(Giveaway) Keep On Walking

Playing with Dilla's beats is just another way for me to practice and improvise, guess I'm not the only one doing that.
 
There's no losin' game when playin' with Love 
that's what I've learned from you, Dilla.
 
Blessing

1. What's up (Detroit 98)
2. I believe in a love Supreme (Let me be the one)
3. What a color (Colors of you)

Art Work by J.Lamotta Suzume

About Love #1 (Dilla Tribute)

Collage EP

astral / collage

Bounty 

SOTU 11 - "Good Numba"

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

"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

ARTIST : Christoph El Truento
TITLE    : Sunflower 
LABEL  : WONDERFUL NOISE
Cat #   : WN12027  
format : 7inch Vinyl（40g vinyl w/Sleeve）
Available Now / 発売中

Track List 
side A 
1) Sunflower
Music by Christoph El Truento,Horns by Isaac Aesili,Additional Guitar by Si-Res,
Additional Drums by Julien Dyne,Additional Vocals by Christoph & Waiata

side B 
1) Insect
Music by Christoph El Truento,Vocals by Groeni

B2) Birds
Music by Christoph El Truento,Vocals by Groeni,Sax by Adam Page

all songs produced by Christoph El Truento
Mastered by Benny Tones (Organik Muzik Workz/ www.organikmuzikworkz.co.nz )
Artwork by FJD (藤田二郎/ www.fjd.jp ) 

昨年リリースしたデビューシングル「EP01」は、ここ日本を経由しヨーロッパ各地のビートシーンでも話題となり、瞬く間にその名前を知らしめたニュージーランドの若きビートメーカー／プロデューサー＜クリストフ・エル・トルエント＞、注目のセカンド・シングルはなんと、「ジャズ」。黒人音楽や実験音楽、電子音楽、ブラジル音楽の影響をつよく受け、彼が持つ音楽的な豊かさとヴィジョンがビートミュージックという枠を超え、これまでどのビートメイカーも思い描かなかった圧倒的な世界へと導く本作。現在のビートシーンが突入した新次元の表現のあり方を象徴的にあらわした作品と言えだろう。参加ミュージシャンにはニュージーランドのビートシーンの旗手、ジュリアン・ダインがドラムスにホーンにはFunkommunityとして活動するIsaac AesiliのWNアーティストが全面強力バックアップ、予想を遙かに越えたビートメーカーが描く現代進行形の「ジャズ」、絶対聴き逃すな！ アートワークはNujabesをはじめとするHydeout関連のジャケットも手掛ける、FJD（藤田二郎）による本作をイメージした幻想的で美しい世界観を描いたデザインを採用。

● Christoph El Truentoプロフィール
クリストフ・エル・トルエント（Christoph El Truento）はニュージーランドのオークランド出身の音楽プロデューサー、DJ。おもにビートミュージックを手がけるが、ジャズやエレクトロ・ミュージックの影響をつよく受けており、強い重低音と特異なリズム、ときにはミニマルなビートを作り出すのが特徴的である。デビューEPはグルーブマン・スポットなどの国内トップ・プロデューサー達も注目しカルト・ヒットした。近く発表するアルバムではSUN RA、Alice Coltraneなどにインスパイアーされ実験音楽〜エレクトロミュージック〜ジャズへと消化しビートミュージックを超越したアルバム「What We Used To Know」をリリース予定。

Christoph El Truento - Sunflower (WN12027) [7"]

East Coast Collective

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

Mixed at Studio Einz, Budapest
Mastered at Analog Cut Berlin

Crossroads

I don’t usually get too conceptual about things, but in this case, the mix did definitely come from a certain idea – the feeling that all wonder is tempered with a certain mournfulness. This is music and poetry that gives me that particular yearning feeling, beginning with a poem that perfectly captures the pain and the beauty of existence. I hope you get something from it. With love from Ollie.

thank you @stampthewax for getting behind it


G.M. Hopkins – The Leaden Echo & The Golden Echo (read by Richard Burton)
Gigi Masin – The Word Love
Magma – Eliphas Levi
John Ellis – People that I Love
Oscar Peterson – Hymn to Freedom
Cinematic Orchestra – Child Song
Heralds of Change – Alone
Spike Milligan on Insanity
Father’s Children – Hollywood Dreaming
Gilberto Gil – Roda
Ahmad Jamal – Nature Boy
Hiatus Kaiyote – The World It Softly Lulls
Alfred, Lord Tennyson – Tears, Idle Tears (read by the author)
Robert Glasper – Everything in its Right Place / Maiden Voyage

The Leaden Echo & The Golden Echo (STW Monday Morning Mixtape 304)

Groove School Records Presents: Global Vibrations

Assembled by DJ, Presenter and label founder of Groove School Records, Reuben J. Green - we’re delighted to share the debut compilation Global Vibrations.

Blending the sounds of Jazz, Neo Soul, Future Beats & Baile Funk, this 9 track compilation communicates what Reuben affectionately calls “The Sounds of the Future”

Educating the listener on the latest melodies from around the globe.
Collaborating with the artists that over the last few years have become the fabric of the music we love.

Swiss based Jazz-Fusion producer Melodiesinfonie ignites another layer of this compilation. Creating something that only he could make, a sound that is unique but still heavily connected to an already established scenes, which is no easy feat.
‘Liberation’ is the embodiment of all of Melodiesinfonie styles and inspirations. Constantly shifting between Jazz, Groove, Uptempo & Downtempo while the percussion based loop beat that we always love, connects them all.

Residing across the globe, the album also features the likes of:
— Ziggy Zeitgeist (30/70 - Melbourne)
— Bentley (Foshe - Sydney)
— Àbáse (Berlin)
— Pasquinel (Amsterdam)
— Sicstyle (Leipzig)
— Veda Black (London)
— Chewbeats (London)
— & VLVT JONES (New York)

PURCHASE THE FULL ALBUM HERE:
https://grooveschoolrecords.bandcamp.com/album/global-vibrations

Melodiesinfonie - Liberation

how do you do?

https://personalmusic.bandcamp.com/
instagram.com/ollie__malin
facebook.com/romaalkultan

The Leaden Echo & The Golden Echo (STW Monday Morning Mixtape 304)

Romaal Kultan / Personal Discs

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