Name: mini jass by jupiter tuning center in new new me
Duration: 5 min 34 s
Description: https://jupitertuningcenter.bandcamp.com/track/mini-jass

Still loving this  ✨✨🌚❤️🔥☕️✨✨

www.mixcloud.com/cafoo/berlinale-bar-bizz/

Thank you🙏🙏❤️‍🔥❤️‍🔥🥰

new new me

Bars - Black/Other ft And Is Phi
Beat - Tom Misch

KEEP MOVIN

Official Youtube video https://youtu.be/1T5OZISaofU?si=tCKg3YTPUNzj-AkA

Releasing on spotify soon

Em Soprano and Bass NAF

Blast Off

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

blink.blink

a searching

A few songs written by https://soundcloud.com/callmelua and I about thoughts and flowing through things.

Released on: @WotNotMusic

Next Time I'll Learn

I've seen way too many memorials in South LDN dedicated to young boys gone too early.


For my Uncle/Cousin- Rest in Love James Oyebola
For Harry x.

S.Y.S (Save Your Self)

'The Idea' (Feat. @nubya-garcia, @sheldon-agwu & Dylan Jones)
Buy or stream now: https://bluelabbeats.lnk.to/TheIdea

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

The Idea (Feat. Nubya Garcia, Sheldon Agwu & Dylan Jones)

Elevate

Order 12" Album

Breaking (For This World To Change)

@abasemusic delivers groove and sateen sweetness on this eight-minute stunner via @cosmiccompositions.

Read more: http://www.stampthewax.com/2018/11/30/premiere-abase-align-feat-wayne-snow/
Listen on Youtube: http://bit.ly/abase-snow

Listen on Youtube

Àbáse - Align feat Wayne Snow (STW Premiere)

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.

Vinyl / CD / Digi

Azymuth - Manha

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

Mixed at Studio Einz, Budapest
Mastered at Analog Cut Berlin

Crossroads

First single from the upcoming release Seven Wonders. New Movements in Australian Jazz & Soul A 14 track compilation recorded at Plug Seven Studios In Melbourne Collingwood, in partnership with Wondercore Island, due for release Feb 2020.

Seven Wonders

05 WVR BVBY - Custard Shoulder

https://jupitertuningcenter.bandcamp.com/track/mini-jass

mini jass

keywax headhoncho,
discjockey, sample supplier, vinyl knight, 
cutting recording artist, radiohost.
              ...in love with 60s soundtracks, poetry and jazz , boogie, 
                           some say rare groove, ...all things soulful!
         
          
shared the decks alongside : gilles peterson, dj spinna, pepe braddock, dj pippi, dixon, jazzanova, lenny ibizarre, peter roemer, jimmy radant etc.
          
dj - support for : roy ayers, lonnie liston smith, badbadnotgood, ndugu chancelor, bobby womack, incognito, maceo parker, defunkt, fred wesley, seun kuti, die nerven, etc.
        
supplied vinyl to: dj babu, diamond d, david holmes, gilles p., kon & amir, dj shadow, al kent, dj hype, illvibe, dj dez aka andres, nicola conte, pete from bbe, psychemagik,  claas jazzanova, loud e, alex lay-far, antal rush hour , danilo plessow aka motor city drum ensemble... 

          so come diggin at  K E Y W A X 

          www.keywax.blogspot.com
          drop a line, make a date ...dig a crate !

"...and all audible musical sound is given us for the sake of harmony, which has motions akin to the orbits in our soul, and which, as anyone who makes intelligent use of the arts knows, 
is not to be used, as is commonly thought, to give irrational pleasure, but as a heaven-sent ally in reducing to order and harmony any disharmony in the revolutions within us." Plato

The music here is FOR PROMOTIONAL USE ONLY. 

"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

mini jass

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