Blues/Jazzy

Jazz

The debut EP, available to download from 7th April 2014. 

More at www.facebook.com/haileytuckmusic 

Hailey Tuck

chill

keep calm

El Burrero

About a couple who are in love, but the young woman’s parents don’t want them to be together. The young man has lots of questions and worries, and the young women assures him that one day it will all work out and they will be together.&#13;
&#13;


Album available From iTunes: https://itunes.apple.com/us/album/tamala/id722299420
Bandcamp: http://amiwassidje.bandcamp.com
Amazon: http://www.amazon.com/dp/B00FISF1T4
Deezer: http://www.deezer.com/en/album/6986109
eMusic: http://www.emusic.com/album/art-melody/wogdog-blues/13939852/



Aminata Wassidjé Traoré is a rising voice in Mali. Tamala is her debut album, recorded in Bamako between 2000 and 2008. Born in Diré, near the fabled city of Timbuktu, Ami was raised within northern Mali's rich cultural brew. From an Ethnic Songhai family, Ami started singing as a young child. Her music, like the environment that surrounded her growing up in Diré, near Timbuktu, incorporates various cultures and traditions. On Tamala, an album she self produced with the help of artist Mamadou Kelly (http://www.rockpaperscissors.biz/index.cfm/fuseaction/current.bio/project_id/721.cfm) and arranger Baba Simaga, she sings in Songhai and Tamasheq.

While northern Mali still suffers the repercussions of religious and ethnic warfare, Tamala sends a message of reconciliation and inclusion. Ami believes people can work together for a solution, she sees the vast potential of Mali's diverse north. Moving to the Southern capital of Bamako not only enabled her to develop as a musician, backing up well known artists like Baba Salah (http://www.npr.org/2013/03/21/174416220/baba-salah-a-malian-musician-speaks-to-his-nations-displaced), Khaira Arby (http://www.youtube.com/watch?v=1UDecjaj4ek) and Afel Bocoum (https://en.wikipedia.org/wiki/Afel_Bocoum), it also enhanced her vision of a diverse and connected Mali.

Tamala is considered a modern-traditional album in Mali: it is rooted in northern folk musical traditions, but arranged in a contemporary way. it was conceived locally, for a Malian audience, and shines in its subtle simplicity. This album is also the first collaboration between Paul Chandler's Studio Mali (http://www.studiomali.com) and Akwaaba Music.

Paul set up Studio Mali as a label and artist management company, and has worked with legendary musicians such as Afel Bocoum, Vieux Farka (https://en.wikipedia.org/wiki/Vieux_Farka_Tour%C3%A9), Baba Salah, Andra Kouyaté (http://www.afropop.org/wp/3319/3319/), Samba Touré (http://www.samba-toure.com/) and most recently on Mamadou Kelly's album Adibar. Paul also founded i4africa.org (http://i4africa.org/), an NGO whose goal is to preserve traditional music, and provide training in the arts to underprivileged and at-risk youth in Mali.

Aminata Wassidjé Traoré - "Un Jour"

Lisbonne first single on Wonderfulsound feat. Laetitia Sadier

Tout Finit à Saint-Tropez

Nina Simone - You Don'T Know What Love Is

Download Backyard Animals on iTunes http://bgbe.at/KJeJvu

Follow Max Elto:

Website: maxelto.com
Facebook: facebook.com/maxeltoofficial 
Twitter: twitter.com/maxeltoofficial
Youtube: youtube.com/MaxEltoOfficial

Backyard Animals

Parra for Cuva - Luhya - out on Délicieuse Records.
Stream & Order the vinyl 12" ☞ smarturl.it/Luhya

@parraforcuva
@d-licieusemusique-records

Stream / Vinyl

Parra for Cuva - The Fifth Hand (Original Mix)

The Sun II. The new single from our debut album, Sleep in the Water. 

Our new EP 'THE SUN II' is out now. 
1. The Sun II 
2. East Of Here
3. The Sun II (Just Kiddin Remix) 
4. Fall Underneath (Hayden James Remix)
5. Hung On Tight (Fractures Remix)
6. Fall Underneath (Kilter Remix)
Buy: https://itunes.apple.com/au/album/the-sun-ii-ep/id774327963

THE SUN II

Touch my mouth
Help me sleep
Embrace my lungs
Your breath I keep

Share your warmth 
Knock our teeth
My shoulder blade
You lay your cheek

Scratch my arm
Kiss your crown and hold
Your head to mine
And feel you breathe

Bastille
I could have been
I could have been you
Bastille
You couldn't control
You couldn't control the blue

You'd lost your trust
When you were young
But I'll hold you here
We'll be a Sun

Please kiss me
I feel empty
Without you love
I'm not ready
  
Scratch my arm
Kiss my crown and hold
Your head to mine
To feel you breathe

Bastille
I could have been
I could have been you
Bastille
You couldn't control
You couldn't control the blue 

The Sun II

The Sun II (Radio Mix)

Sunday Morning

From the upcoming EP 'Hailey Tuck' due on 7th April 2014...

