - Fork Power
03. Nebraska - Aw-rite (Mute Version) 
04. Point G - Too Va Oo
05. Borrowed Identity & Mechanical Soul Brother - A Groove On
06. Lil Mo Yang - Reach (DJ T Edit)
07. Brame & Hamo - Parish Rumors
08. Times Are Ruff - Make Me Higher
09. Kenlou III - What A Sensation (Sensational-Beats)
10. Kirk - Degiorgio - Ripple Effect
11. Garnier - Bang (The Underground Doesn't Stop)
12. Frits Wentink - Glints

Enjoy!

X

Detroit Swindle | March Mix (tracklist added)

Despite hailing from East London, DrumTalk's eponymous EP for Huntleys + Palmers possesses sounds from around the globe; Detroit techno-style synth lines riding over more off-kilter rhythms, drawing comparisons to early Daphni and Four Tet with its use of African influences. This is much the same route he's taken on his killer 30 minute mix for GPWW. Enjoy!

Tracklist at: http://www.gillespetersonworldwide.com/wws-guest-mix/gpww-940-drumtalk/

Tracklist

Drumtalk on Gilles Peterson Worldwide (GPWW940)

Back in 2010, Gilles Peterson recorded a special Brownswood Basement show focusing on the evolution of drum & bass through the 90s and into the 00s. It was by no means a comprehensive history of the genre, but it did represent an excellent snapshot of the tunes that struck a chord with Gilles back then. 100% vinyl (and acetates), Gilles spent the best part of a day rummaging through hundreds of records and picked out around 40 then @alex-patchwork got deep in the mix. Part 1 dropped last week, and here is Part 2 that made up that show - no links, jingles or drops - just the music. We hope you enjoy it.

Brownswood Basement D&B Special // Part 2

Innerzone Orchestra – Bug In The Bassbin (Planet E)
Original Playboys – Come To Me (Dubplate)
Scorpio feat. Leonie – Breakbeat Era (Full Cycle) 
Roni Size – Music Box (Full Cycle) 
Tom & Jerry – Maxi(mum) Style Booty Style – Part III (Shell)
Johnny One-Drop – Travelings (X Project Remix) (Talkin Loud)
Carlito – Carlito’s Way (Creative Source)
Fernanda Porta – Sambassim (DJ Patife Remix) (V Recordings)
UFO – Something Out There (Ray Keith Samba Mix)
Uncut – Midnight (Mist 2003 Mix) (Warner) 
DJ Kane – Let’s Go To Work (Trouble On Vinyl) 
Peshay – Switch (Island Blue) 
Peshay – Miles From Home (Island Blue)
John Coltrane – Like Sonny (Peshay Remix) (Talkin Loud)
Underwolves – Under Your Sky (Origin Unknown Mix) (Island Blue) 
Roni Size – Problems (Dubplate) 
Calibre – Hypnotise (Soul:r) 
Drumagick – Easy Boom (Sambaloco) 
Alex Reece – Feel The Sunshine (4th & Broadway)
Krust – True Stories (Talkin Loud) 

D&B Special Part 2 (2010)

Another B Nice Production for MTC Rocks Entertainment

Tito Rodriguez Bio

Pablo Rodríguez, 4 January 1923, Santurce, San Juan, Puerto Rico, d. 28 February 1973, New York University Hospital, New York, USA. Vocalist, percussionist, band leader, composer, producer, label boss Tito Rodríguez was ‘equally talented as an uptempo improvising sonero (singer in the salsa style) and a romantic singer’. ‘At its peak, the Rodríguez band’s blend of Cuban-orientated numbers and tight, solo-filled instrumentals equalled any of his rivals’ (quotes from The Latin Tinge by John Storm Roberts, 1979). Tito was born to a Cuban mother and Dominican father. At the age of 16 he played maracas and sang second voice with Cuarteto Mayari before relocating to New York to live with his older brother Johnny (b. 10 October 1912, Camuy, Puerto Rico), who had moved there in 1935. Popular vocalist/composer Johnny formed his own trio in 1940; recordings he made with his trio on the Seeco label were collected on Encores De Johnny Rodríguez Y Su Trio and Siempre Favoritas De Johnny Rodríguez Y Su Trio.

