it's been5 years and cant stop listening.

Very Nice, Paul; I was looking for Rebecca Jade here. no luck.

MIles, this is a very cool tune - I'm so glad you're writing now - have you got more tunes?   A few more, and you'll be ready to get a producer and get it out there!

art vibes

available now on brownswood bubblers three and also forthcoming on emanative// time which drops on april the 5th 2010

Turn Your Lights On

Miles Kahlil: Composer/Tenor Sax
Luca Ferarra: Guitar
Diego Gaeta: Piano
Sean Tavella: Drums
Aidan McDonough: Bass

Ladybug

TascamVT1 & BT1 & Microgranny-Looping... and a "Flex"...

Wass'nHierDefekt?

Day Spa Studios Vol. 1 (Side A)

South London drummer, producer and composer @moses-boyd launches his Exodus Records with a 12" of vibrant dancefloor-oriented jazz, mixed by mentours Four Tet & Floating Points. 

Moses Boyd - Rye Lane Shuffle (Worldwide Premiere)

produced by @Faunafauna
mixed/mastered by @roeme

Lyrics:
I swear u don’t know me..
Aside from this music shit u never will 
Ill prolly never get a deal
But if I do I hope its Def Jam 
I touch the bible with my left hand.. 
Cuz I’m lying out my asshole
Really I think I deserve this cashflow 
And not no million dollar deal
I aint tryna be only rich  nigga in the hills….
Losing touch of whats real
Ill prolly buy a crib smack in the hood 
Give the homie dap like whats good..
Cuz I aint new to seeing money
Uncle had a Bentley 
Even tho it looked funny

That nigga showed me bout the bread early 
It give a black man power..
That shit had me up at 8:30
Just to walk a nigga dog..
For a lousy 20 dollars..
Use that to cop the fake polos…;
Just to floss on you dodos 
Now look

only niggas in coach

Love these guys so did this unofficial remix of The Lung!!

Hiatus Kaiyote "The Lung" (Paul White Unofficial Remix)

SIXPRESS - MUT
https://6press.bandcamp.com/album/mut 

01 - GRANDMAS walking
02 - turned tables
03 - one too many stages of grief 
04 - after that
05 - subway series
06 - transitioning 
07 - thank you for protecting my spirit 

SIXPRESS - MUT
https://6press.bandcamp.com/album/mut

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

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

"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

UNTITLED (part 1)
https://6press.bandcamp.com/album/untitled-part-1

1 - peace WORLDWIDE
2 - grandmas spirit in the air
3 - let love flow
4 - going to live
5 - the artist at work
6 - peace to those who sleep (goodnight)
7 - facing my fear in the mirrior
8 - fly
9 - 20
11 - in the now 
10 - onto better things

UNTITLED (part 1)
https://6press.bandcamp.com/album/untitled-part-1

"you gotta focus, you gotta stop blaming white poeple for your problems. you gotta learn how to.... rap or play basketball or something nigga youre trapped you are trapped either do that or sell crack, thats your only options - thats the only way ive seen it work. better get to entertaining these white people nigga get to dancing!"

special thanks:
medhane for the drums on track 5
michael, ant and my baby sister saige singing on track 8
lauren for the artificial gun shots on track 8
and to my brother rasheed for the small vocal takes throughout the stream. enjoy, part 2 is on the way.

UNTITLED (part 1)

happy chanukah

right here on earth

@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.

Ladybug

CASSOWARY

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