Join in at www.facebook.com/HaileyTuckMusic

My Funny Valentine

Don't Think Twice

Tell Him No

YO, here's our new track, it's called GOOEY. Download on iTunes here: http://po.st/GooeyitunesSC

Follow Glass Animals online

Site: http://po.st/glassanimalsweb
Youtube: http://po.st/GlassAnimalsYT 
Soundcloud: http://po.st/GlassAnimalsSC 
Facebook: http://po.st/GlassAnimalsFB 
Twitter: http://po.st/GlassAnimalsTW  
Instagram: http://po.st/GlassAnimalsINS 


Gooey

Download on iTunes

Sucker

Release date : June 20th, 2014
Get the album here: http://glitterbeat.com/glitterbeat_store/

Noura Mint Seymali, from Mauritania, comes from an ancient family of griots, and she has a commanding, wide-open voice…the pentatonic melodies of her songs had something in common with the blues. But her fusion was particular and selective…She only meets American music on her own terms.
+++New York Times, January 13th, 2014

She cleverly merges her powerful voice with the twangy guitar sound created by her husband…this Mauritanian music is an excellent example of roots rocketed into the 21st century.
+++Songlines, April/May 2014

TZENNI in Hassaniya means to circulate, to spin, to turn. It’s the name for a whirling dance performed to the music of Moorish griots, often under khaima tents thrown up for street gatherings in the sandy quartiers of Nouakchott and out across the wide deserts of Mauritania. Tzenni is an orbit, the movement of the earth around the sun, the daily progression of light and dark, lunar cycles, tides and winds. Tzenni, the dance, comes forth as the cyclical trajectory of a Moorish musical gathering builds to a fervorous pitch. It’s a word whose expansive valence reminds us how only the most basic reality can create such romantic metaphor.

Produced and recorded across an appropriately dizzying array of locations and social contexts (New York City, Dakar, Nouakchott) the album Tzenni is a contemporary articulation of Moorish griot music from Mauritania—an artform that has been evolving and gaining momentum for centuries—as voiced by Noura Mint Seymali, an artist profoundly steeped in its history and rigorously devoted to its global resonance.

Noura Mint Seymali comes from a long line of visionary musicians. Seymali Ould Ahmed Vall, her father, was a scholar-artist instrumental in opening Mauritanian music to the world; devising the first system for Moorish melodic notation, adapting music for the national anthem, and composing works popularized by his wife (Noura’s step-mother), the great Dimi Mint Abba. From her precocious beginnings as a teenaged backing vocalist with Dimi Mint Abba, Noura Mint Seymali now drives the legacy forward, re-calibrating Moorish music for our contemporary moment. Her band’s arrangements, rigor, and experimental spirit may be understood as a continuation of the tradition of Seymali, Dimi, her grandmother Mounina, and countless others.

Together with her husband, heroic guitarist Jeiche Ould Chighaly, who brings the force of yet another powerful branch of Moorish musical lineage, the band on this recording was conceived as a distillation of essential elements, the “azawan” and the backbeat. The ardine & tidinit (or guitar) together are the “azawan,” the leading ensemble of Moorish traditional music, while bass & drums, played here by Ousmane Touré and Matthew Tinari, fortify it with genre transcendent funk and a basic pop urgency. Tzenni re-visits several classics of the Moorish repertoire, but does so within a novel formation, conversant in the pop idiom, and with Noura Mint Seymali’s personal history interwoven throughout. The practice of aligning music to a given socio-historical and personal moment is an essential charge of the iggawen, or griot, and, we believe, of artists everywhere.

As we seek to convey another turn in the Mauritanian musical dialectic, Tzenni is ultimately an album about shape shifting, faith, and stability found through instability. It’s about taking the positive with the negative in a world that can only ever keep turning at break neck speed. We invite you to spin with us, to dance with us, through the music on this recording!