Rodríguez’s first job in the city was with Cuarteto Caney. After brief stints with Enric Madriguera and Xavier Cugat (as a singer and bongo player), a year in the US Army was followed by a spell singing with Noro Morales. El Dinamico Tito Rodríguez was a reissue of a Morales collection with Tito. In 1946 Cuban pianist/composer José Curbelo recruited Rodríguez and Tito Puente (on timbales) to his band, which became an ‘incubator’ for the future New York mambo sound. Recordings made by Curbelo’s band during the two years of Tito’s period of tenure were later compiled on Los Reyes Del Mambo. In 1946, while Curbelo’s band were appearing at the China Doll nightclub, Rodríguez met a Japanese American chorus girl called Tobi Kei (b. Takeku Kunimatzu, 23 January 1925, Bellingham, Washington, USA), whom he married a few months later. In February 1947, while he was still with Curbelo, Tito participated in a recording session by Chano Pozo for Gabriel Oller’s SMC label, which included the Machito band, Arsenio Rodríguez and Miguelito Valdés. Curbelo sacked Rodríguez in 1947. The band leader had given him a day off to look after Tobi, who was sick, but someone informed Curbelo that Rodríguez spent the day drinking in a bar. Tito was unemployed for some months.

After leading a short-lived quintet, which he formed in late 1947, Rodríguez organized a trumpet conjunto (group) called the Mambo Devils in mid-1948. With them he recorded eight tunes for SMC, four of them arranged by Puente, who went on to become his musical antagonist. Tito later expanded his outfit to a big band, which he led until 1965. In 1949 he signed to Tico Records, formed in 1948 by two shirt label manufacturers, George Goldner and Art ‘Pancho’ Raymond. Rodríguez had to rename his band the Lobos Del Mambo (Mambo Wolves) as the aggrieved Oller objected to the use of Mambo Devils. He did two stints with the label, between 1949 and 1953 and between 1956 and 1958, during which time he released 78s, six 10-inch volumes of mambos and various 12-inch albums. Material from both these periods was later compiled on Nostalgia (1972) and Uptempo (1978). Tito made no records during 1950 because a wrangle between Goldner and Raymond suspended all recording at Tico. He resumed recording the following year when Goldner took charge of the label. In pursuit of the crossover market, Rodríguez switched to RCA Records in 1953 and his discs on the label sold well. Ritmo Y Melodia, 15 Joyas Tropicales (1990) was the most recent compilation of material culled from his RCA period. On his return to Tico, he issued Wa-Pa-Cha (1956). His final release for them was Señor Tito Rodríguez (1958). In 1960 he signed to United Artists Records on the basis that he would be the only Latin band leader to record for the company. His first album on the label, Live At The Palladium, was a great success. Conflict over top billing at New York’s famous Palladium Ballroom and elsewhere was an aspect of the rivalry that existed between Puente and Rodríguez.

In 1962, Rodríguez had three consecutive massive hits: ‘Vuela La Paloma’ (From West Side Beat), ‘Cuando, Cuando’ (from Back Home In Puerto Rico) and ‘Cara De Payaso’ (from Tito Rodríguez’ Hits), which were all number 1 in Puerto Rico and other South American countries. Rodríguez and his band recorded Back Home In Puerto Rico during a two-week stay on the island in June 1962. His return was marked by official government receptions and heavy media coverage. He tried to find fame in Las Vegas with a revue, but it flopped and he made a heavy financial loss. Tito also recorded as lead singer with La Playa Sextet, whose line-up substituted the electric guitar of their Puerto Rican leader, Payo Alicea, for traditional piano. A compilation of La Playa Sextet cuts with Tito on lead vocals was issued under the title, Tito Dice... Separala Tambien!. In 1963 he issued the Latin jazz Live At Birdland, which featured the jazz musicians Zoot Sims, Clark Terry, Bob Brookmeyer, Al Cohen and Bernie Leighton. The same year Tito had a huge hit of over one-and-a-half million sales with the smoochy string laden bolero ‘Inolvidable’ (Unforgettable), contained on From Tito Rodríguez With Love. The song was written by Cuban band leader/pianist Julio Gutiérrez. He followed this with a series of soft romantic bolero albums, interspersed with uptempo collections like Tito Tito Tito, on which accompanist Israel ‘Cachao’ López’s championing of Latin jam sessions (descargas) was spotlighted on the opening track ‘Descarga Cachao’. The Rodríguez/Puente feud was reflected on some of the recordings Tito made for Musicor Records, such as ‘Avisale A Mi Contrario Que Aqui Estoy Yo’ (Tell My Adversary I’m Here) from Carnival Of The Americas (1964) and the album titleTito No. 1. Cuban vocalist Miguelito Valdés and Machito appealed to the two combatants in the Valdés-penned song ‘Que Pena Me Da’ (How Sorry I Feel) on their 1963 collaboration Reunion. Tito and his band accompanied singer Nelson Pinedo (b. Barranquilla, Colombia) on his Musicor release A Latin In America.

