Freedom Song

Recorded as part of a four-day session at Berlin’s Brewery Studios with a cast of close collaborators from both Budapest and Berlin’s vibrant jazz scenes, Destruction Everywhere marks the beginning of a new chapter for Àbáse.

The track features Ziggy Zeitgeist (30/70) on drums, Ori Jacobson on saxophone, flautist Fanni Zahár, Andras Koroknay on bass and Ghanaian percussionist Eric Owusu. The release brings in an era of partnership with Analogue Foundation, who are dedicated to preserving and furthering analogue creation via record releases, international events, and activities at its recording studio and hi-fi listening bar. The Foundation is headed up by Grammy-winning New York City recording and mixing engineer Russel Elvado, Soundwalk Collective, and Berlin recording and mix engineer Erik Breuer.
credits
released March 28, 2024
Fanni Zahár - flute
Ori Jacobson - sax
Eric Owusu Sunday - congas, bongo
Szabolcs Bognár - Rhodes, Roland SH2000, clave
András Koroknay - bass
Ziggy Zeitgeist - drums

Written by Szabolcs Bognár

Recorded and mixed by Erik Breuer at Brewery Studios, Berlin
Assistant engineers: Rhea Sodemann, Heinrich Matis
Mastered at The Carvery Studio, London by Frank Merritt
Cover design and layout by Mark Fridvaszki

Oshu Records x Bridge The Gap x Analogue Foundation

Supported by Initiative Musik gGmbH with project funds from the Federal Government Commissioner for Culture and Media.

Destruction Everywhere

Altitude (ft. C. Scott)

Bully Ball

Websites

Superb

Sleep Dreams

Presenting the second single taken from Melbourne/Naarm multi-instrumentalist Don Glori’s forthcoming third album ‘Paper Can’t Wrap Fire’. ‘Power’ is a spiritual, choir-led, Brazilian-infused beauty. 

It was a song that Don wrote after being fed up with dealing with bad promoters and agents. It’s a simple mantra - protect your power and energy and do what feels free and good. A playful composition, musically it's divided into two parts. The first was inspired by Kendrick Lamar's 'To Pimp a Butterfly' and the West Coast sonic world, delicately balancing the spiritual choir, ghostly horns, and jazz break intro. The song then morphs as it progresses, with the gravity that the choir once provided, ripped away by the next section.

From sombre to cheeky, the group chant turns to a satirical hook from the opposite view of the cynical promoter.
 
‘Take your fee, take your seat, come on man keep it up,
Take your fee, take your seat, come on man just shut up’

The song then breaks into a segment that nods to the Brazilian legends Azymuth and their 1977 track 'Tamborim, Cuíca, Ganzá, Berimbau’. Alcides Neto, Robyn Cummins and Al Kennedy provide the shimmering pandeiro, conga and drum percussion rhythms, as Joel Trigg lets rip with a swelling Rhodes solo that crescendos to the finale.


Don Glori - Power

Yasiin's Lament

It's Our World

No Maybes

DJ-Kicks: Quantic

In My Defence

"All Time" (feat. Tawiah) @AlfaMist  from the upcoming album "Roulette" out on 3 Oct
Pre-order, stream & download: http://roulette.alfamist.co.uk

Written by: Alfa Mist & Tawiah
Mixed and Produced by: Alfa Mist 
Engineered by: David Holmes
Engineer & Additional mixing by: Stuart Matthews
Mastered by: Guy Davie at Electric Mastering
Recorded & Mixed at: Invada
Published by: Faber Music
Alfa Sekitoleko - Keys, Synths
Tawiah - Vocals
Kaya Thomas-Dyke - Double Bass
Samuel Rapley - Sax/Bass Clarinet
Johnny Woodham - Trumpet/Flugelhorn
Jamie Leeming - Guitar
Jamie Houghton - Drums


Design by: Patch D Keyes
Illustration by: Mathias Lematire Sgard

Alfa Mist - All Time feat. Tawiah

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

The Isoul8 Edit of Broken Vibes. He put some nice finishing touches on the OG to create this edit. I consider this to be the Final Version of Broken Vibes. Thanks Homie.

Taylor on Twitter: https://twitter.com/TaylorMcFerrin
Taylor on Facebook: https://www.facebook.com/pages/Taylor-McFerrin/9087746963
Taylor on Spotify: http://open.spotify.com/artist/0yLmsf6RBPYqm6hvFJCPg6
Taylor on iTunes: https://itunes.apple.com/artist/taylor-mcferrin/id26149051

Freedom Song

Reginald Omas Mamode IV

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