--Matthew Tinari: producer/drummer for Noura Mint Seymali

www.glitterbeat.com
www.facebook.com/Glitterbeat
www.twitter.com/Glitterbeat_Rec

www.nouramintseymali.com/
www.facebook.com/nouramintseymali.music
www.soundcloud.com/nouramintseymali

Noura Mint Seymali - Tzenni

In celebration of Horace Silver's life in music, Gilles Peterson puts together a mix of his finest work, spanning a 30 year career on Blue Note Recordings. 

A master of the keys and the sax, Horace played alongside Miles Davis on a number of legendary albums, and he passed away June 18th, 2014.  

Horace Silver - Senor Blues (Vocal Version)
Horace Silver - Doin’ The Thing Intro
The Horace Silver Quintet - The Baghdad Blues
The Horace Silver Quintet - Let’s Get To The Nitty Gritty
The Horace Silver Quintet - Song For My Father
Horace Silver - The Sophisticated Hippie
The Horace Silver Quintet - That Healin' Feelin’
Horace Silver - In Pursuit Of The 27th Man
Horace Silver - Time And Effort
The Horace Silver Quintet & J.J. Johnson - The Cape Verdean Blues
The Horace Silver Quintet -  Nica’s Dream
Horace Silver - Psychedelic Sally
Horace Silver - Togetherness
Horace Silver - The Gods Of The Yoruba
The Horace Silver Quintet - Ah! So
Horace Silver - I’ve Had A Little Talk
Horace Silver - The Outlaw
The Horace Silver Quintet - Tokyo Blues
The Horace Silver Quintet - The Jody Grind
Horace Silver - Ecaroh



Horace Silver's Blue Note Years Mix

Official audio for the Flume Re-work of Chet Faker 'Gold'

Get it here: http://smarturl.it/Chet_Gold
Get Chet's debut album here: http://smarturl.it/BuiltOnGlass

@flume
www.facebook.com/flumemusic
www.flumemusic.com
@ChetFaker
www.facebook.com/chetfaker
www.chetfaker.com

Get it!

Chet Faker - Gold (Flume Re-work)

Taken from the upcoming Glitterbeat Records album:
VARIOUS ARTISTS: DUBS & VERSIONS I
Release date: October 17th 2014

Dennis Bovell: Aye Go Mila Dubwize. One of the most revered dub and reggae producers, Dennis has been making his mark on contemporary music for over 40 years. Born in Barbados, Bovell moved to south London at the age of 12 and became deeply immersed in the emerging roots, lovers rock and soundsystem cultures. He spearheaded seminal British reggae acts like Linton Kwesi Johnson and Matumbi and was also notably involved in the late 70’s post-punk scene as producer for The Slits, The Pop Group and Orange Juice. In 2012, Dennis released the dub collection Mek It Run.

Samba Toure: Aye Go Mila (Album: “Albala” / May 2013). Samba is a legend of northern Malian music. As a member of the touring ensembles for both Ali Farka Toure and Toumani Diabate, Samba gained musical experience and perspective that he brought together famously on his acclaimed third album Albala. A meditation on Mali’s humanitarian and political crisis, Folk Roots wrote that Albala “is a record full of passion, eloquence and incredible music.”


It can’t be much of a surprise that Glitterbeat would eventually assemble a collection of dubs and versions of songs by our artists. Our very first release in the spring of 2013 was a 500-piece limited edition 12” where two tracks from the Malian Afro-rock newcomer Ben Zabo were given an inspired dub treatment by legendary Berlin producer Mark Ernestus (Rhythm & Sound, Jeri Jeri). Those two tracks are included here as well as eight other reinterpretations from our growing catalog.

Having had the privilege of working with each of the Malian artists remixed for this album (Tamikrest, Ben Zabo, Samba Toure, Aminata Wassidje Traore & Lobi Traore) we can safely say that this project will not seem as strange to them as one might assume. In contemporary Malian music, reggae plays a fundamental role and nearly every electric based band we have encountered in Bamako and beyond incorporates at least some reggae elements into their sound. Also the rapid, ubiquitous rise of Hip Hop in Mali has brought samples, remixes and programming into the direct orbit of the country’s urban musicians. And in the dusty, open lots of Bamako’s sprawling neighborhoods, the music that one most frequently encounters being performed is Balani, a sort of Malian variant of dancehall, where laptop electronic beats and declamatory “toasting” are combined with samples of balafons and other traditional instruments. Balani is by definition a remix-generated music.

