Vuelo Dubs the Master of Motown, "Mercy Mercy Me (the Ecology)"
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Vuelo Meets Marvin - Lord, Have Mercy, Father, Have Mercy

Artist: Wayne Snow
Title: Rosie
Cat.No. TART032
Release date vinyl: June 2015
Release date digi: June 2015
© 2015 Tartelet Records 
DISTRIBUTED BY OYE RECORDS & ALL EARS

A1. Interlude (Produced by Max Graef) 
A2. Rosie (Produced by Max Graef) 
A3. Drunk (Produced by Max Graef) 
B1. Rosie (Nu Guinea's Paradise Mix) 
B2. Rosie (Hubert Daviz Remix) 


Vocalist Wayne Snow first appeared on Max Graef’s critically acclaimed debut album from last year followed by his solo EP 'Red Runner' on Tartelet Records.

Recently, Wayne also featured on French producer Darius’ Helios EP, which will be out in April on Roche Music.

For this release, again he teams up with Max Graef and Tartelet. This second EP ‘Rosie’ delivers a fresh badge of rugged soulfulness over off-kilter chords, body shaking basslines & dusty beats as Max does best. Combining Wayne’s falsetto vocals with Max’s beats and production for a record that heralds the sunshine and a spring of cold beers, rowing boats on the Spree and strong sativa.

A1. ‘Interlude’ – Wayne demonstrates his range on this dreamy falsetto introduction while tipping his hat to both past and contemporary vocalists.

A2. ‘Rosie’ – Think Barry White’s strings, and D’Angelo’s sugar. Wayne Snow delivers a car stopping panty dropping wonky hip-hop to 4/4 funk odyssey with this the title track of the record.

A3. ‘Drunk’ - Inspired by drunk-dialing and late night hook ups, Moodyman may sleep with his MPC. Wayne doesn’t. Fuelled by MPC2000 programmed drums, an irresistible deep bass line, off-sounding Rhodes chords and the man himself on vocals.

Remix wise. On the flip, newcomers Nu Guinea, serve up a slow burning jam, paying tribute to early St. Germain work, while German hip-hop producer Hurbert Daviz slows it down for a between-the-sheets hymn high on harmonics.

Rosie EP :: Wayne Snow :: Tartelet Records 2015

flying

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

Holy Grail for crate diggers, sample gem for beatmakers, Solstice was composed by Brian Bennett and appears the album Voyage (A Journey Into Discoish Funk)released in 1978.
This classic jazz funk tune was sampled over and over and is now covered for the first time by Medline in 2018.

Solstice

Medline - Solstice // FREE DL

Pre-save the album on Spotify:
https://presave.kud.li/jrf0016

Drift Glass

Afronaut - SEED ENSEMBLE

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

London based quintet @knkjs are releasing their debut album, Hidden Lines, this June via Running Circles. Ethereal and arresting, listen to the lead track Black Idiom Pt.2 which explores the themes of memory and experience.

Kinkajous - Black Idiom Pt.2 (TS Premiere)

A Quest Called Tribe begins with the series of portraits drawn by Stéphane Carricondo in 2017 dedicated to Hip Hop legends.
As close partner in art Medline proposed to create a soundtrack for them, and first interpreting ATCQ's classics with elements of the past, present and future.

The best way to materialize this multidimensional tribute was obviously a vinyl. And it's the one we unveil today.

On the visual side:
ATCQ's portraits are composing the front cover and, assembled into a great scene, are printed on a colorful A2 poster. Stéphane Carricondo's natural lines are highlighting each member's soul map. The alchemy of the dark ink on emptiness gives to them an impressive sparkle of life .

On the musical side:
The classic themes are transformed into a polymorphic fusion, were jazz, funk and soul from the original sample sources converse with Tribe's characteristic beats. Medline added a hint of his magic, unique rhythms, improvisations, arrangements, original orchestration and inspired melodies.

The album is an ode to the band that marked both artist's life and mind. A cultural print and school of sound that designed Hip Hop foundations. With a blooming expression Medline and Stéphane Carricondo are going to the roots of ATCQ in a quest for the tribe.

A Quest Called Tribe

Le Hop

Medline - Le Hop

https://soundcloud.com/bluestaeb &  https://soundcloud.com/sfidelity Present Underground Canopy
MENACE l MNC006

Spotify 
https://spoti.fi/2LmCCv0
Apple
https://apple.co/2PhrctY
Fanlink
https://menace.fanlink.to/tonysendo

PREMIERE: Bluestaeb & S. Fidelity Present Underground Canopy - Tony Sendo [MENACE Records]

Without You (Featuring Steve Spacek) - Troubleman - Farout recordings 2004

composer - producer - multi instrumentalist - turntablist
label founder & leader @ mybags.bandcamp.com

Medline - Le Hop

Medline

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