Tellement addictif que mes yeux se ferme et ma tête bouge toute seule avec le rythme si addic. Very cool. The piratnarchiste French love 

Leftys 99

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

PARADISE DESCENDED

I See U, U See Me (What's It Gonna Be)

I See U, U See Me (What's It Gonna Be?) (Remix)

I mourn peace and freedom. I mourn checks and balances, and the democratic consensus. I mourn every innocent victim of war—every child, every dream crushed by every tyrant. How could I not? How can you not?

Being pro-people and pro-peace isn’t being anti-anyone, it’s refusing to let pain justify cruelty. I love my Jewish friends, but I also mourn the moral consensus we once called “Never Again.” Because safety matters—yours, mine, theirs, ours. Everyone’s safety matters… That’s why my heart can’t stop singing and praying for world peace. I’m not anti-anyone. I’m anti-dehumanization. My hope is that the Jewish story can end in healing, not repetition. 

I can’t help but hope… because I believe we can protect each other without inflicting new wounds. Empathy isn’t a zero-sum game; it’s what makes us human! It’s what helps us survive and thrive as one earthly, democratic tribe. In fact, empathy is the ultimate weapon against evil! That is exactly why those who cannot feel it try to divide and conquer by calling empathy weak or dangerous.

Simone Weil wrote: “Imaginary evil is romantic; real evil is gloomy, monotonous, barren.” So when I hear friends glorify revenge to justify genocide, I weep… as if trauma could explain violence because it gives despair a proud story; as if moral drama, fueled by hubris, could heal the multigenerational void of helplessness left by past and future trauma. When a pacifist says “no more heroes, no more villains, just humans,” it’s treated as a threat, as if “you’re with us or against us” were unquestionable truth. 

But Nietzsche warned that those who fight monsters must be careful not to become them, and Hannah Arendt reminded us that fear of being a victim can make us accept the role of the oppressor. Real humanism doesn’t erase trauma, it transcends it! Pacifism isn’t naïve; it’s a radical commitment to ending the cycle of identification with force. 

Winning means grounding ourselves in moral coherence. Life is sacred. It’s not about picking sides between nations (or parties)… it’s about choosing compassion over cruelty. Sigh. 

And so well now, of course, I wrote yet another song—another “Letter to My Friend,” about Never Again. 💌

—
@bananasutra – Lyrics: “Letter to My Friend”

Hey love, 
I’ve been thinkin’, the air’s gone strange.
We built a bridge, but fear made the range. 
When did caring turn into crime? 
Since when did heartbeats choose a side in time?

You think my tears forgot their tribe, 
But pain’s one language, that’s the vibe. 
If I cry for Gaza, do I leave you dry? 
Or can both our ghosts learn to sigh and fly?

I’m not your enemy, babe, I’m the echo that remains. 
Every love I add don’t steal your chains. 
Peace ain’t a prize that one can win; 
It’s a wound that heals when we let it begin. 
Oh, Bananasutra sings again…

Your roots run deep in haunted clay, 
I feel that tremor every day. 
But if walls keep empathy out of sight, 
Ain’t we just living in longer nights?

You guard your story like sacred wine, 
But I sip my sorrow... it tastes like thine. 
Can’t “never again” be a door, not a wall? 
Must one rise so another can fall?

I’m not your rival, love, I’m the ache that understands, 
Two trembling souls with open hands. 
My heart don’t subtract when it starts to expand; 
It multiplies truth in foreign lands.

Pain is pain; it don’t wear flags. 
It needs no borders, no tags. 
Fear’s a thief, babe, it steals our sight, 
Makes day look wrong and wrong look right.

Would you rather win, or rather heal? 
Would you rather numb, or rather feel? 
If trust could hum a new refrain, 
Would you hear my note through your pain?

I’m not against you, I’m just against cruel. 
Love ain’t a weapon; it’s the rebel’s rule. 
Let’s rewrite Never Again for all, 
’Cause peace built on pride’s just another wall.

So hey, my friend, come dance instead? 
We’ll sing for the living, not just the dead. 
Bananasutra’s heart don’t bend, 
It blooms, it breaks, it mends. 🪽


[19] Letter to My Friend (Never Again) • Gipsy Peace Duende Soul Fusion INDIE LOFI

Hear the track live on #TightSongs hosted by @freshselects https://www.mixcloud.com/FreshSelects/tight-songs-episode-108-july-2nd-2016/

** FREE DOWNLOAD : https://www.toneden.io/cosmic_children/post/marvin **

This Ain't Livin (Marvin Edit)

Blue Skies EP

Skippy (ft. Joe Armon-Jones & Sheldon Agwu)

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

"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

Dizzyingly laidback daydream beats from Berlin via Tel-Aviv soulstress @jay-lamotta-1, out via @jakarta-records.

Read more and buy: http://www.stampthewax.com/2018/05/18/premiere-j-lamotta-chance
Listen on YouTube: https://bit.ly/2rOohhs

Listen on YouTube

J.Lamotta すずめ  - Chance (STW Premiere)

DJ Magnatic - Hip Hop Loves Soul

Holy Grail for crate diggers, sample gem for beatmakers, Solstice was composed by Brian Bennett and appears the album Voyage (A Journey Into Discoish Funk)released in 1978.
This classic jazz funk tune was sampled over and over and is now covered for the first time by Medline in 2018.

Solstice

Medline - Solstice // FREE DL

#LetsTakeThemBackVol7 - Old School & Hip - Hop And RnB - Mixed By Dj Nyari

Are U A Fan Of Old School Hiphop and Rnb ???

This Is The Mix For You

Get in Touch For Bookings

Email : munya_mandizha@yahoo.com
Phone : 07943908881
Twitter : @Djnyari

#LetsTakeThemBackVol7 - Old School RnB And Hiphop - Mixed By @DjNyari

@DJStutz_ #WinterWarmings [Old RnB]

@DJStutz_ - ThrowBack Edition (Hiphop n R&B)

Teaching Wolves 2 Howl

The Best Moves

The Best Moves - Ka$h Route ft Breana Marin

The In Sound From Way Out 

Residents: @aaronl_dj ≈ @original-hp ≈ @miazs-1 ≈ @peachystw ≈ @rosie-ama-cain ≈

J.Lamotta すずめ - Chance (STW Premiere)

Stamp The Wax

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