Bringing together the different mixers with the songs of the original artists was an exciting process. Our choices of who to invite rose intuitively out our record collections and our personal networks and almost every mixer that we approached thankfully accepted the invitation. 

Mark Ernestus was asked to fashion our original 12” not only because of our deep love for his work with the abstract dub duo Rhythm & Sound but also because of his albums in collaboration with Jeri Jeri, the Senegalese sabar group. Dubmaster Dennis Bovell’s work with Linton Kwesi Johnson, The Pop Group and Orange Juice has been a big part of our personal soundtracks for more than thirty years. His recent dub album, Mek It Run, is a killer. We were introduced to the South African Nozinja via his infectious Shangaan Electro productions. Honest Jons released an excellent remix album (Shangaan Shake) of his tracks and we thought it fitting that he join our remix dialogue. We stumbled upon the British-Ghanaian performance, visual and musical artist Larry Achiampong’s self-released LP More Mogya and were excited by its mashup of palm wine and high life samples with Hip Hop beats. We have been fans of Mark Stewart all the way back to his days in the seminal post-punk band The Pop Group, but it was his recent dub album Exorcism of Envy that really caught our collective ear. The intricate afro-techno of Harmonius Thelonious is by definition a sort of West African music remix project, and he seemed a perfect choice to invite. Rounding off the list of mixers is our old friend Dirk Dresselhaus AKA Schneider TM whose wide-open musical obsessions have embraced indie rock, analog electronics, improvisation and field recordings. He recently journeyed to Mali and Burkina Faso to study balafon music. 

With the finished master of this album right now echoing from our speakers we are already thinking about Glitterbeat: Dubs & Versions volume II. Can’t wait.

++Chris Eckman & Peter Weber: Glitterbeat Records

www.glitterbeat.com

Dennis Bovell - Aye Go Mila Dubwize

Bassekou Kouyaté & Ngoni Ba: Ba Power
Release date: April 24th 2015
Glitterbeat Records
www.glitterbeat.com

Bassekou Kouyaté & Ngoni Ba’s fourth album Ba Power (and his first for Glitterbeat Records) is a striking, career defining record marked by mesmerizing songs, razor-sharp riffs and full-throttle emotions. Following two years of worldwide touring for the much heralded Jama Ko album, Bassekou’s band, Ngoni Ba, has turned up the volume and dynamics significantly and Bassekou’s masterful ngoni playing has achieved a new level of intensity that can only be called: afro-rock. Distortion and wah wah and propulsive rhythms are now the defining backbone of his songs and the heat lightning vocals of his wife Amy Sacko, more than ever serve as the passionate and perfect foil. This is not the same Ngoni Ba. This is indeed: Ba Power.

When asked what Ba Power means to him, Bassekou told us:
"Ba", in Bambara means "strong" or "great" and it also means "group.” I called the album Ba Power because I think the messages on it are very important and strong, and it is also definitely the album with the toughest sound I've ever made. I want these songs to grab as many people as possible.”

Without question Bassekou Kouyaté & Ngoni Ba has revolutionized the sound and narrative possibilities of the ngoni, the lute-like instrument that is essential to Mali’s Griot culture. Griots are esteemed musician/storytellers whose lineage stretches back centuries. Bassekou was born into this resonant tradition but his relationship to it has been anything but static. From the beginning of his career, through his invention of a previously unheard repertoire built around the melodies and rhythms of four interlocking (and at times electric) ngonis, Bassekou has demonstrated his respect for the past by radically pulling it into the future. 

Ba Power contains all the swagger, precision and wide-eyed excitement that the title implies. It is the album where Bassekou’s music engages with the world in ways he could have only imagined 10 years before. It is the album where he confirms his status amongst the 21st centuries most relevant musical artists.

I think African music and culture deserve to be spread to the broadest audience possible.
That is what I want to accomplish with Ba Power.
--Bassekou Kouyaté


Bassekou Kouyaté & Ngoni Ba - Siran Fen

FREE DOWNLOAD AT http://official.fm/tracks/300709

Thirteen Thirtyfive. Taken from Dillon's upcoming debut album out on Bpitch Control on the week of 11th of November. 

Thirteen Thirtyfive

Hooked up with my friend Jamie today to work on some music and at some point I started singing this tune. We both looked at each other and said, I really wanna do a re-edit of that, so we had fun for a  few hours extending bits, finding random vocals from the film, putting some filters on and a few random additions etc...I dare you not to sing along :-)