study

more free edits: 
http://www.oscarozz.de/free-edits/

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FREE DOWNLOAD

Ghost In The Shell (Oscar OZZ Edit)

Following the passing of jazz legend Yusef Lateef in December, Gilles went through the innovator's extensive back-catalogue going all the way back to the 1950s, pulling out some of his personal favourite tracks. Here is part one of Gilles' tribute mix, celebrating the life and music of the mighty Yusef Lateef.

Photography by Peter Williams, 1994. 

Tracklisting
Morning  (Jazz Mood, 1957, Savoy)
Before Dawn (Before Dawn, 1957, Verve)
Anastasia (Other Sounds, 1957, Prestige)
Taboo (Other Sounds, 1957, Prestige)
Hapology (Jazz For The Thinker, 1957, Savoy)
Chang Chang Chang (Before Dawn, 1957, Verve)
Titora (The Centaur And The Phoenix Bonus Track, 1960, Riverside)
Moon Tree (The Fabric Of Jazz, 1959, Savoy)
Night In Tunisia (Prayer To The East, 1958, Savoy)
Abana (Jazz Around The World, 1963, Impulse)
1984 (1984, 1965, Impulse)
Plum Blossom (Eastern Sounds, 1961, Prestige)
You’re Somewhere Thinking Of Me (The Complete Yusef Lateef, 1968, Atlantic)
Like It Is (The Blue Yusef Lateef, 1968, Atlantic)
Woodward Avenue (Yusef Lateen’s Detroit, 1969, Atlantic)
Eboness (The Diverse Yusef Lateef, 1970, Atlantic)
Technological Homosapien (The Doctor Is In….And Out, 1976, Atlantic)
Hellbound (The Doctor Is In…And Out, 1976, Atlantic)
Love Theme From Sparticus (Eastern Sounds, 1961, Prestige)
Hold Your Light (Yusef Lateef And Adam Rudolph Live In Seattle, 1999, Meta)
Brother John (Live At Peps Vol 2, 1964, Impulse)
Passacaglia (Suite 16, 1970, Atlantic)

 

Yusef Lateef Tribute Mix Part 1

ElectricSurfBoard

Musicien, chanteur, dessinateur, de multiples casquettes pour un artiste à l’esthétique rétro-futuriste qui ne dort plus par choix mais trouve dans l’ennui et dans le monde qui l’entoure, l’inspiration pour écrire ses morceaux.

Gystere, le groover d’Issy et de maintenant

LOVE TRAP

San Lorenzo

https://ivan-ave.ffm.to/tripledoublelove

What does it really mean to be a team player? In love, in business, in art. I dedicate this song to the James Millners of the world. To professional fouls, bruised knees and ankles. I hope that by performing this on tour, I remind myself that I wouldn’t still be playing the game if it wasn’t for my team. My dribbles are dope, but I also need to D up! This is the first song I ever produced myself. Slam dunk moment for me, but I had some top musicians on the alley oops.

Bass: Sasac
Keys: Byron The Aquarius
Add.Vocals: Zee
Add. Synthesizers: Kristoffer Eikrem
Mixed by: Deckdaddy
Masterd by: Christian Obermayer

Triple Double Love

Stream / 7" Vinyl

Ivan Ave - Triple Double Love

Brandon Wolcott + Emil Abramyan - YouAndTheSpace Between

Stream/Order 7": ivan-ave.ffm.to/phonewontcharge
Pre-save/order album "Double Goodbyes": ivan-ave.ffm.to/doublegoodbyes

In the last summer months of recording the album, I spent a couple weeks with a phone that wouldn’t charge properly. I later identified my charger as the problem. Anyway, being cut off from the constant stream of information we now call reality, allowed for this song to emerge. Circular themes in my life became more apparent, as they do every now and again, in cyclical patterns. The trick is to notice them, which I probably wouldn’t have if my phone was working all summer. Jae and Sarah killed the background vocals.

Piano & Synthesizer by: Clever Austin / @clever-austin
Bass & Guitar: Clever Austin / @clever-austin
Drums: Ivan Ave 
Add.Vocals: Silentjay & Sarah Nærø Pettersen / @silentjay / @sarahnp-3 of @GiddyGang

Mixed by: Deckdaddy / @deckdaddy
Masterd by: Christian Obermayer

"Double Goodbyes" (LP) out 24th of April 2020 - on Playground Music / Mutual Intentions  @mutual-intentions @playground-music-norge

Double Goodbyes

Phone Won't Charge

Phone Won’t Charge

Coming in from across the ocean it's our pal DJ D.Dee (@derekdee) with his 'Sounds From The Patio, For The Patio' mix. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Dee, great to have you on board! Living in Vancouver since 10+ years, could you name some of the city's most relevant cultural changes? 

DD: Happy to be here! Hmm, tough one. I’d say the biggest one for me has been the natural growth and progression of the underground scene. When I was first introduced to the scene here it was quite small and consisted of a dedicated core of like-minded individuals with a penchant for deeper music. Since then it’s grown and grown and there’s scenes within scenes and it feels like there’s more of a place for everybody to do their thing, which is nice. Then again, it may have always been this way and I just didn’t notice, scenes are so subjective and everyone here tends to live in their own little bubble. It can be quite an isolating place, especially in the winter months.

MFM: You've been running Pacific Rhythm since 7 years, did you expect/plan it to be where it is now?

DD: Honestly I’m still figuring it all out and learning along the way. When we started we only put out a record once a year and this year it’s looking like we’ll put out at least 6. I’m very grateful to have so many other friends who run labels now, when we first started I didn’t really have anyone to go to for advice that wasn’t also learning the ropes themselves. It’s a tricky industry to navigate, especially from Vancouver where you’re so far away from the manufacturing, distribution process, and frankly most of the places that actually stock your releases. People really aren’t buying records like they used to and honestly I feel like the whole process of creating them is a bit archaic and convoluted. Pacific Rhythm will always produce physical artifacts because I think that’s important but I could see us drifting away from producing vinyl in the long-term. The reality is there are so many better ways to share music in the modern world and we’re often all kind of just caught up in this nostalgic haze. 

MFM: What is it like being both a DJ and promotor, and could you share some of your highlights with us? 

DD: To be honest I think way more DJs in North America have to do both if they want to make a living in dance music. There’s way more of a club and festival infrastructure in Europe and in my experience most good events in North America are a lot more DIY and grass roots, especially in underground music. I started being a promoter because there weren’t really other people around that were interested in the kind of music I wanted to hear and I’ll likely continue being a promoter for that same reason until I inevitably age out of the scene and focus on something more daytime oriented. I just got home from touring Australia and that was really something special. They have such a well developed scene down there and a lot of really open minded dancers, very refreshing! Big love to Mike (Planet Trip) and Jamie (Crown Ruler). Most recently I’ve got my US visa and I’m looking forward to playing more there. I’m also planning on spending the bulk of the summer in Europe and have some interesting dates scheduled here. Truthfully though! Who knows. I think our scene is going to go through some major changes post Covid-19 and things may not normalize for quite some time.

MFM: What can you tell about the mix?

DD: I’ve been asked to self-quarantine for two weeks by the Canadian government and this mix was recorded smack dab in the middle of it. I’ve been pretty deep in the self-reflection zone and doing a whole lot of the “deep listening” thing. I wanted to record something to help people pass the time and share some new music from friends and toss in some percy’s to round it. The approach was very easy going, not so much mixing, more about trying to let the tracks breath and staying out of the way. 

Stay in mate, it feels great!

ElectricSurfBoard

ELECTRICSURF

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