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

Turn Your Lights On

A smoothed out, catchy little downtempo bobber from a cool late-winter night in The Vault.  Makaya bounces on a flammed rimshot, Abrams jumps in quickly with some nice bass chords, Justefan colors the progression with his singing vibraphone harmonies, and Marquis tops it all off with a gorgeous trumpet melody and solo verse.

Recorded on March 5th, 2014 by Dave Vettraino.  Personnel: Makaya McCraven - drums, Joshua Abrams - bass, Justin Thomas - vibraphone, Marquis Hill - trumpet.

Steppe Smoothe

a blend of soulful essence, timeless swing, and continental flair, emerges as a harmonious journey through the landscapes of jazz, soul, and European cabaret.
I have no rights on this track, it's only for demo use.
Content Credits:
Main Vocals: @speech-debelle "Finish that Album"
Background Track: @dedydread and @djrebel-1 "SWING"

Finish that jazz [2LFMF jazzgroove]

Dose Album Credits 

1. Brother Dragonfly 
(Rachel Fraser & Isaac Aesili) 
Produced by Isaac Aesili 
Rachel Fraser - Vocals 
Cam Allen - Flute 
Steph Brown - Piano 
Daniel Ryland - Guitar 
Marika Hodgson - Bass Guitar 
Julien Dyne - Drums, brushes 
Tom Broome - Cymbals 
Isaac Aesili - Programming, Synths, Synth Bass, Horns 

2. Freeloadubt 
(Daniel Ryland, Rachel Fraser & Isaac Aesili) 
Produced by Daniel Ryland and Isaac Aesili 
Rachel Fraser - Vocals 
Daniel Ryland - Programming, Keys, Bass Guitar 
Tom Broome - Hats & Ride 
Julien Dyne - Drums 
Cam Allen - Flute 
Isaac Aesili - Sub Bass, Horns, Programming 

3. Teacups 
(Rachel Fraser & Isaac Aesili) 
Produced by Isaac Aesili 
Rachel Fraser - Vocals 
Daniel Ryland - Guitar 
Marika Hodgson - Bass Guitar 
Isaac Aesili - Programming, Synths, Synth Bass, Horns 

4. Te Kano 
(Rachel Fraser & Isaac Aesili) 
Produced by Isaac Aesili 
Rachel Fraser - Vocals 
Johnathan Crayford - Rhodes 
Daniel Ryland - Guitar 
Marika Hodgson - Bass Guitar 
Tom Broome - 808 toms 
Isaac Aesili - Programming, Synths 

5. Treat the feel 
(Rachel Fraser & Isaac Aesili) 
Produced by Isaac Aesili 
Rachel Fraser - Vocals 
Julien Dyne - Drums 
Daniel Ryland - Guitar 
Isaac Aesili - Programming, Synths, Synth Bass, Horns 

6. Cherished 
(Rachel Fraser & Isaac Aesili) 
Produced by Isaac Aesili 
Steph Brown - Piano 
Cherished 
Rachel Fraser - Vocals 
Isaac Aesili - Wurlitzer, Synths 

7. Dose 
(Rachel Fraser & Isaac Aesili) 
Produced by Isaac Aesili 
Rachel Fraser - Vocals 
Cam Allen - Flute 
Daniel Ryland - Guitar 
Marika Hodgson - Bass Guitar 
Isaac Aesili - Programming, Synths, Synth Bass, Horns 

8. Desire 
(Rachel Fraser & Isaac Aesili) 
Produced by Isaac Aesili 
Rachel Fraser - Vocals 
Steph Brown - Rhodes 
Daniel Ryland - Guitar 
Marika Hodgson - Bass Guitar 
Cam Allen - Flute 
Julien Dyne - Drums 
Isaac Aesili - Programming, Synths, Synth Bass, Horns, Percussion 

9. Shifting 
(Rachel Fraser & Isaac Aesili) 
Produced by Rachel Fraser and Isaac Aesili 
Rachel Fraser - Vocals 
Johnathan Crayford - Rhodes, Synth Solo 
Marika Hodgson - Bass Guitar 
Daniel Ryland - Guitar 
Tom Broome - Hats, Cymbals 
Julien Dyne - Drums 
Isaac Aesili - Sub Bass, Horns, Programming 

10. Do it 
(Isaac Aesili) 
Produced by Isaac Aesili 
Daniel Ryland - Guitar 
Marika Hodgson - Bass Guitar 
Isaac Aesili - Programming, Synths, Synth Bass 

11. Stutter Step 
(Isaac Aesili) 
Produced by Isaac Aesili 
Cam Allen - Flute 
Steph Brown - Rhodes 
Isaac Aesili - Synths, Synth Bass, Keys, Programming 

Vocals recorded @ Red Bull Studio Auckland by Ben Lawson 
Guitar recorded @ Organik Musik Workz by Ben Horton 
Steph Brown Rhodes and Piano recorded @ The Lab by Olly Harmer 

Production by Isaac Aesili @ Ariki International 
Mixed @ Red Bull Studio Auckland by Ben Lawson and Isaac Aesili 
Mastered by Kelly Hibbert

Teacups

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)

Taken From: BBE20 Anniversary Mix Series #1 by Chris Read
Buy / Stream: https://bbemusic.lnk.to/ChrisReadBBE20

Celebrating 20 years of Barely Breaking even, independent UK record label presents a series of exclusive DJ mixes to mark the occasion. Available in both mixed and unmixed formats, the series includes a stellar lineup of DJs, selecting their personal favourites and obscure gems from BBE's bounty of classic titles.

The first BBE20 mix in the series comes from highly respected UK DJ and mix-tape specialist Chris Read, the man behind BBC New Music Award winning electronica outfit Maylight and compiler of BBE's 2012 album 'Latin Concrete', which was featured as 'Album Of The Week' by the Independent newspaper. The first of two mixes produced by Chris in celebration of BBE's 20th birthday, the first installment guides the listener on a journey through some of BBE's sultry downtempo and hip hop cuts, steadily making its way toward warm soul and disco, expertly building up momentum over the course of 23 genre-hopping tracks in the mix's 65 minute run-time.

Julien Dyne feat. Parks - Falling Down

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

Mandla Mlangeni:Trumpet,Mark Fransman: Tenor saxophone, bass clarinet and accordion Keenan Ahrends: guitar, Nicholas Williams: bass, Clement Benny: drums, Vocals: Zoe Modiga, Yonela Mnana and Vuyo Tshuma Music Composed by Mandla Mlangeni

Voices of our Vision

Umhlangano

The first taste of the musical delights that comprise the bonus replay disc that will accompany the vinyl reissue of our Static Methods EP later this year. Our friends 30/70 laid down a live reinterpretation of our joint 'Divide,' Skomes on the boards, Cazeaux O.S.L.O on the vocal chords. Dig it. 
Love

Static Methods Reissue

Divide (30/70 Replay)

"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

Multi-instrumentalist, composer and producer @peter-beardsworth will release his new EP Pour Un Homme Seul via Nottingham-based label Running Circle this September.

Read more @  https://wp.me/p471L0-98z

Pete Beardsworth - To The Place (TS Premiere)

BOOKINGS: arthur@foreignbrothers.com
The S, from Skomes, beatmaker, producer and backup whisperer.
The O, from Cazeaux O.S.L.O, MC, vibe merchant and vocalist.
The Crates hold the history which we revive and reinterpret.

Divide (30/70 Replay)

SO.Crates

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john vereen

The Hollygrove Cafe, New Orleans

l'amour fou

walla C

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