Meshell Ndegeocello - Comet, Come to Me

Tupla-Jukka timmion records office Mix # 2

Forget My Name

Good Day Bad

Folie A Deux

And Yet It Moves

Friends

After one year from the tribute to Yusef Lateef which has had a great feedback, the Beatfonics Crew is ready to release another tribute. 
This time the Crew is ready to challenge the great Lonnie Liston Smith and his unmistakable smooth jazz sound. 
After a long research through vinyls and records, The Beatfonics Crew give honor to Lonnie Liston Smith reinterpretating his sound with dope drums, fat bass lines and leads in a brand new key. Everything considering the essence, the trademark, the HipHop culture that connects the whole Crew. 
The beat's swing will bring you in a cosmic sound's world that just Smith's Fender Rhodes, piano and keyboards can communicate 
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Dopo un anno dall'omaggio a Yusef Lateef, che ha riscontrato un seguito positivo nella discografia della crew, i Beatfonics ci provano con un nuovo tribuito. 
Questa volta si mettono in gioco con Lonnie Liston Smith, che ha fatto dello smooth jazz la chiave di ogni singola produzione. 
Scelti i migliori samples, i Beatfonics rendono onore a Lonnie Liston Smith, reinterpretando il suo suono con batterie ecclettiche, giri di "fat bass" e leads in chiave moderna, senza tralasciare l’essenza, il marchio e la cultura HipHop che unisce i membri della Crew. 
Lo swing dei beats trasporta lentamente in un mondo fatto di suoni cosmici, che solo le note del Fender Rhodes, del piano e delle tastiere di L. L. Smith possono trasmettere.
credits
released 20 December 2014 

• FACEBOOK: www.facebook.com/thebeatfonics 

• Cover design by Gianluca Renga: 
www.facebook.com/GRArtworks 

• VIDEO TEASER : www.youtube.com/watch?v=bm9An205WCE 
by Sup Nasa : www.facebook.com/supnasamusic 

• Mastering by JP Balboa 


T One - DeViKa ( The BeatFonicsCrew for Lonnie Liston Smith SeSsion Vol. 9

Out August 11th 2017.
Pre Order 7Inch at skinnypelembe.bandcamp.com
Limited to 250 copies. Art by Femaleonacid.

Featuring:
Rens Birgitta Kuiper 
Alley Lloyd
Regan Bowering
Remi Graves
Jing Chung

Listen To The Stars

Displaced Diaspora

Frontline (feat. Kevin Haynes)

Activate by Theon Cross

Holy Hive, the group that coined the genre Folk/Soul, comes out swinging with this monster Single. “Oh I Miss Her So” is pulled from their upcoming release Harping EP: a drop dead gorgeous tune of love and longing featuring the harping of Mary Lattimore. The tune serves as a testament to The Hive’s gift for songwriting and arrangement, taking the listener on a ride from the first notes of Paul’s falsetto to the outro featuring Dave Guy’s (The Roots) gorgeous trumpet solo. 

Taken from the upcoming Holy Hive EP "Harping". 

BIG CROWN WEBSTORE: 
 https://bigcrownrecords.com/store/harping-ep/

Stream on Spotify:
https://open.spotify.com/artist/1AcZuMRjIAdmksbzApOXnw


Follow Holy Hive:
https://www.instagram.com/holyhivemusic/
https://www.facebook.com/holyhive
http://www.Holyhivemusic.com

Visit us at:
https://bigcrownrecords.com 

Follow Big Crown Records: 
https://open.spotify.com/user/bigcrownrecords
https://www.instagram.com/bigcrownrecords
https://www.facebook.com/bigcrownrecords
https://twitter.com/bigcrownrecords?lang=en
https://soundcloud.com/bigcrownrecords
https://www.mixcloud.com/BigCrownRecords

Harping

Buy at BCR

Holy Hive - The Things Themselves

Another Thing

Mother of Waters

Meshell has changed. So has her music. It’s more peaceful, freer. Her new album, Weather, cloaks itself in the colours of autumn, full of in-between shades and hues and with a certain mildness to it. The singer has let her feelings carry her along. Meshell has never been scared of sharing her most intimate thoughts in explicit or colourful terms that always come from the heart. As ever, she is true to herself. But Weather’s folk sensibility and pregnant acoustic melodies make this a supremely accessible album.

“For a long time I was at war with everyone else. I dug my heels in, I fought hard. That’s all over now. I have my opinions, but they’re no longer a source of conflict with the rest of the world.” On Weather Meshell’s usually deep vocals slip into a register more like a whisper, sharing secrets about subjects that are straightforward, almost light-hearted. She has pared down her style to something like pop. “I started to write this album on the guitar and you can hear it. The final atmosphere’s gentler.”

And then the singer agreed without fuss to put her fate in the hands of a producer. Joe Henry (Ani DiFranco, Bettye Lavette, Allen Toussaint, etc.) helped her reveal a different side to herself. And Meshell went along with this. “I’ve known him since the Bitter album; Craig Street introduced us. I hadn’t called on someone from outside for several albums. But contrary to what everyone thinks, I love getting other opinions, hearing a different point of view and allowing myself to be led by someone with strong ideas. It’s a dialogue. This kind of experience really motivates me.” One might well have imagined her bent protectively over her compositions, her own personal, contradictory and profound world. But she says that she wants to continue this experience in future projects with other musicians. She mentions Brian Eno and Lee Scratch Perry.

She worked the way she likes to with Joe Henry - just two or three takes to capture the spontaneity and freshness of the moment. She is accompanied by Chris Bruce (guitar), Deantoni Parks (drums), Keefus Ciancia (keyboards), Gabe Noel (cello) and guests Jay Bellerose (drums) and Benji Hughes (backing vocals). Meshell recently did some producing herself – for jazz singer Laïka Fatien and rising star Selah Sue. Despite the pop-folk sound of Weather, jazz remains a major source of inspiration. “I love jazz musicians. They’re free; they have no fear. I’ve done pop and there are lots of barriers, lots of holding back. You have to stick to the conventions. Jazz musicians embrace uncertainty and adventure, even in their private lives. They’re more open and often more skilled, both in the studio and on stage.”

On Weather, Meshell sings of the ups and downs of love, one of her favourite subjects. Her heroines are marked by the void left by the loved one (“Object”) or else, like a game of mirrors, pour out their heart about the hurt they have caused others. She does a cover of Leonard Cohen’s “Chelsea Hotel”, dedicated to Janis Joplin, an extremely sad and somewhat sexist song, as well as “Don’t Take My Kindness for Weakness” by Soul Children, a sixties soul band, whose message she has made her own. Her own lyrics are always concise, precise or allusive, full of images and poetry (“I want to be your answer”). “They’re like mantras, some phrases cast to the wind, images that pop into my mind. Then I add the music.” She also talks about the wider world on a few tracks. ‘Oysters’ is about “the change that everyone talks about but never comes”. Meshell explains that “Consumerism is gaining ground all the time. We all live to get a new car or a new computer, but what’s the point?” So, join the great world party? “Not for me,” she replies in Dirty World. “I live two hours from New York. I ran away from all the dirt. There’s a farm where I live, and healthy food. I love cooking – it’s not all that different from making music. You need ingredients, and the greatest pleasure is when you share it share it with others.”

Folie A Deux

officialmeshell

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