Bad deals and conflict with his colleagues over pay led him to disband and move to Puerto Rico in 1966. Negative attitudes towards ‘Nuyoricans’ (New York Puerto Ricans) initially prevented him from breaking into Puerto Rican television, but he managed to get a show when the parent company of United Artists acquired one of the island’s channels. Guests like Shirley Bassey, Tony Bennett and Sammy Davis Jnr. appeared on his programme. He believed that anti-Nuyorican sentiment was also the reason why he did not receive an award for the show. Feeling rejected by his own people, Tito moved to Coral Gables in Miami, USA. He returned to New York and slayed the capacity audience at the Manhattan Center with the title track of Estoy Como Nunca (I’m As Good As Ever). El Doctor (1968) contained ‘Esa Bomba’, his last rivalry tune aimed at Puente. He was accompanied to Puerto Rico by arranger/saxophonist Ray Santos, who joined his band in 1963. A graduate of New York’s Juilliard School of Music, Santos did stints with Al Santiago’s Chack-a-nunu Boys, Noro Morales (twice), Machito and Tito Puente between the early 50s and 1962. He remained in Puerto Rico to work as a contractor for shows in the major hotels until 1984, when he returned to New York and took up a teaching post at the City College of New York. In 1991, Santos was hired to work on the music for the Hollywood movie adaptation, The Mambo Kings, of the Oscar Hijuelos novel The Mambo Kings Play Songs Of Love (1989).

Rodríguez first displayed signs of illness in 1967 while making one of his last television shows. He decided to found his own TR Records label in 1969 and while waiting for medical test results in the UK, he used British musicians to record the music for his first TR album, Involvidable/Unforgettable. It was confirmed that he had leukaemia but he insisted that the results be kept secret. TR Records, Inc. was launched in August 1971 and his second album on the label, Palladium Memories, sold well. He teamed up with Louie Ramírez for the third release, Algo Nuevo. Tito’s 25th Anniversary Performance, recorded in a nightclub in Perú, was issued a month before his death. The album provoked speculation about whether he had intended it to be a farewell. Rodríguez’s last appearance was with Machito and his band at Madison Square Garden on 2 February 1973. He finally lost the battle with leukaemia and 26 days later, Tito died in Tobi’s arms.


Source: The Encyclopedia of Popular Music by Colin Larkin. Licensed from Muze.

EL REY DE LOS BOLEROS TITO RODRIGUEZ

Shameless Sing-a-long of "Someone Like You" from Adelle

Adelle - Someone Like You (cover song)

Tenth piece from the Ecclesia project.

Production: Eric Wahlforss
Mixing: Mark Bihler
Mastering: Bo Kondren

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Lux Aeterna

Dame tus ojos Marcela Gandara MUSICA CRISTIANA

Written, mixed and produced at 'The Zoo'.

Boddika, Joy Orbison & Pearson Sound - Faint

Produced by Kieran Hebden between 1997 and 2001
Compiled 2012
TEXT021

Also available on vinyl LP soon.

0181

Written by Kieran Hebden, Ben Page and Tom Page
Recorded and mixed by Sam Shepherd on 15th July 2012

From TEXT023
Roseland/Metropolis 12"

RocketNumberNine and Four Tet - Roseland

Pyramid (Atoms For Peace rmx 1)

Record collector / DJ / Broadcaster / Producer / Brownswood Recordings boss / occasional remixer